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3rd valve slide stop rod


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nieuwguyski
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Joined: 06 Feb 2002
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Location: Santa Cruz County, CA

PostPosted: Thu Jan 17, 2019 7:25 pm    Post subject: Reply with quote

I had the same problem with my Martin Committee and thought a Getzen plastic "slide retainer" would be the perfect solution. Alas, the valve slides on the Committee are closer together than the Getzen and it didn't fit. I ended up using a heavy-duty black twisty-tie from the cabling of some electronic device.
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James Becker
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Joined: 02 Sep 2005
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Location: Littleton, MA

PostPosted: Thu Jan 17, 2019 7:32 pm    Post subject: Reply with quote

As much as some folks like to keep to the original design, a 3rd slide stop is practical and in some instances an enhancement.

For example, Bach C trumpets in recent times include a pin style stop screw. The added mass to the third slide provides stability (or slots) we find benficial. We've gone so far as to make a weighted stop screw for those that desire more slots. Positive resistance incrementally has it's advantages.

I'm also aware of players removing the 3rd stop nuts from their Bach Bb trumpets to open up the blow.

So you see, location and quantity of mass can have an impact.

I hope this is helpful.
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kehaulani
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Joined: 23 Mar 2003
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Location: Texas, by way of Germany and Hawaii

PostPosted: Thu Jan 17, 2019 8:15 pm    Post subject: Reply with quote

nieuwguyski wrote:
I had the same problem with my Martin Committee and thought a Getzen plastic "slide retainer" would be the perfect solution. Alas, the valve slides on the Committee are closer together than the Getzen and it didn't fit. I ended up using a heavy-duty black twisty-tie from the cabling of some electronic device.

Why did you use anything? My impression, and experience, is that the Committee was made so that one doesn't need to compensate with extending the third valve slide.
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nieuwguyski
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Joined: 06 Feb 2002
Posts: 1962
Location: Santa Cruz County, CA

PostPosted: Thu Jan 17, 2019 11:08 pm    Post subject: Reply with quote

Well, my Committee, as did most, had an adjustable third-slide ring, suggesting that Martin didn't design the horn with no adjustment in mind (or, admittedly, they put the ring on because that's what "professional" trumpets had at the time).

But my Committee had the ring, and I used it, and the third-valve slide was so loose that the slide would fall off if not retained.

<rant>Martin didn't design the Committee to be the niche horn we think of it now. The design was meant to compete with other trumpets, sell as many units as possible, and make a profit. Martin's early marketing for the Committee includes endorsers like "M. Thomas Cousins, of the National Symphony Orchestra"; "Dana Garrett, formerly cornet soloist of the Sousa Band - now first trumpet, Capitol Theatre, Washington, D.C."; "Rafael Mendez, Hollywood artist"; "Jimmy Neilson, Band Director and Instrumental Instructor, Oklahoma City University - an outstanding trumpet and cornet artist"; and "Renold Schilke, one of the most highly skilled artists in America, first trumpet with the Chicago Symphony Orchestra."

Whether any of those players actually used a Committee or not doesn't matter. My point is Martin marketed the Committee as an all-around professional trumpet, and an adjustable third slide would have been standard at the time.</rant>

I guess my Committee must be a bad example. It is from the wrong period (late '50s) and is the wrong model (it's a Deluxe, with the nickel-silver slides), but I think it's a nice all-around trumpet that I've used in big band, in small-group jazz, in church, in concert band, and in pit orchestras. And I used the third-slide ring to adjust intonation in all those groups.
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