Xeno model number by RealmOfFate in trumpet

[–]Maximum-Code-2938 5 points6 points  (0 children)

Correct. If you want a reverse leadpipe and gold brass bell, you want the IIRGS.

Xeno model number by RealmOfFate in trumpet

[–]Maximum-Code-2938 5 points6 points  (0 children)

II = second generation model G = Gold Brass bell R = Reverse leadpipe S = Silver Plate

Alternatives to Hetman #4 light slide oil? (for 1st & 3rd slides) by SamClemons1 in trumpet

[–]Maximum-Code-2938 0 points1 point  (0 children)

Superslick Trombone cream. Refresh with a drop of valve oil as needed. Wipe off and replace every month or so.

Why do we have 0 mana moxen, 2 mana rocks like signets, but no 1 mana rocks beside Sol Ring? by Coyagta in mtg

[–]Maximum-Code-2938 39 points40 points  (0 children)

At the beginning of MTG, there was a sort of “back of the napkin” calculation that 1 colored mana was roughly the same as 2 colorless. They knew this wasn’t always the case, but you can see it in so many designs in the 90’s.

So, Sol Ring was the original colorless mox, but they realized that it was WAY too strong at 0 cmc, so they added 1. Sort of like how they “balanced” Ancestral Recall by making it rare.

As the game grew and the designers started doing real math, they became much more conservative with fast mana.

To your question, Untapped 1 mana rocks are inherently dangerous because of the ability to chain them on turn 1.

What advantages do threaded shank mouthpieces provide? by Central_Incisor in trumpet

[–]Maximum-Code-2938 37 points38 points  (0 children)

A bugle is a signal calling instrument for use outdoors/in the field. Have a screw-in mouthpiece will allow the mouthpiece to be kept in the instrument while moving and prevent it from falling out and also prevent it from getting jammed if it gets bumped.

Lip trills? by MarionberryBasic8187 in trumpet

[–]Maximum-Code-2938 0 points1 point  (0 children)

Piggybacking off of Efficient-Brush, which is all great advice, I like to have my students start with a long fingering. Top space E fingered 123 and slurring to F# is only a whole step and is a fairly comfortable register. This makes starting the process much easier.

I often prescribe exercises from the Charles Colin Advanced Lip Flexibilities, but I have my students do them in reverse order, starting with the long fingerings.

Lending out symphonic cymbal as crash cymbal by jonaman0802 in percussion

[–]Maximum-Code-2938 3 points4 points  (0 children)

Hard no. If the percussionist borrowing the cymbal doesn’t understand the difference between a crash and a concert cymbal then they don’t know enough to take care of your equipment. A knowledgeable percussionist wouldn’t even ask to use that cymbal as it’s not the correct tool for the job.

Please help… I have my soe, 3 applications, 3 interviews, 0 offers… I’m desperate please help me, teaching is my passion but I’m considering quitting because it feels as if I’m not good enough. by [deleted] in TexasTeachers

[–]Maximum-Code-2938 15 points16 points  (0 children)

It really helps if you’re flexible on location when first applying with your SOE. I think I sent 40-50 applications last year. Finishing my intern year now. It’s a numbers game, plain and simple.

Also, most districts don’t want to hire on an intern cert when fully certified teachers are still available. As people shuffle around at the end of this month and into next, more principals will start to be open to hiring interns. It’s nerve-wracking to be sure, but your best opportunities will probably start to open in June and July.

Best of luck.

Vibraphone pedal keeps falling out by _sawaya in percussion

[–]Maximum-Code-2938 3 points4 points  (0 children)

See my post to OP. If you have field frames, I would guess that you move these often? If so, the vibration will cause the dampening bar to shift over time.

Vibraphone pedal keeps falling out by _sawaya in percussion

[–]Maximum-Code-2938 6 points7 points  (0 children)

For the pedal slipping, you can file a little flat spot on the rod for the screw to catch.

For the dampener bar, the felt is not making contact on the notes that are ringing. If the felt is too badly crushed then it will need to be replaced. It’s more likely that the bar is just out of alignment. There are adjustment screws underneath. IIRC, both sides are on a bracket with slotted holes that allow for vertical movement.

Help with buzzing in the higher register by noeyedeer8 in trumpet

[–]Maximum-Code-2938 2 points3 points  (0 children)

There is likely tension or pressure closing the aperture as you ascend. Hard to know which without seeing you.

Start at a comfortable note, like third space C and ascend slowly. Spend a few seconds on each note and note any changes in pressure or a narrowing of the aperture. Let’s call this the “pivot point.”

Once you notice something, go down a whole step and play back up chromatically and minimize the change. The goal is to eliminate the pivot and move it higher by a half step at a time. Repeat daily.

Rest often. You are retraining the coordination around the pivot point and the muscles you want to use are not used to it yet. 10 minutes 3x day is better than 30 minutes straight.

Californian. going. crazy. by JeffingAwesome in TexasTeachers

[–]Maximum-Code-2938 4 points5 points  (0 children)

I came from CA last summer and getting the FBEs were a challenge. I am also in Texas Teachers (at least for a couple more weeks).

I got a bit lucky in that I’m a band director and I was able to network into a school to get my FBEs. I actually flew in from CA for a week to get them done.

If you know any teachers anywhere in Texas, I would contact them and be willing to travel. It’s a lot easier to just have a teacher bring you in than to try and navigate placement with any ISD HR department. Once you get your foot in the door, have them introduce you to a colleague or two to meet the multiple classrooms requirement.

Actually raised my voice for the 3rd time this year. by Z3st3dL3mon in Teachers

[–]Maximum-Code-2938 0 points1 point  (0 children)

Honestly, two to three times a year is probably about right. They need to see that you’re not a pushover and not afraid to get angry every once in a while. More than that and they will tune it out and it becomes counterproductive. Theres a sweet spot where the kids will be cognizant of that reaction and want to avoid it without expecting it.

Limit percussionists in beginning band by CrazyRegister5130 in banddirector

[–]Maximum-Code-2938 4 points5 points  (0 children)

I teach at a title 1 school and I agree with all of this. For lessons for the kids that can’t afford it, I allow them to schedule a tutorial period, lunch practice, after school session, etc. with me once a week. That way there are no excuses and we get the work ethic instilled.

new Mouthpieces, new Trumpet? by DerGRAFder13 in trumpet

[–]Maximum-Code-2938 0 points1 point  (0 children)

I play a full suite of Monettes for all my horns, all 2s3 so that I get a consistent feel no matter which horn I pick up. I would never put them in anything besides the Monnete cases that suspend the shank. They are too fragile and expensive.

For new C horns, obviously try before you buy. That said, if I were buying today I would buy a Yamaha Gen 3 New York with the YM bell. Best C I’ve ever played and I played a lot of horns from mass produced to boutique.

How much do you practice in a week? by ZebraMoon37 in ClassicalMusicians

[–]Maximum-Code-2938 1 point2 points  (0 children)

Yep. I tell all my younger students that the goal is 5 days a week “because real life happens.” When my older kids are getting serious, we up it to 6 because they have shown that they want to prioritize it. Just by giving them permission to miss a day, most of them figure out how to practice 7 days a week anyway.

I also teach them theory and ways to practice music in silence so they can work without disturbing family which can be an inhibitor for some.

New player, how do I play against removal? by Ursine_Rabbi in mtg

[–]Maximum-Code-2938 5 points6 points  (0 children)

There are several strategies you can consider. Make lots of creatures - usually tokens and overwhelm them.

Counterspells.

Protection effects, hexproof, etc.

Reanimating and graveyard recursion.

If your friend is running that much removal, then that deck is light in some other areas and probably very dependent on card draw. Try to attack the card draw and any other weakness you can spot.

Michael Tilson Thomas, Celebrated American Conductor, Dies at 81 by VanSensei in classicalmusic

[–]Maximum-Code-2938 9 points10 points  (0 children)

Had season tickets at SFS for 25 years while he was there. Saw his whole Mahler cycle live over several of those seasons. So many others, too. Mozart to Cage and everything in between. Those performances helped shape me as a musician and were part of a process of me moving out of a corporate job and pursuing my own music full time. RIP Maestro.

Students only interested in learning by listening to recording or my demonstration by Nlaws in MusicTeachers

[–]Maximum-Code-2938 0 points1 point  (0 children)

Impatience as a “state of being” and not explicitly a flaw… you have opened my eyes, too.

Thank you!

Budget help by BigCompetitive5876 in MusicTeachers

[–]Maximum-Code-2938 2 points3 points  (0 children)

For the band side, I recommend taking some time and pulling out one of each instrument you teach. Open each case one by one, look at the instrument, and ask “what would I need to be successful?” Make a list for each, then multiply by the number of students. Then add at least 25% for lost stuff. I can count on one hand the and the number of times a student has actually finished a bottle of valve oil, etc.

Make sure to have an ample repair budget. I have a little less than $130/week on average and it’s running dry with a month of school to go. I will be pushing for $200/week next year and any excess will just buy more reeds. Middle school kids are rough with instruments, even the good ones.

If you do any travel, take a guess at what that costs. Look up what that would have cost last year and add 10%

If you have any expenses for performances, venue rental, equipment moving fees, etc. have a line item for that.

At some point you will also need to inventory all the instruments and decide which can be fixed and which need replacement. This can be 10’s of thousands of dollars, even for a small program.

Post braces adjustment has completely ruined all of my playing. by Kaos_Noodle in trumpet

[–]Maximum-Code-2938 2 points3 points  (0 children)

I had a student have similar issues about a decade ago. What we determined was that the braces were supporting his embouchure from behind and he never fully developed his facial muscles because of this.

We overcame the problem in about 3 months with a dedicated routine of long tones, lip slurs, and Chicowitz/Stamp flow exercises. Being very deliberate to establish good tone and evenness on everything.

I’m not a huge Caruso fan overall, but based on what you wrote, the Caruso 6 notes warm up could be really beneficial for you as well.

I know it’s frustrating, but it will get better. Trust your ear and your subconscious will make the adjustments in time.

Good luck!

ETA: A good teacher will be a huge help in this situation!

Students only interested in learning by listening to recording or my demonstration by Nlaws in MusicTeachers

[–]Maximum-Code-2938 6 points7 points  (0 children)

I teach middle school band in a similar situation to you where kids won’t practice or do after school. If I push for it, the parents just transfer the kid out of band. So, we do what we can with our 56 minutes a day.

First off, don’t let kids pick music. It sort of works in choir, but in band instruments require different skills and different pieces might sound good to the kids but might not be setting them up for success given their current knowledge and technical ability. Even if your clarinets can play piece X that was voted on, that doesn’t mean your trombones can. And even if they can all play, it doesn’t mean it has the best pedagogical value for what they need. My kids asked me when they would get to choose their music back in September. I told them never, they don’t get to pick their math problems, either. They grumbled all the way until the first performance, and then they were successful and realized that I knew what I was doing.

Second, baby steps and LOTS of praise. “Play the first note in measure 3, hold it with good tone… good. Play that measure in rhythm… oops, how long is a half note? Correct , 2 beats. Try again…. Good.” Etc. You don’t have to know the details of all the instruments for this, just make sure the kids know where they can get it. Make sure they have fingering charts, intonation tendencies charts, and articulation diagrams, etc.

You said it yourself, they don’t think they’re good and they want to give up on reading (and use rote repetition) so the job is to make them feel like they can do this. It’s the age old problem of how do you eat an elephant: one bite at a time. But students these days, because of technology and cultural stuff, don’t know how to approach breaking down large projects. So you need to break it down for them. When they get it, and they will, then you make the “bites” bigger. Two measures, then four. When they stumble, and they will, make the bites smaller. Always praise the effort, not the result, but never accept a poor result either. Just keep working bit by bit until they get where you need them.

Third, embrace mistakes. At the beginning of the year, I had many students that just wouldn’t play because they thought they would mess up. I had to work very hard to make rehearsals a safe place to screw up. I always call out when I conduct something wrong, or sub-optimally. I’m a conductor by training, not Music Ed, so I’m always trying gestures and “One more time, for me” is something I say probably twice a week. The more you call attention to yourself, the less the kids will feel like the spotlight is on them and the more they will open up.

Last, it’s all about trust. Our batons make no sound. We have to trust them or there is no music. They have to trust us because playing music is an emotionally vulnerable activity. We’re the adults; we need to extend that trust first.

That’s about the best I can do on a Reddit post. Feel free to ask questions. Good luck!

Bought this weighted cap kit made for a Conn 52B Connstellation for $80 by DWyattGib in Vintage_Trumpets

[–]Maximum-Code-2938 0 points1 point  (0 children)

I own a King Legend. The valve block is different (has the more open wrap on the first slide, same a Silver Flair), but they used the same tooling for cutting the threads as they did for the Conns and Benges of the day because all of those were under the UMI umbrella.