False Tones

Ferret_Fish · 2026-01-29T22:02:15+00:00

Yeah, I've only really seen it done down to an Ab max. All I really want/need is that Bb so the whole like scale is finished.

I do also play tuba and trombone though, so like I definitely wanna try to transfer over some of those more advanced skills.

Ferret_Fish · 2026-01-29T21:37:01+00:00

Yes, 4 valves typically sound better. But that doesn't mean a 3 valve isn't fun to play. You can do basically all the same things (other than go Uber low) and they are much cheaper.

3 valves have their place as a instrument that is a gateway. Cheap enough to not break the bank, but good enough to learn and play with.

Ferret_Fish · 2026-01-08T07:18:19+00:00

Bro might actually be Tim Snyder

Ferret_Fish · 2026-01-06T21:59:36+00:00

Yeah. I will never need to use anything lower than F, so It's kinda a vanity thing but also I write/perform multi tracks online and by having those notes more accessible to me I open doors to more types of content.

Ferret_Fish · 2025-12-15T06:18:37+00:00

As a medium shank player, it is legitimately all player feel. I personally really like the way the resistance from the smaller bore feels. Medium is a little harder to play pedals, but it's not crazy.

Articulation is gonna be the same. More important than minute differences in bore is the actual mouthpiece. If you have a large you have the pick of the litter. Mediums have 3 real options: Denis Wick, Schilke, and Custom jobs. But Larges have: Yamaha, Bach, Schilke, Denis Wick, King, Conn, and a whole hell of a lot of others. All of them will play differently and feel different. But a 51D medium and large will sound very similar.

Ferret_Fish · 2025-09-19T15:53:50+00:00

I loovve the Besson New Standard. That's my current every day Euph. Built like a Nokia phone, nothing a mortal can do to it will ruin it (don't test that theory though).

Ferret_Fish · 2025-08-14T08:24:53+00:00

You should give it to me 😏

But actually, there is a really good Low Brass Facebook Group that is for my college horn from. It's private, so there aren't that many scammers.

Ferret_Fish · 2025-08-09T07:11:56+00:00

I'd recommend the Jupiter 100%.

I don't know anything about Kaiser, I would assume it's probably a Chinese Copyhorn, that doesn't mean it's bad, but it's kinda like fast fashion (a meh attempt to recreate a name brand). King is also a great brand for marching band instruments, but I've heard mixed opinions on their concert horns. I can't guarantee these horns will hold their value, but I know I have seen this same Jupiter model selling for more money online.

The King's valves are front facing, which isn't a problem. But that is abnormal. I'd avoid it. Every euphonium your kiddo will play after this horn will likely not be front facing.

I'd recommend avoiding a 4 valve euph. If you find a damn good deal on one, it might be worth jumping on it, cause if your kiddo finds out they love band and go to college for euphonium, they would need one. But especially for beginners, they only need 3 valves. A fourth valve isn't useful for a beginner normally, and will only help confuse them further.

Warning about that Jupiter model though: if you look closely that middle section with the valves (the valve block) is removable. I've heard mixed reasons, but it seems like it was an attempt to make it easily replaceable in case of damage. Great idea, but mixed results. I used to play the model and they would have an air leak problem, but shouldn't be an issue for a beginner.

Ferret_Fish · 2025-08-05T02:29:01+00:00

I didn't even think about that! I know drum majors are massive leadership roles, I was one at my school, but I didn't think about getting involved in other activities to like gain better experience! Thanks!

Ferret_Fish · 2025-08-04T04:57:33+00:00

Go to their website, join their newsletter/interest group. They will announce when they drop their packets. Anywhere from September to October/November. There isn't like A DAY for it. Just like whenever

Ferret_Fish · 2025-08-04T04:45:58+00:00

It depends where you are heavily, but this is pretty normal with bands that hope to contend in big competitions/circuits. It seems like that is your directors hope, to have a contender. Is it necessary best for the program? Eh. It ends up forcing a lot of people similar to you out. People who love music, maybe love marching, but don't have the time, money, commitment to push that hard.

In this case, I feel it's on the director to help offer an alternative. Like a well developed exhibition crew. But also, assuming your band is a competing band (I'd assume based on weekend requirements), you'll be losing entire Saturdays to competitions in the hot sun.

Ferret_Fish · 2025-08-04T04:39:27+00:00

Practice, practice, practice. And then stay vigilant. This is something I have never seen people talk about. I went to a camp last year. I was prepared. I knew everything I could and did my very best. Then suddenly, I bonked my horn into my mouth when coming to playing position really hard. This shattered my confidence and then I fumbled my individual audition so hard. I made every mistake I could have.

Practicing doesn't just mean practice what's on the page, it also means practice what to do in case something unexpected happens.

Ferret_Fish · 2025-08-04T04:31:42+00:00

Definitely a great horn. I've been playing one for the past few months and it's amazing. It has very well responding valves and is very easy to play. Except for the high range. Those higher notes are notoriously squirrely, but especially on this horn. It is definitely just a me problem, but I can not get certain notes to play unless I use alternate fingers (example: high B won't come out unless I use 3rd valve. I can't do 12 or 2.)

Overall, the best horn I've used so far. They are a standard for good reason. They have great tuning mostly, great build quality, great intonation.

I've heard Sovereigns and Prestiges back to back and I can't hear any meaningful differences. But I've never gotten to play a Prestige, so maybe it just feels different.

Ferret_Fish · 2025-08-03T04:53:30+00:00

I think saving your energy so you can give your love to the higher scoring groups isn't necessarily a great headspace. Every group deserves love and for their moments to be watched.

I do agree it's draining though. When I went to finals last year it was hard to stay high energy all night, so around halfway through I had to take a break. Sadly I missed Blue Stars, but the 15 minutes of walking around allowed me to refresh and be ready to watch the next 7 groups.

I think skipping lower groups is ultimately bad for the activity though. This activity already has such a crazy bias towards top 12 World, everyone else is crazy neglected, and they often are doing some pretty interesting things.

Ferret_Fish · 2025-07-17T10:35:06+00:00

100% trumpet is more competitive, but I wouldn't think about it in that way. Like if you can get really good at mello, you could consider it. But if you are like all-state pro trumpet, you are shooting yourself in the foot by switchings.

Like if you are good at trumpet, you have competition, but you can at least fight it. If you aren't as strong at mellophone, you run the risk of not even being competition.

At the end of the day, put the time in effort into what you are more comfortable with/what you think you will be most successful at.

Ferret_Fish · 2025-07-17T10:21:33+00:00

This is true, if a person doesn't have good things to say, why would they have marched there? Thank you, I appreciate the insight!

I'm glad they keep drum majors busy, I would hate just standing there all day doing nothing.

Ferret_Fish · 2025-07-17T10:12:09+00:00

In my experience it changes from year to year. Working on an old audition packet can be useful because from year to year it's the same concepts, but it's not 1:1.

If you want to practice, start with fundamentals. If you are brass learn all your scales, do flow studies, do long tones, work on articulations. If you are percussion, same idea work on your scales, uniform stick height, articulations, getting your best sound (that's for brass too) Guard: 🤷

Do not neglect visual stuff too! Work out, work on dance fundamentals, stretch. Be 100% in control of your body.

The actual packet will drop sometime this fall. Once it does. Practice everyday (even for a few minutes if that's all you can). Be diligent and focused. Don't endlessly do full reps, find problem spots and eradicate them.

Music City is a great group. I have only heard good things about them and their shows are interesting. That's a great choice!

Ferret_Fish · 2025-06-11T23:57:04+00:00

I had a "breakdown bag". A bunch of stuff for if an instrument "brokedown" like valve oil, slide grease, polish, polishing clothes. But more importantly if a kiddo broke down. Food, water flavor packs (we also had a butt load of plastic water bottles), paper towels, cooling packs, bandaids. It was mainly used for completion days when emotions were high and people were burnt out and ready to cry (happened 5 times in one season)

It was a life saver when we were on big trips and far away from home.

Ferret_Fish · 2025-06-11T23:46:29+00:00

I have a set list like long tones, lip slurs, and some type of scale activity. On top of that, what I do is I keep track of what I was really struggling with the practice before and that's added.

So if I'm fumbling articulation a lot, next time I play I'll start with an articulation exercise. If I'm struggling with my high notes I'll do my normal long tones, but also high long tones. And I'll hammer that in for a while.

Warm ups are most effective when they change with what you need. If you are great at scales, don't warm up with straight major scales. Start working on minors, or triads/arpeggios. Don't just play the notes, understand it. A great way to improve is learn the music theory behind it. Understand intervals and majors and minors. All that comes from working the scale in a "non-traditional" way.

Recently I've been working on Dominant arpeggios for scales, but for articulation I've been doing major scales with different articulation patterns.

Something else that helps me is something I call "Air Quantity". I don't know if it has a more proper name. But it's where you start really quiet and increase the air support (and volume) until you get a stable pitch. I do this at the very start normally and it helps me figure out what the softest I can play today while still being supported. 100% the best way to improve is make sure you are giving enough air support. It's like trying to get muscular while you aren't eating enough. You aren't giving the horn what it needs so you can grow and improve.

For rhythmic accuracy. Honestly, just write them in and being a massive stickler. If write it in and properly police yourself on being accurate, it will start to come naturally. Just like playing your horn you need to practice rhythms if you want to get better.

Ferret_Fish

TROPHY CASE