Will add just this one footnote: Even if I could prove to a given trumpet player (who is seeking easy extreme range) a guarantee that spending six months or so on a foreign chop system would give him some well connected, and seriously powerful Double C's he would probably not want to make the effort. Or he would start the change but give up along the way. Most aspiring trumpet players will not do this and I can't say I blame them. To re-start his embouchure in a way much dissimilar to his most "natural" chop setting is a very unsettling thing. Only the most devout trumpet player will stick to this. But this is the difference between myself and some of the others who struggle/experiment: I do not mind the time it takes to work in a new chop system. To me the whole process is fascinating. I would think nothing of spending TWENTY YEARS working in an alternate setting just to keep myself happy or entertained. That said I would NEVER forgo my regular embouchure. No sense chasing rainbows or killing the golden goose. Keep the main embouchure strong and yet fiddle a trifle now and then with alternate settings. Is educational to say the least. I once attached a shallow trombone mouthpiece to a trumpet shank in order to prove a point about embouchure. On that described m/piece I learned to play my first well connected Triple C's (no foolin!). That and in the middle/lower registers the tone is extra dark/cool. The main problem is articulation. It doesn't like to accept the tongue without cracking the tone. If I put tons of hours into the thing I can expect to blow fairly accurate High C's etc. But complete security of attack seems somewhat fleeting at present. This may not be the case down the road but only time will tell. OK one more footnote, sorry...: A certain well respected lead player we've probably all heard of is essentially a human scream playing machine. I've never seen him tire even after several hours of Double and Triple C playing. His ability seems inhuman. However there is a reason for this: His chops accept the air in probably the most efficient way possible ever found within the confines of the human body. i don't think that even Roy Stevens himself had such chops and Roy was generally good to a QUADRUPLE C even when not in top physical shape. However the lead player I'm thinking of, God bless him has NO SOUL to his sound. Its like you took every note of the trumpet and played it through a synthesizer. His tone kind of "chops wood" at times. And yes he was a lead player for Maynard at one time so i guess that probably gives him away. he is a truly nice guy and real inspiration. But as for tone? I'd rather hear my former middle school teacher blow the trumpet. Best orchestral sound I've ever heard. What an inspiration. And he struggled for just a mere High C. I was his "designated hitter" from way back in the day 1971. There i was just a punk kid with only raw power. But he needed me to cap the high notes of a gig. All at my tender age of 16. Life isn't fair but we deal with it.