When David Krauss first joined the Met section, we had a joke about tuning visually using a credit card; Pandolfi (3rd tpt) played with his slide so far out that he would check it by holding the card lengthwise against the exposed tubing. Krauss would hold the card vertically against his slide, and I (2nd) would use the card on edge because I play with my slide nearly closed.
We all could blend, but played quite differently, and with a different concept of pitch center. Krauss' concept is close to Pandolfi's (having studied with "Dolf" as a youngster), but I am less so (although I agree with elements of it). Jim Ross is even further away in concept (probably closest to the Jacobs' school), yet he sounds great and we all seem to be able to make our sounds work together.
The upshot is that there is more to this resonance business than meets the eye (ear?), because of players' different approaches to the instrument. I've only illustrated one section of "legit" (ha-ha) players in one orchestra. There will be even more approaches in the jazz and commercial world.
Read, study, experiment, and learn, but realize that there are no rigid rules that apply to everyone.