Derek's analysis and answers are spot on. Playing to "the low side of the pitch" is essentially an antidote to the fact that the vast majority of trumpeters, amateur and professional, tend to play with tight bodies and with sharp intonation. One tends to lead to the other.
With all due respect, Eric, you're just wrong on this one if you equate the moon 's molecular structure to the effects of having a mouthpiece that responds with a certain set of pitches when you "slap" the cup with your palm.
http://ccrma.stanford.edu/courses/150-2001/brasses.html
No ONE set of acoustical circumstances will create an optimal situation. However, when one does what Dave Monette did and string a bunch of positive acoustical, metallurgical, and body use absolutes together you do get something that is vastly different and improved. That is irrespective of what great trumpet-playing colleagues like Mike Sachs and Phil Smith have accomplished and contributed to the musical world without playing Monette trumpets. I know what I, who have also contributed plenty, have accomplished as well. When a student walks through the door and hands me another brand of instrument and mouthpiece and if I sound great on it, it's because I'm a great musician. I know how to make a conventional set-up work and I strive to make the music come out the bell no matter what I'm playing because the music comes first to me. Then I grab my equipment and I feel comfortable and am not working as hard relative to the way I approach playing... emotionally, intellectually, and physically.
So, there... now you can all run and post that as out of context as you wish and make me out to be an egotistical braggart. Whatever. I'm just a bit tired of allusions to "drinking the Koolaid". It's enough, already.
The fuse is lit.. enjoy the show.
ML