@@TnSn5 (a) They’re all basically the same. Generic Chinese design/manufacturing with virtually no quality control. (b) Temu is better for accessories than instruments. Don’t get instruments from them. So many good used trumpets exist in the price range of $100-200 that I don’t consider brand-new Chinese instruments worth it. The lack of quality control means you might end up with a real stinker. Just my two cents.

@@directcurrent5751 Thank you! Yes, I do. I can’t see myself being a professional musician. Trying to play at anything near a professional level destroys my mental state as I get completely caught up in practice. Were I to do music professionally I’d be miserable.

@@Abecanplay Here’s hoping I can keep posting semi-consistently moving forward 🫣

@@j1m0thy Exactly, it’s plenty good enough for the price! I’m not at all a fan of cheap Chinese-made practice mutes, but their straight mutes are perfectly adequate.

@@stephenowens5091 Thanks dude!! Trying to grow it in a little more for the cold season. One of these days the hairline is gonna be so cooked that I’ll have to shave off everything above the ears, so here’s hoping I can grow a fuller beard by then!

@@KerryLorah I would indeed have gotten one from Temu if I didn’t already have one from Allied as a gift from my old boss at the repair shop. Very nice to have around. It makes you the coolest brass player in the section, lol.

@SamuelPlaysBrass For sure!!

@@campas7182 Fair assessments all around. The stand and gig bag both are mostly just going to sit at home for me. Honestly the mouthpiece kit surpassed my expectations most. I thought no way the tolerances would be good enough for everything to be airtight and for all four sizes to sound (a) quite nice and (b) different from the others. Also, your point about lyres on reverse slides is a big part of why I don’t usually bother with them. I suppose I wouldn’t run into that issue on my Conn 38B, though.

@@popodopolos507 You know it. My hyperfixation piece. (I had a brain fart and forgot that the passage I recorded isn’t *actually* supposed to be muted but shhhh)

@@timbortner1014 This is a great point. I’ve had to do that to my H&B mutes but didn’t think to apply the same here because the corks didn’t look too thick to me on this one, but you’re most likely right. The sound being “not as muted” should have tipped me off. Thanks for watching and for the kind words!

@@ronzgarage Thanks Ron. Hoping to do more of these in trombone/euphonium land. Most of my mouthpieces for those are Bach and Conn, though. Haven’t got anything from the “cool” boutique makers like Griego, GB, etc.

@@goofiest-ahh I would definitely only recommend buying marching brass instruments used! It saves you a ton. Nobody really needs to be buying new mellophones, marching baritones, sousas, etc. besides university marching bands with fat budgets.

Bro you KNOW I said “strap yourself in” 💀

@@SamuelPlaysBrass 😅

@@danielbowers457 Thank you!! A soundtrack can really make or break a movie!

@@bobcat24 Thank you!

@@jean-pierredevent970 I am not sure which videos or period of time you are referring to, but I have played downstream on low brass and neutral on trumpet for many years at this point. I don’t think there is any sense in overanalyzing it, though. I simply developed the embouchure that felt right on trumpet and the one that felt right on horn. I think the vast majority of horn players use a downstream angle.

@@andrewhammill6148 Congrats on making the stupidest comment I’ve ever seen left on one of my videos. I’ve had plenty of hate comments before, but this one takes the cake.

@@SamuelPlaysBrass Awe. Your feelings get hurt? Truth hurts, don't it.

@@andrewhammill6148 Omission of half of the truth is NOT “truth.” X, Y, and Z players didn’t use the KGU booster because these things didn’t exist at the time. That doesn’t mean they wouldn’t have helped X, Y, or Z sound fuller. Rejection of current technology because it’s not the way of the past is boneheaded. How about we all go back to natural trumpets while we’re at it. Is that what you’d rather we do?

@@guruhgandinugraha3007 I don’t generally take requests, sorry. I am trying to pay for college and can’t usually buy gear just to review it. If I find one for very cheap due to it being heavily used that might be a different story, but the chances are slim.

@@李凱-x3u I’m sorry to hear that your experience with new Yamaha valves has not been positive-I’m very surprised. This thing’s valves are horrible in a different sense: there is virtually no compression between piston and casing. The instrument is not even close to airtight. I have to apply large amounts of tuning slide grease to the valves to make this instrument somewhat playable, and even then, it does not play particularly well.

@@SamuelPlaysBrass Thank you for your reply. I was a fan of Yamaha. But when I ask 3 of my students buying Yamaha YEP-321, one of 3 was bought in Japan, and other 2 was imported, they all have the same problem with the first valve. And two of my friends who have other two different types(also yamaha), but there's the same problem with the firest valve. The sound quality is good, but the first valve is too struggling. So I just want to share with you and your followers, is there any brand you would recommend?

@@bloxxer_boy Yeah, this instrument was made to play in “high pitch,” meaning A = 457 Hz instead of 440 Hz. Basically if you push the tuning slide in, it’s half a step sharp by modern standards, and to get it “in tune” the tuning slide basically has to be hanging off the end.

@@SamuelPlaysBrass waow, interesting design choice, still makes a great sound for its age too lol

@@ozarcus.gaming Thank you! It’s a very squirrelly beast but it has a cool sound! Probably not worth me keeping in the long run lol…

@@jameswycherley6581 Thanks for your comment James! I agree; I was enamored with the 6310 right up until I played the 635, and the latter changed the game for me. Anyhow, I wish I could give you a good answer… This flugel did indeed say “635ST” on the valve block, with S indicating silver, but I wouldn’t be surprised if Yamaha started or stopped doing that at some undefined point in time. Their serial numbering is a mess and their model naming is not that much better. I do still think there is a solid possibility of the silver plate on yours being an aftermarket job but I don’t have any way of telling for certain.

@@haneysinsweden I certainly will once I am not bogged down with studies!

I hear ya! I have played trumpet for a long time and had someone suggest I play a cornet for the sound I want. Dude! The sound came out right away! I found an LA Olds Ambassador in great shape. I am a jazz trumpet player so it is warm and perfect! Just saying I relate to what you said about the cornet. Also you convinced me to get a Heritage mouthpiece. Had to go with a 3 as there was not a used 3B. Thanks for the video!

@@mitchkent68 Many from that era are! It’s a shame that the current QC standard from Conn-Selmer is hardly a fraction of what it used to be. I’ve consistently liked 80s-90s Strads more than modern ones like the one in this video.

@ I’ve heard about the Conn-Selmer poor QC, which is too bad. Which brands of trumpets today are at the same quality as the 80s Bachs, in your opinion?

@@mitchkent68 Yamaha and Schilke are at the forefront in my opinion. Yamaha’s Xeno and Artist models are seemingly all NY and Corporation Strad clones, and their Custom Z models as well as many of Schilke’s B series cover more of that niche Vindabona sort of ground. Jupiter XO is also really starting to climb towards excellence. I’ve really liked the XO 1602s I’ve played. Other than that, you end up having to go boutique if you want such a level of quality, consistency, and attention to detail.

@@PosauneundPapier Yes!! I used my 3BFSS for Oktoberfest as well this year and it did an incredible job! Much better than trying to get a really bright tone out of my Conn 88H.

@@leonardocorona3064 This is all I recorded and transcribed, sorry.

@@WilliamSHuber Glad you’re liking the horn and that this video played a role in the decision to spring for one. The Wick 3B should be a very good choice for your chops and the type of playing you want to do. I personally use a 2B as a Schilke 18 player.

@@cosmic2111 Yes it is! Good eye!

@@zuraforreg3088 To be honest, I’ve never once gotten to hold a Yamaha and a Doubler back to back. If there was any difference in weight it was not substantial enough for me to notice between different practice sessions.

@@lonewolfandcub23 Wow, that’s incredible! Thanks for watching and for the insight. Ol’ Pops definitely played on some unusual equipment to get his signature sound.

@@DavidFarey-jp6cx Hi David, thanks for your comment and I’m glad you found this video useful! It’s pretty incredible that you’ve played for 70+ years, not to mention being on the same mouthpiece for 55. If you’re desiring a softer sound, I can strongly recommend one of these following: Bach 3, 3B; Yamaha 14D4. They all also have slightly more rounded rims than their Schilke counterparts which will have the effect of feeling “softer” on the chops. Also worth seeing if a Schilke 14 or 14C2 might work. Schilke’s 2 and 3 rims shouldn’t leave as much of a dead ring on the chops in theory.

@@49bednar That’s a good question. I honestly am not as much a lead player now as I was at the time of making this video so my focus on this topic has slipped, but something I’ve always taught is the concept of the “V” tongue. I do believe that pressurizing the air inside the oral cavity (without excess jaw or throat tension) is necessary for speeding up the air without physically “overblowing” the instrument-that leaves the tongue to do the heavy lifting. That said, if I can, rather than arch the back of the tongue, I advocate for arching the sides instead, to create a narrower and more focused trench for the air, which naturally speeds it up without so much of a constriction point. Whereas raising the back of the tongue creates a vowel sound like a hissing cat, raising the sides is a sensation similar to whistling, keeping things more “open” while still speeding up the air greatly. Granted, above a high D or Eb, it does end up being some combination of both the back and sides of the tongue for me.

@@SamuelPlaysBrass Thanks for the quick response. By no means a lead player here. Quite the contrary, 75 years old and trying to keep on keeping on by becoming as efficient as possible. Yes, I tend to cut myself off with tongue arch that is probably too high and constricting. I'll do some work with the V tongue concept. I've been doing leadpipe buzzing for quite a long time and it's probably the most helpful warmup thing that I do. I find it's really important to find the "centre" of the resonance and feel it coming back into my body. Love your videos and thanks again for being so responsive.

@@johnnyxoagub1558 I’ve never tried a B&S tuba. Sorry I can’t be of more help!