rowuk

To keep this from turning into ridiculous, I would request that we put our common sense into gear before commenting.
This thread could help the people building custom instruments to figure out something radically new and wonderful - things that we would actually PAY FOR!

As we already have instruments that are in tune and have a great blow AND sound great, I do not need to wish for that.

I would like to see a tuning bell horn with REAL braces where they are positioned on fixed bell horns. (I even know how I would build such an animal if anybody was interested).
I would like to see an Amato water key that lets ALL of the moisture out
I would like to see valves designed so that the player can align them properly without special tools.
I would like to see a mouthpiece receiver with adjustable gap (I even know how I would build such an animal if anybody was interested).
I would like to see a valve cluster that was not affected by aggressive sweat.
I would like to see an oil reservoir built into the horn that would keep the valves and slides (1st and 3rd) oiled longer and more evenly.
I would like to see a trumpet stand that does not fall over and does not put pressure on the bell.
I would like a 4-valve picc with valves like the Selmer Radial 2 degree horns. Or a rotary valved one with the linkage at a similar angle. Could reduce RMS.
I would like synthetic corks for a harmon mute that make it easy to mount securely and remove. I am tired of licking the cork!!!!!!!!!!!
I would like to be able to experiment with teflon coated, oil-free valves and slides.
So - now it is YOUR turn!

Richard Oliver

The guys and Courtois must have heard you on this one. The Evolution trumpet they make has one. My teacher is testing one, and he says the gap adjuster works. Dosen't looks weird, and looks to my eye like an fairly easy engineering feat.

Great list by the way!

Shermy

That is the exact reason I ordered my new Kanstuls with traditional water keys.

I would like to see valve blocks that don't have all the bends and turns between the valves - not sure how this would affect everything but it seems to me like it would make for a less resistant blow.

I would like to see valves that don't have all those "bumps" and "dents" in the tubing because they're fighting for the same space - seems like this too would make for a less resistant blow and better intonation.

I too would like a horn that is less susceptible to my acidic sweat on all the standard touch points - i.e. rings and hooks, valve block, valve slides, lead pipe between the first and second valve.

Dr. Zink

I had one way back when that had a very effective rubber "cork". i think it was by EMO or something like that. a VERY goor mute by the way.

Dr. Z

gzent

I recorked my Harmon mute using a product called 'funky foam'.
It works great.
--

As for trumpet design fantasies - well, I guess I'm lucky, I can actually try many of them out in my "trumpet-customizing-hobby-shop".

My focus as of late is a better leadpipe mounting system that allows more of the energy of the resonating air column to make it through the horn rather than 'escaping' or be corrupted by vibrations from other parts of the horn.

Other things - well, corrosion resistant materials, oil-free valves, non-pistion valves are on my list too.

Greg

godchaser

-I'd be real interested Robin. I've got some ideas myself for tuning bell braces. Also, you may want to try diamond coating for valves and slides. Used for tooling mostly. As for a stand, i was figuring one just yesterday. It'd have a row of free-moving rubber balls along the top length of a dowl, which at this portion would be rigidly flexable. It woud run the length of the bell and craddle and mold itself to the entirety of the bell bend, using the weight of the horn and shape to balance itself and avoid pressure points.


Incidentally, if there's a thread for what advantage, real or imagined, certain design cues enable? I'd be thankful for'a heads up. Muddin' through on the net's taking all my free time, trying to track and determine what's smoke and mirrors and so forth. If not, maybe you all'd entertain some true false questions here, on what designs really do promote what?

If so, these are some things i've been thinking about-

What sustains great, all around enveloping sound for the player? I understand a beadless bell does this. What'll provide really big, waaaay over the top, projection & power? Just read where Schilke made Herseth an O Bell that never saw production, and was bigger than their A. Said most players had control problems with it. Would serious amateur enthusiasts care, or is this the concerns of a professional orchestral player? Is it possible to maintain tune and familiar trumpet sound in merging a Bb bell and C bell? If so, does this necessarily provoke bigger sound and projection?

Much grata.. Chris

Richard Oliver

I don't think that there's a man made anything that does that.

The wind machine behind the hunk-o-brass sustains it.

Apologies if the question was rhetorical or ment to stimulate further discussion.

cornetguy

How about a trumpet that has the intonation of a Schilke or Yamaha and the sound of a Bach. The New French Besson Classics came really close to that.

Building leadpipes and valve casings of gold brass to help keep the corrosion down, and hopefully the need for patches.

how about getting the mechinisim that one can operate the tuning slide to control pitch for things like the high g as at least an option if not a standard feature. (I know it exists, but forget the name of it)

other things

a piccolo trumpet hand gaurd that actually covers all the contact points.

The BuZZ

gzent

Put a Pilczuk leadpipe on a Bach and it will have better intonation than a stock Schilke or Yamaha - its that simple.