D/E in staff pitch - repair tech ?

[tptplayer]

👍

[trpt.hick]

Really, Carl? I thought you agreed with me. This doesn't seem very professional for a man of your distinction.

[tptplayer]

[trpt.hick]

Oh, sorry!! The "thumb up" icon looked like a gesture of a different kind. It is quite small, and I misunderstood.

[dbacon]

DB

[trpt.hick]

A couple of interesting links on this thread's subject:

www.Youtube.com/watch?v=wvJAgrUBF4w

www.osmun.com/re

[trumpjosh]

[trpt.hick]

You are my hero, Josh!

[Maarten van Weverwijk]

[LittleRusty]

[James Becker]

As brass repair specialists we've discovered there's a difference between pitch correction and pitch manageability and how they are achieved.

First we have to identify if the problem notes are related to typical tendencies of partials, incorrect tubing length or both. The usual suspects are flat 3rd partial, sharp 4th partial, flat 5th partial, sharp 6th partial, flat 8th partial, all in varying degree.

The most common complaint on C trumpets is a flat 5th partial. In the past the go to solution involved switching to a longer mouthpipe taper. Unfortunately the down side of longer pipes like 25A, 25S, 25R is the change of timbre and increased resistance as you ascend, and a flat 8th partial. Our Osmun OB109 mouthpipe combines our proprietary taper with a slightly longer taper than 25H/25C and is shorter than the 25A. This allows for better aligned open partials without tightness/flatness up high associated with longer mouthpipes. Our OB110 pipe has also been effective in providing players a better scale on Bb trumpets.

A different approach to raising a flat 5th involves key specific (shorter shank) mouthpieces. The trade off for a raised 5th partial usually results in an already sharp 6th partial going even sharper. For some this is an acceptable trade off, particularly if alternating the trumpet is not an option . Short shank conversion to key specific length of your existing mouthpiece or a new mouthpiece of the same brand/size can be performed quickly and easily in our shop and include Bb, C, Eb and piccolo trumpet lengths http://www.osmun.com/mpcmod

An example of both a flat partial and incorrect slide length is 4th line D. By reducing the tubing length by a small measure we can get the D to the point where it's lip able, not perfect mind you but far more manageable. In addition the bottom space F which is sometimes flat is also raised. Accomplished players are in the habit of extending their slides for sharp notes anyway, so getting used to a little more extension is not a big issue.

Another very common problem note on C trumpets is a sharp middle C. We've discovered that correction of a compromised bell crook cross section can make bringing middle C in tune more manageable. Again we're not making it perfect, but easier for the player to lip in tune. This service is just one of several steps in our trumpet blue printing service http://www.osmun.com/blueprint that can make playing your trumpet less taxing while maintaining it's characteristic sound. In addition, we recommend the larger 24 backbore which contributes to playing middle C more manageable on C trumpets.

Other factors that contribute to poor pitch stability are incorrect mouthpiece receiver gap, usually caused by wear, and valve leakage. We keep an inventory replacement mouthpiece receivers to restore gap and can rebuild any badly worn pistons or rotor valves. We also perform conversions to Reeves Sleeves and have the complete range of sizes in stock so you can fine tune your trumpet's receiver gap.

Osmun Music's repair staff of three have over 100 years of combined experience repairing and restoring brass wind instruments. We welcome the opportunity to serve your brass playing needs.
_________________
James Becker
Brass Repair Specialist Since 1977
Osmun Music Inc.
77 Powdermill Road Rt.62
Acton, MA 01720
www.osmun.com

Our workshop is as close as your nearest UPS store https://www.ups.com/dropoff?loc=en_US

[yourbrass]

[Tritone]

If a lousy player's bad playing truly could trash a horn, why wouldn't nearly every student's original horn go irreparably out of whack and wind up in the dumpster?

That doesn't happen.

Vibration patterns are one thing, and they simply don't translate into a mechanism for a good horn going bad. Those among us who are wonderfully gifted players may not necessarily be as gifted in science and metallurgy -- and are nonetheless tremendous assets here.

[chuck in ny]

taking a page from the guitar player's book. many put a radio on top of a new instrument and have it play music for a few days to speed up the break in process. players note that it takes a few months for the guitar to break in and it seems the vibrations are affecting the wood, hence the radio trick, and there is a dedicated device for sale as well. i have heard of an urban luthier hanging an instrument out of the window into city noise for a few days to absorb some sound. interestingly in the case of guitars quantity of sound trumps quality.
and so stuff is evidently going on that is difficult to coherently quantify. with a wood instrument part of the way they begin to come alive is obviously a newly glued up collection of wood starting to act as 'one piece' in transmitting vibration and resonance. with a trumpet it seems the nodes are shifting around and something must alter on a molecular level, not nearly a chemical transmutation and simply some orientation of the brass' energy, or to that effect.
as already observed, you would imagine the cure is to play the instrument properly for a good bit, and never lend it to that guy again.
in my experience both wood and metal instruments absorb vibrations and change from doing so. this applies to all our possessions and not just instruments.
thanks david for this metaphysical glimpse.

[Daniel Barenboim]

Sounds like a great marketing technique Mr. Hickman! Get Chris Martin to break-in 5 valve C trumpets for 6 months, then sell them.

DB

[Craig Swartz]