Everyone can read your original post. It is still here. There could be a valid reason why no one remembers it. Could also have to do with also being the only one who discounts physics. I am not so quick to discount the judges - even although the club robinson approach is more of what everyone WANTS to hear. Garmeth is on a good path. Plenty of tunes and simply slowing down. I am sure that if we dig a bit, we will find much more to work on to stabilize Garmeths playing. It is a pretty good lesson in life to learn that you very often have trouble moving forward when you pee on the leg of the conductor or your boss. The semantic game of "bright" in a high school setting and "bright"(I prefer the word "brilliant") in a professional setting does give us insight in the science of perception. Learning to understand the difference is part of becoming a more mature player and teacher. Funny how even the clarinet or viola player conductors only bitch about LOUD from pros, never about "bright". In high school settings it is almost 100% the other way around. In the case of auditions we also have psychological factors that lead to various results as well. For those of you that think that other players give trumpet players a bum rap, I say think again. The principles of solid musicianship are the same for all instruments. Trumpet players that are occasionally on receive instead of only transmit discover a completely different world where cohabitation is a reality. In that world, LOUD also has a place, just not in a binary way.