dcstep

I also think we're on the same page.

It'd be interesting to measure the SPLs from one meter away from a mpc buzzing (measured at numerous points in a hemisphere with a one-meter radius), then compare that acoustic output to a trumpet played with the same mpc using the same measuring technique. We'd probably need a machine to keep the "effort level" constant from one test to the next.

Even this is full of "errors" since there is sound energy that goes back behind the plain of the mpc or horn. Maybe we'd need to mount each on a large baffle board so that only the forward energy is measured, but being careful not to damp the horn or mpc since that could impede it's energy transfer.

Another interesting comparison would be various horns and mpcs recorded using mics in the ears of the player. (Isnt' that called binary recording mic technique, or something like that? I've got some recording made with such technique and the imaging is incredibly 3D when heard through earphones). Here we'll get more relative information about the energy kicked back to the player and how it varies from horn-to-horn. We might do this with and without the baffle, so we can separate the two sources of acoustic energy.

Dr. Moore, where are you?

Dave

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Tootsall

"Binary recording". I've seen ads for stereo microphones designed to be used with minidisc recorders that are worn like headphones or eyeglasses (I think the original intent was to "disguise" the fact that you were illegally recording at live concerts etc.). Anyway, off topic.

It might be worthwhile if someone contacted Mr. Smith and requested a copy of his complete paper. I suspect that what is posted on the site is simply a "one page summary".

Larry Gianni

Toots,

Thank you so much for the explanation of " energy " and it transfer as regard to trumpet playing. For some reason, that post really hit home for me. Like all of us, I always learn alot from the other contributors and this thread has been a extra ordinary example of that whether I agreed or disagreed, every opinion was played out beautifully by all.

As you wee know, you never know what little bit of info or example gives you the boost to get your playing to the next level. It like why do you remember , so vividly, some minor event as a child, but can never remember were you put your keys. Hopefully, some small bit of this magnificent thread has helped all of us in some way, I know it did me.

Example;

I had a performance on Piccolo trpt the other day and was consciously trying to evaluate the feeling of efficiency, free blowing and " back pressure " as I played at rehearsal, something I never had done before in relation to the picc. on large trumpets always believing that a certain " blow feeling" was inevidtable. With concepts and statements made by the contributors to the thread, clearly in my mind, I actually had a fine performance and played as effortless as possible. I had a feeling, using a minimal of energy, as if I was " Humming " into the mouthpiece, yet a large wide tone was emerging from the tiny bell , plus range and the scope of playing seemed limitless ( well, you know what I mean )

thank you all, - You see, You can teach a old dog new tricks

Larry