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Originally Posted by MPM
many variables effect the percieved resistance factor. Bell thickness, annealing or not, proper vs improper bracing, plating.
If the bell doesn't "ring" / give the pizzaz you want, or if you can't hear your self, you work harder to get the sound you hear in your head. You work harder, more compression in the body to the point of building up too 'backpressure' ... then you work harder yet to over come what you might percieve as resistance ... visious circle.
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I refer to what you describe as "resonance". A horn can be very "free blowing" (lack compression) and lack "resonance" (your pizzaz -- there's a Calicchio model that comes to mind, but I don't recall the model name). OTOH, a horn can be "tight" or "provide a lot of compression" and have great resonance (some "special" Bach 37s come to mind, but they're not all gifted with "resonance").
I agree that some players don't realize what's going on and strain to much to create more resonance, not realizing that many such horns are actually projecting resonance forward quite well, but the player is not receiving much feedback. Being aware of horns that behave this way can save the player much wasted energy. My favorite horns provide a lot of resonance from the players perspective and still project into the room.
Still, I think that relative resonance and resistance (vs. "free blowing") are two different things.
Best regards,
Dave