As we wrap up this series and project, I want to once again thank you all from the bottom of my heart for tuning in. I am extremely humbled by and grateful the support on this series, which turned out to be far greater than I could have expected. It brings me great joy to see that others among you are just as nerdy as I am. Please leave ideas in the comments section for more topics you'd like to hear me talk about, outside of the confines of this project :)
@@Khriz_dci Sorry, just saw this now. The scientific principles are all basically the same. The only differences would be the exact numbers for bore sizes and mouthpiece specs. But I do plan on reviewing more euphonium mouthpieces.
I have an Elk horn trumpet from 1924. My inheritance from my grandfather. I started playing it in highschool back in the 1980's and it some weight to it
Fantastic and inspirational work, Sam. I've never been a brass guy but it's such a pleasure to see someone so effectively communicating their knowledge and passion for others. Rock on!
You may not consider yourself a brass guy, but you are one with us here ;) Thank you so much for your kindness as someone who doesn't usually associate with our lot!
Another great video! I remember going from 8th to 9th grade, my parents taking me to the local music shoppe to get me a new horn. I was at an honor band event earlier that year, and I did try a Strad 37. Totally loved it! Of course, the horn I was playing was a 70s Olds Ambassador, hence the stepping up big time vibe! The music store did not have any Bach trumpets in stock, and the sales rep brought out a King Silver Flair 1055t. I felt disappointed at first, as my heart was set on a Strad, but when I began to play the King, the tone I discovered was a Strad meets Getzen (Severinsen era) vibe! I LOVED IT!
So that's the story behind the 1055T. Sounds extremely cool! I love Getzen Eternas, whether standard 900s or the Severinsen models. Unfortunately my experience on the 2055T was nothing like that of an Eterna.
Excellent advice! The whole series, but this episode in particular. Maybe it should have been the first part? However, next time someone asks me about trumpets, I will definitely recommend watching this! My own history of finding my best trumpets wasn't straightforward and included a series of buying and re-selling. Had I known more upfront, I could have clearly shortened that route. One consequence: I have a collection now of horns to choose from for each gig. If I could only carry them all, maybe for each piece… I fell in love with the old Yamahas (cornets and trumpets), light instruments with M bore and reversed leadpipe. But my daily driver is a modern, more heavy ML bore CarolBrass. It's a different thing, and more suitable for playing in the church brass band, which I mostly do. Things that I'd like to add: For me the right mouthpiece/trumpet combination is crucial. And trying out different trumpets can be affordable by bying and re-selling pre-owned instruments, even old ones with worn-off lackering or even some corrosion. (My Yamaha YCR-731 has leadpipe corrosion beyond repair, but is still a great player! Just taped the holes…) Speaking of leadpipes: German maker Matthias Beck has a video where he proves that a reversed leadpipe improves intonation. (ruclips.net/video/b-ofvO3Sq8I/видео.html - in German, unfortunately RUclips speech recognition doesn't work well for this video.)
Thank you for the kind words! I specifically wanted this episode to be at the end so that it could feel like a recap of everything discussed in prior episodes. Truth be told, in spite of everything I know (or *think* I know) about the trumpet, I still buy blindly off of the internet, and I am still surprised once in a while, both positively and negatively. I suppose there is only so much we can 'know' without actually trying various instruments. I really like the exact Yamahas you're talking about - the older, discontinued M bore models, especially with reversed leadpipes. What I've also always liked about Yamaha is their general trend towards 5" bells instead of the standard 4.875" bell that other makers like Bach tend to use. It's a shame, as you mentioned with rotted leadpipes, that Yamaha's metal quality has never been superb. My 8310Z developed a few rot spots in the tuning crook almost immediately after I got it. Mouthpiece sensitivity is definitely a valid issue. My Megatone 1-1/2A works all but perfectly on my 8310, but not nearly as well on many standard leadpipe, ML or L bore trumpets, particularly if they are on the heavier side. Unfortunately, beyond the platitude of "don't make the whole apparatus too heavy or large," I can't think of any meaningful way to quantify mouthpiece sensitivity and teach people how to navigate it.
Another job well done! I own two horns, both of which I purchased blindly. They are both forever horns for me but now I can grasp (slightly) thier different playing characteristics. Thank you so much for the work you put in to this series of videos.
Thank you for your support! I’m glad your horns worked out for you-it’s always a risk buying blindly and I’ve had both good and bad luck along my journey of doing so.
I learned the cornet in high school and within a year the school supplied me with a Vincent Bach, it was a dream. However after 4 years playing in county bands, silver bands and school bands the school found out I couldn't read music lol, I could look at sheet music and play the music right off the bat I had remembered all the figure positions and tones in my head so could play any piece. I gave up after 4 years, I wish Id carried on, anyhow I bought myself a Taylor Jazz trumpet recently and hey presto can still play
Well done! Your demystified series taught me a few things. One critical criteria for choosing a trumpet is 'how do the valves feel?' That is one of the reasons that I enjoy playing my Blessing ML1. The valves work as well or better than any other trumpet that I've played.
That is a good point too! I haven't tried any professional Blessing instruments, so I wouldn't know about them, but I definitely have a liking for Getzen and Yamaha valves in particular. I think Getzen plates their valves with pure nickel rather than compounds like Monel that are mostly but not all nickel. Anyhow, thanks for tuning in, and I'm glad you were able to learn a few things along the way!
Getting back into playing, I thoroughly enjoyed your series. I learned a lot and the info you provided filled in so many why's. I really appreciated the methodical way you presented it. Now, to do some more research to add a new mouthpiece.
Thank you for watching. That research has already been done. Episode 1 talks about each of the parameters of the mouthpiece and episode 5 talks about selecting the one that’s ideal for your needs.
Thank you for making this series! The marketing gibberish from manufacturers is very confusing, and there seem to be a lot of groundless advice and opinions online. These videos are very useful for anyone looking to buy a trumpet, but it's also just interesting to see what goes into designing a 'good' trumpet. I'm taking a friend and fellow-trumpeter with me to buy a new trumpet next week, so I'll let you know what trumpet I end up buying!
@@SamuelPlaysBrass I ended up buying a YTR-6335RC! I also very much liked the Adams A5, but it was much more expensive so not worth the price difference (for now).
Great series, hope you do more content like this in the future. There's another thing not often talked about when chosing trumpets, that is ergonomics. I've recently bought an old beat up 1st gen Yamaha 8335RGS and if I buy another trumpet in the future I'll definitely be looking at swapping out any 1st slide saddle for a finger ring. One disadvantage I found on it is when I'm marching and use a lyre. The spot I'm used to having it on a regular leadpipe trumpet is now the tuning slide, so every time I change the music sheet there goes the tuning slide so now I have it a lot closer than I used to.
Glad you enjoyed! Ergonomics definitely do play an important role. So it sounds like your preference is for thumb rings rather than saddles? I haven't gotten to try many horns with thumb rings, but I do enjoy the feeling of my thumb actually staying in place. I hadn't thought about the lyre issue though. Are you talking about one of those lyres that clips onto the leadpipe?
@@SamuelPlaysBrass Yes, I had never thought about thumb ring vs saddle, and when trying the horn out I didn't think much of it, once I took it to band practice I noticed how I wasn't even thinking about putting it down during rest measures. Yes, I use one of those leadpipe clipped lyres. In my case, there's enough room between the finger hook and bell brace to fit it, so it's a non issue. But on something with a longer tuning slide like your 8310Z I can see one needing to get a bell clamped lyre or some other solution.
I’m in my third year of my music education degree and I’m about to get a gen 2 New York Xeno for 2600. My lessons teacher took me through pretty much the same talk as Samuel and helped me pick it out
Awesome, glad your teacher and I are on the same page! The NY Xeno sounds like an amazing horn. I notice that's a significant discount from retail, too. Did you find a lightly used one for sale?
It’s funny how similar we are in regards to sound and trumpet choice/sound outcome. I cannot stand the Bach 37, it ruined me and my lips. Literally. Yamaha 8310Z instead of sounding brighter for me, was much darker, much softer and refined compared to the strad. And was so much easier to play for me as I was able to push all the air I had to offer the trumpet without it being nuts or sounding like a crazy horse in agony. Although I was really going to go with a Lotus Solo Max, I found with Lotus, yet again, being the opposite. Solo Max sounded too harsh and closed off while the Silver Flare opened me up and allowed me to have an even sweeter, darker and yet brilliant sound. You’ve given the best advice possible here: don’t listen to anyone but your own sound. Ignore the advices and all of that. Listen to it, and then completely ignore. Just go to a shop, store, whatever is available to you, and play. The series you did should have millions of views by now and reposted by the ITG. This is brilliant man!
Having just responded to your other comment, I too realize just how similar we are in terms of approach and equipment choices. Thanks for watching and for your kind words!!
I loved the Demystified series. Perhaps one day you should write a book 🤓 📖 📕 . Any thoughts about a torr gage pressure instrument for the chops? Blowing into a tube thing...I am not sure if you tried one before.
Perhaps I will one day :) I have tried Larry Meregillano's CTS, which is essentially what you're describing, but I haven't worked with it nearly enough to be able to speak to its benefits or drawbacks. I need to get back to doing that, actually. Thanks for the reminder.
Thanks so much Rob! The Eterna is right up at the top of the list of horns I'd like to review! I've tried two now and both were just incredible. FWIW, I've also tried a Severinsen model Eterna (large bore) that was great, but I didn't like it as much as either of the standard ML 900s.
Thank you for your kind words, Javier! I have never tried the 6335RC (only the older 6335H), so I can only speculate and read up on manufacturer specifications. With that said, having done so, I think I can make a relatively educated statement. Here’s my thinking: First of all, more or less every upper-end Yamaha trumpet (model numbers starting with 5 or higher) is characterized by a very “clean” sound-a priority on smoothness and flexibility, usually not too bright or too dark but able to produce whatever sound the player desires. They tend to play quite well in tune and be very easy to play across several octaves. The reverse-leadpipe models especially (which the 6335RC and 8310Z both happen to be) have VERY flexible tones, going from very dark to very bright almost effortlessly owing to their conical leadpipes, and tend to be particularly easy to play in the upper register. With that said, a huge part of why I like the 8310Z are its step-bore design involving a smaller bore at the valve section and its slightly oversized 5” bell. The 6335RC, meanwhile, is the much more typical ML .459” or .460” bore and smaller 4-7/8” bell. For most, this is absolutely fine (there’s a reason it’s the industry standard). But for me, the .459”/4.875” combination does not seem to work. I sound strained and overly bright on most instruments combining those specifications. Admittedly, the exceptions to that rule are indeed generally Yamahas, like the 6335H I mentioned. But no matter the brand, the feel of the horn is naturally a little different to me on a .445”/5” versus a .459”/4.875”. I prefer the former as it grants me better flexibility of tone, dynamic, and range. Again, this is not the case for most players, as there is a reason that the latter combination is by far the most common in the industry. This reply turned out rather long, so I hope it helps somewhat. I think most players would enjoy both horns similarly, although I’d be wary of the 6335RC likely sounding brighter and more concentrated than the 8310Z throughout most of its dynamic range (thinner slide tubing, smaller bell flare). I think both are well worth trying, though.
I bought a new Bach 190 37 Stradivarius Anniversary horn . I was expecting it play like my old MtVernon. Not even close . The horn was very constricted
I'm sorry to hear that, Paul. I really did have high hopes for the Anniversary series. It seems there have been some significant issues with consistency at the Conn Selmer plant in the past ten years. I recently tried an Artisan AB190 that would hardly play above the staff--very unusual in my experience, even for Bach trumpets.
Fair question. I think the first layer is 'mental sound concept does not line up with physically produced sound.' I have very particular standards for what each instrument I play 'should' sound like, and oftentimes typical equipment doesn't predispose itself to the sound I seek. Then the second layer is more to do with my physiology. My trumpet embouchure is slightly rolled in, which gives me pretty decent strength up high and a very light touch when I need to play more gracefully, but the sound is a little thin compared to an embouchure wherein the mouthpiece sits on the 'red' of the lip (generally inadvisable on trumpet specifically, for other reasons). Also, my oral cavity is rather small, and my tongue rather large. This means that, at least without unhinging my lower jaw completely, I don't naturally have as resonant of an 'oral concert hall' as some people do. I don't think I'm handicapped in any sense, but I do really struggle whenever someone tells me to open my oral cavity while playing because I feel like I can't open it any further without physically opening my mouth. Anyhow, given these reasons, I find deeper mouthpieces, reversed leadpipes, larger bells, high-copper alloys, etc. to be very beneficial for actually producing a sound that I can tolerate hearing.
As we wrap up this series and project, I want to once again thank you all from the bottom of my heart for tuning in. I am extremely humbled by and grateful the support on this series, which turned out to be far greater than I could have expected. It brings me great joy to see that others among you are just as nerdy as I am. Please leave ideas in the comments section for more topics you'd like to hear me talk about, outside of the confines of this project :)
Would you be able to do a similar series on euphoniums please
@@Khriz_dci Sorry, just saw this now. The scientific principles are all basically the same. The only differences would be the exact numbers for bore sizes and mouthpiece specs. But I do plan on reviewing more euphonium mouthpieces.
@SamuelPlaysBrass that's all good, and thanks for replying
I have an Elk horn trumpet from 1924. My inheritance from my grandfather. I started playing it in highschool back in the 1980's and it some weight to it
Fantastic and inspirational work, Sam. I've never been a brass guy but it's such a pleasure to see someone so effectively communicating their knowledge and passion for others. Rock on!
You may not consider yourself a brass guy, but you are one with us here ;) Thank you so much for your kindness as someone who doesn't usually associate with our lot!
Another great video! I remember going from 8th to 9th grade, my parents taking me to the local music shoppe to get me a new horn. I was at an honor band event earlier that year, and I did try a Strad 37. Totally loved it! Of course, the horn I was playing was a 70s Olds Ambassador, hence the stepping up big time vibe!
The music store did not have any Bach trumpets in stock, and the sales rep brought out a King Silver Flair 1055t.
I felt disappointed at first, as my heart was set on a Strad, but when I began to play the King, the tone I discovered was a Strad meets Getzen (Severinsen era) vibe! I LOVED IT!
So that's the story behind the 1055T. Sounds extremely cool! I love Getzen Eternas, whether standard 900s or the Severinsen models. Unfortunately my experience on the 2055T was nothing like that of an Eterna.
@@SamuelPlaysBrass🎵🎺
As a retired 71 year old retired professional musician, am going to be doing this with bass trombones in 3 weeks. Good info and advice!
Thanks for your comment! Best of luck on your search!
Excellent advice! The whole series, but this episode in particular. Maybe it should have been the first part? However, next time someone asks me about trumpets, I will definitely recommend watching this! My own history of finding my best trumpets wasn't straightforward and included a series of buying and re-selling. Had I known more upfront, I could have clearly shortened that route. One consequence: I have a collection now of horns to choose from for each gig. If I could only carry them all, maybe for each piece… I fell in love with the old Yamahas (cornets and trumpets), light instruments with M bore and reversed leadpipe. But my daily driver is a modern, more heavy ML bore CarolBrass. It's a different thing, and more suitable for playing in the church brass band, which I mostly do.
Things that I'd like to add: For me the right mouthpiece/trumpet combination is crucial. And trying out different trumpets can be affordable by bying and re-selling pre-owned instruments, even old ones with worn-off lackering or even some corrosion. (My Yamaha YCR-731 has leadpipe corrosion beyond repair, but is still a great player! Just taped the holes…)
Speaking of leadpipes: German maker Matthias Beck has a video where he proves that a reversed leadpipe improves intonation. (ruclips.net/video/b-ofvO3Sq8I/видео.html - in German, unfortunately RUclips speech recognition doesn't work well for this video.)
Thank you for the kind words! I specifically wanted this episode to be at the end so that it could feel like a recap of everything discussed in prior episodes.
Truth be told, in spite of everything I know (or *think* I know) about the trumpet, I still buy blindly off of the internet, and I am still surprised once in a while, both positively and negatively. I suppose there is only so much we can 'know' without actually trying various instruments. I really like the exact Yamahas you're talking about - the older, discontinued M bore models, especially with reversed leadpipes. What I've also always liked about Yamaha is their general trend towards 5" bells instead of the standard 4.875" bell that other makers like Bach tend to use. It's a shame, as you mentioned with rotted leadpipes, that Yamaha's metal quality has never been superb. My 8310Z developed a few rot spots in the tuning crook almost immediately after I got it.
Mouthpiece sensitivity is definitely a valid issue. My Megatone 1-1/2A works all but perfectly on my 8310, but not nearly as well on many standard leadpipe, ML or L bore trumpets, particularly if they are on the heavier side. Unfortunately, beyond the platitude of "don't make the whole apparatus too heavy or large," I can't think of any meaningful way to quantify mouthpiece sensitivity and teach people how to navigate it.
Another job well done! I own two horns, both of which I purchased blindly. They are both forever horns for me but now I can grasp (slightly) thier different playing characteristics. Thank you so much for the work you put in to this series of videos.
Thank you for your support! I’m glad your horns worked out for you-it’s always a risk buying blindly and I’ve had both good and bad luck along my journey of doing so.
I learned the cornet in high school and within a year the school supplied me with a Vincent Bach, it was a dream. However after 4 years playing in county bands, silver bands and school bands the school found out I couldn't read music lol, I could look at sheet music and play the music right off the bat I had remembered all the figure positions and tones in my head so could play any piece. I gave up after 4 years, I wish Id carried on, anyhow I bought myself a Taylor Jazz trumpet recently and hey presto can still play
Great and interesting video Samuel!😁👏👏
Thanks for your support, Peter!
You're so welcome Samuel!😁👍
Well done! Your demystified series taught me a few things. One critical criteria for choosing a trumpet is 'how do the valves feel?' That is one of the reasons that I enjoy playing my Blessing ML1. The valves work as well or better than any other trumpet that I've played.
That is a good point too! I haven't tried any professional Blessing instruments, so I wouldn't know about them, but I definitely have a liking for Getzen and Yamaha valves in particular. I think Getzen plates their valves with pure nickel rather than compounds like Monel that are mostly but not all nickel. Anyhow, thanks for tuning in, and I'm glad you were able to learn a few things along the way!
Very cool Sam, Thanks.
Thank you for tuning in! Glad you enjoyed.
Thank you so much for these vids! Love all the details you provide 🙏
Thank you for your kind words! This series has definitely been a passion project for me!
Getting back into playing, I thoroughly enjoyed your series.
I learned a lot and the info you provided filled in so many why's. I really appreciated the methodical way you presented it. Now, to do some more research to add a new mouthpiece.
Thank you for watching. That research has already been done. Episode 1 talks about each of the parameters of the mouthpiece and episode 5 talks about selecting the one that’s ideal for your needs.
Thank you for making this series! The marketing gibberish from manufacturers is very confusing, and there seem to be a lot of groundless advice and opinions online. These videos are very useful for anyone looking to buy a trumpet, but it's also just interesting to see what goes into designing a 'good' trumpet. I'm taking a friend and fellow-trumpeter with me to buy a new trumpet next week, so I'll let you know what trumpet I end up buying!
Happy to help! Thank you for your comment and best of luck on the horn search!
@@SamuelPlaysBrass I ended up buying a YTR-6335RC! I also very much liked the Adams A5, but it was much more expensive so not worth the price difference (for now).
Looks like a Yamaha Bobby Shew trumpet. I have playing mine (and quite a few others) since 1995... Good horn.
Great series, hope you do more content like this in the future.
There's another thing not often talked about when chosing trumpets, that is ergonomics. I've recently bought an old beat up 1st gen Yamaha 8335RGS and if I buy another trumpet in the future I'll definitely be looking at swapping out any 1st slide saddle for a finger ring. One disadvantage I found on it is when I'm marching and use a lyre. The spot I'm used to having it on a regular leadpipe trumpet is now the tuning slide, so every time I change the music sheet there goes the tuning slide so now I have it a lot closer than I used to.
Glad you enjoyed! Ergonomics definitely do play an important role. So it sounds like your preference is for thumb rings rather than saddles? I haven't gotten to try many horns with thumb rings, but I do enjoy the feeling of my thumb actually staying in place. I hadn't thought about the lyre issue though. Are you talking about one of those lyres that clips onto the leadpipe?
@@SamuelPlaysBrass Yes, I had never thought about thumb ring vs saddle, and when trying the horn out I didn't think much of it, once I took it to band practice I noticed how I wasn't even thinking about putting it down during rest measures.
Yes, I use one of those leadpipe clipped lyres. In my case, there's enough room between the finger hook and bell brace to fit it, so it's a non issue. But on something with a longer tuning slide like your 8310Z I can see one needing to get a bell clamped lyre or some other solution.
Great video Sam
Thanks Chris!
I’m in my third year of my music education degree and I’m about to get a gen 2 New York Xeno for 2600. My lessons teacher took me through pretty much the same talk as Samuel and helped me pick it out
Awesome, glad your teacher and I are on the same page! The NY Xeno sounds like an amazing horn. I notice that's a significant discount from retail, too. Did you find a lightly used one for sale?
Great and interesting video Sam 😀😀😀
Thank you!
It’s funny how similar we are in regards to sound and trumpet choice/sound outcome. I cannot stand the Bach 37, it ruined me and my lips. Literally. Yamaha 8310Z instead of sounding brighter for me, was much darker, much softer and refined compared to the strad. And was so much easier to play for me as I was able to push all the air I had to offer the trumpet without it being nuts or sounding like a crazy horse in agony. Although I was really going to go with a Lotus Solo Max, I found with Lotus, yet again, being the opposite. Solo Max sounded too harsh and closed off while the Silver Flare opened me up and allowed me to have an even sweeter, darker and yet brilliant sound. You’ve given the best advice possible here: don’t listen to anyone but your own sound. Ignore the advices and all of that. Listen to it, and then completely ignore. Just go to a shop, store, whatever is available to you, and play. The series you did should have millions of views by now and reposted by the ITG. This is brilliant man!
Having just responded to your other comment, I too realize just how similar we are in terms of approach and equipment choices. Thanks for watching and for your kind words!!
I loved the Demystified series. Perhaps one day you should write a book 🤓 📖 📕 . Any thoughts about a torr gage pressure instrument for the chops? Blowing into a tube thing...I am not sure if you tried one before.
Perhaps I will one day :) I have tried Larry Meregillano's CTS, which is essentially what you're describing, but I haven't worked with it nearly enough to be able to speak to its benefits or drawbacks. I need to get back to doing that, actually. Thanks for the reminder.
I enjoyed the series. I look forward to your next review... maybe the Getzen 900?
Thanks so much Rob! The Eterna is right up at the top of the list of horns I'd like to review! I've tried two now and both were just incredible. FWIW, I've also tried a Severinsen model Eterna (large bore) that was great, but I didn't like it as much as either of the standard ML 900s.
great video! very informative. What about the yamaha 6335RC? is the playing experience somewhat similar to the 8310z?
Thank you for your kind words, Javier! I have never tried the 6335RC (only the older 6335H), so I can only speculate and read up on manufacturer specifications. With that said, having done so, I think I can make a relatively educated statement. Here’s my thinking:
First of all, more or less every upper-end Yamaha trumpet (model numbers starting with 5 or higher) is characterized by a very “clean” sound-a priority on smoothness and flexibility, usually not too bright or too dark but able to produce whatever sound the player desires. They tend to play quite well in tune and be very easy to play across several octaves. The reverse-leadpipe models especially (which the 6335RC and 8310Z both happen to be) have VERY flexible tones, going from very dark to very bright almost effortlessly owing to their conical leadpipes, and tend to be particularly easy to play in the upper register.
With that said, a huge part of why I like the 8310Z are its step-bore design involving a smaller bore at the valve section and its slightly oversized 5” bell. The 6335RC, meanwhile, is the much more typical ML .459” or .460” bore and smaller 4-7/8” bell. For most, this is absolutely fine (there’s a reason it’s the industry standard). But for me, the .459”/4.875” combination does not seem to work. I sound strained and overly bright on most instruments combining those specifications. Admittedly, the exceptions to that rule are indeed generally Yamahas, like the 6335H I mentioned. But no matter the brand, the feel of the horn is naturally a little different to me on a .445”/5” versus a .459”/4.875”. I prefer the former as it grants me better flexibility of tone, dynamic, and range. Again, this is not the case for most players, as there is a reason that the latter combination is by far the most common in the industry.
This reply turned out rather long, so I hope it helps somewhat. I think most players would enjoy both horns similarly, although I’d be wary of the 6335RC likely sounding brighter and more concentrated than the 8310Z throughout most of its dynamic range (thinner slide tubing, smaller bell flare). I think both are well worth trying, though.
I bought a new Bach 190 37 Stradivarius Anniversary horn . I was expecting it play like my old MtVernon. Not even close . The horn was very constricted
I'm sorry to hear that, Paul. I really did have high hopes for the Anniversary series. It seems there have been some significant issues with consistency at the Conn Selmer plant in the past ten years. I recently tried an Artisan AB190 that would hardly play above the staff--very unusual in my experience, even for Bach trumpets.
@@SamuelPlaysBrass The 180 series horns actually play better .
Why do you think you have to darken your tone via mouthpieces and horns?
Fair question. I think the first layer is 'mental sound concept does not line up with physically produced sound.' I have very particular standards for what each instrument I play 'should' sound like, and oftentimes typical equipment doesn't predispose itself to the sound I seek. Then the second layer is more to do with my physiology. My trumpet embouchure is slightly rolled in, which gives me pretty decent strength up high and a very light touch when I need to play more gracefully, but the sound is a little thin compared to an embouchure wherein the mouthpiece sits on the 'red' of the lip (generally inadvisable on trumpet specifically, for other reasons). Also, my oral cavity is rather small, and my tongue rather large. This means that, at least without unhinging my lower jaw completely, I don't naturally have as resonant of an 'oral concert hall' as some people do. I don't think I'm handicapped in any sense, but I do really struggle whenever someone tells me to open my oral cavity while playing because I feel like I can't open it any further without physically opening my mouth. Anyhow, given these reasons, I find deeper mouthpieces, reversed leadpipes, larger bells, high-copper alloys, etc. to be very beneficial for actually producing a sound that I can tolerate hearing.