Hi Pops,
Thanks for the note and also all your intelligent advice on TPIN. I do not know how you find the time! Have a great holiday and NY-let's hope the Y2K bug improves everyone's playing!
Jim Manley

Pops,
you're a wealth of information on equipment & embouchure. I'm writing a new textbook for future public school music teachers (published by Prentice Hall), I'd like to quote you: What changes in equipment, embouchure, tone, articulations, airstream, etc. do you make or perceive in classical playing compared to jazz playing? All information is useful and you will be cited.
Thanks.
--
Thomas W. Goolsby, Coordinator Music Education
Georgia State University

I've taken several lesson with Pops over the last four or five months and feel I have to speak up. I think you have some of the same misconceptions about him that many people have about your teacher, Claude Gordon.
Clint is more than a chop doctor.
Yes, I was skeptical at first also, but I've heard him play a triple c. And he immediately pointed out that you can't really play music up there, its just a demonstration of the possibilities once you learn to play efficiently. But even if he didn't have high chops, or for that matter play at, all my lessons have been well worth the two and half hour drive through Dallas rush hour traffic (Why do they call it rush hour if nothing is moving at all for miles in any direction?).
What did we work on? Lyric playing, extremely soft playing, ear training, one of the Williams concertos, relaxing and enjoying the horn again (the next step in my recovery from attending North Texas). No, he didn't try to convert me to the _________ embouchure. For that matter he didn't tell me what type of embouchure I play on and frankly I don't care, the exercises he has me play always get results. And yes, when our schedules converge I plan to go back and study more.
Best wishes,
Matt Stock

My lesson with Jim Manley excerpt:
by Spencer Hager Jr.
Jim explained why some players need to do pedals to get their air & embouchure working right & some folks like Maynard & Pops don't.
He had lots of kind words to say about Pops & said a student of his took a lesson from Pops & was very impressed with Pops playing.
I throw that in because Jim explained to me why some of the different opinions about the use of pedal tones & many other things concerning trumpet playing are out there.
Spencer Hager Jr.

When I was playing in the Marine Corps field bands back in the mid to late 70s, I studied the Gordon method from Dave Evans, an excellent player and a Gordon student and colleague. (I might add that Dave had more technique than anyone I've known since.)
I got some good instruction in reliance on the air, banging down the valves, etc. I did gain something from that method. I also used corollary methods (e.g., Colin, St. Jacome, Irons, Clarke.) Now, many years later and with much more experience, I dislike the Gordon method (NOTE--not the man) not for what it includes but for what it leaves out.
1) The size of the breath is only one component. Good breaths are relaxed in nature, too.
2) The arm pressure situation never is addressed in the book. While not everyone who uses heavy arm pressure fails, it does cause the failure of many. The closed aperture is far more effective.
3) It is not self-monitoring. It is possible for well-meaning students and teachers to use the book and overdo it believing that they are doing precisely what they are supposed to do. It is kind of like self-help electrical wiring books. It has a lot of good information but it can be devastating when used by those without proper supervision. John's explanation of what Mr. Gordon meant by "Don't hold back" is a perfect example.
I have been a list member almost the entire life of TPIN. I've read a lot of drivel here. But when it comes to trumpet pedagogy (and my doctorate was in trumpet performance and pedagogy) Pops' information is excellent. I read most of TPIN's pedagogy posts. Among the pedagogical contributors, many of whom are very good, 3 stand out as first-tier in my judgement: Clyde, Jeanne, and Pops. These three have gone above and beyond to dispel misinformation, communicate good information, and help TPIN's readership time and time again.
Regards,
Bryan Edgett

Well it's time to hear from a current student of POPS. I do not intend to get in the middle of the debate about which method is best, but I do believe my opion is of some value here.
I have a degree in music performance and studied music edu. for three years. I have been playing professionaly for 30+ years and I have currently 18 trumpet students. I have had a copy of CG's book (and other method books) for many years, and I like many others played from the book but did not practice it. I don't think it was a bad attitude I had, I think it was because I did not understand it and none of my instructors (i have had many) ever took the time to explain it, because they couldn't. One of my college instructors said not to use the book because it takes to long and you can get the same benifits from others in less time.That was in 1969. I am not knocking this method book or bashing MR. GORDON, but without a private lesson (in person) it's damn difficult to grasp the intended information in this method book or any other. Reading any method book is easy, applying it from the head to the physical body is not.
POPS may disagree with certain methods, but don't all the great teachers have their own methods of teaching? I hope so, I love teaching and I would like to think my method is different than others, (I don't put myself on the same level with POPS or Mr. Gordon) but I do think our goals are the same.To give a student the knowledge and tools he/she needs to play the trumpet to the best of their ability.
Thanks to POPS and his devotion to teaching my playing has improved 100%.I now am able to play RELAXED and understand how to THINK about how to practice.I am passing this knowledge on to my students and I see the great results everday. LIP BUZZING and thinking LIP TO LIP COMPRESSION may be the two most important things I have ever learned about playing the trumpet, I'm sure other great teachers though this, but I have never been told this or read it.
I am 52 years old and for the first time since I began playing at the age of 8, I am very happy knowing that if I continue my lessons with POPS (and I intend to do just that) that I just might be good at it someday, now that POPS has made things so much easier for me to understand.
As for FREE information, POPS has GIVEN me all three of his books, and some of the information contained in them is on the Internet, FREE.! The bottom line, if the Arban's works for you that's great, if it's the CG method that works for you, that's great, my trips to Dallas are working for me, and it's all about our personal choice, ain't it. AIR! AIR! AIR! a very happy student
I'm buzzing pops :)
richard holmes

I have been thinking about posting my own (not so?) humble opinion about one of the timeless debates about trumpet playing that has seemed to be a common thread here lately. One TPINer has recently scoffed at another for over analyzing and worrying too much about chops. This is a very common idea that not worryinng about the chops and just focusing on things such as air, concept of sound, and music will solve most (all?) problems.
I have studied with many teachers who have told me the same thing, including Don "Jake" Jacoby and many other great players. ("Just forget about your chops and let them VIBRATE!!!") As everyone can easily see Jake, Claude, and countless other great teachers have shaped and molded some of the greatest players that are around today.
One thing that I witnessed about Jake is that if a young, inexperienced phenomenal player came to him to study, Jake would mold him into a mature, solid phenomenal player. Good lead players would study with him and become AWESOME lead players. Also, as we have been told, it is possible for a 16 year old to begin working on the Claude Gordon SA and emerge an incredible player, but I will bet that this 16 year old was not your average high school player to begin with. I am sure we could insert many more names and come up with other great success stories and to all this, I say WOW!!!!!
So you may ask, what's your point? Well, here it is: I really believe that those who don't have any major problems with their chops can practice more, focus on air and concept of sound and become GREAT players. BUT ... what about the rest of us? Those of us who: (at least me anyway)
1. Could hardly play a high C the first lesson with Jake (or the first time we tried to play the CG SA)
2. Practice everything anyone tells us to for 2-3 or more hours a day religiously for years and work up to a seemingly all new level of playing, and then a month later of the exact same routine begin to wonder if we have really gotten any better since High School.
3. Can't have even the slightest break in practicing without DISASTROUS results, but even steady practice doesn't guarantee much either.
4. Seem to play well in some situations and terribly in others with no real pattern that can be learned from.
I could go on and on. You see, if you don't have these problems, you don't have much to worry about. I have taken lessons with so many teachers that were such good players at a young age, that it is obvious they had NO IDEA what I (and others like me) go through!!!! Many times I have wondered what the problem was. Why did I have to work so hard for such a low level of results? I always have improved under these great teachers, but never beyond what I would consider a decent "recreational" player ability and had to make up for this lack of ability with lots of blood (no joking here), sweat, and tears. (Sorry, it just fit so well.)
The real problem is that through all this extra effort (plus being a good reader, decent jazzer, and handling my business well), I have been able to cut enough gigs to get by (cruise ships, freelancing, private teaching, and now an Army Band-but that's another story) and make a living, but now that I am married and have a couple of kids, I need things to get easier or I will have to find another way to make a living. I am not wanting much, either. Just this:
1. A good, consistent sound, free of excess air and fuzz.
2. A solid F above high C, anytime of the day or night.
3. Good enough technique to play the whole Arban book cleanly. All this with only having to spend 2 solid hours of practice a day. That is all I want.
I am sure this may sound very strange to some of you. Some of you probably had all this right out of high school. For those of us who were not able to develop these things by "traditional" means, we need a little more.
Here is where Clint "Pops" McLaughlin and his "unorthodox" ways of analyzing players' embouchures and giving them advice has helped me and countless others.
You see, people don't come to him for help if they can already play lead. In fact, if you read his website, many people that he has helped are those who quit playing earlier in life and are now wanting to come back to playing trumpet, but do it right this time. After reading his site (which btw is full of totally FREE info from his books, not the typical "the answer can be yours for only $XX.XX") I finally realized why I have been beating my head against the wall for so many years! It is not that I am stupid, or lacking in some way, I JUST WAS NEVER SHOWN THE PROPER WAY TO PLAY!!!!!!!!
Granted, some take to playing the trumpet easily from the very beginning regardless of their first teacher, but most do not. If your first teacher did not know how to properly play the trumpet, or did not know how to show you the proper way, or did not take the time to show you, how could you know?
This is the basis for Clint's teaching. He is taking the time (and I do mean LOTS of time) to help those of us who didn't "get it" the first time around and have been frustrated by teachers who didn't know what to tell us.
So, as I have said, if you are satisfied with your current level of playing, then totally disregard everything Clint has to say and never visit his website, because it may not help you at all. BUT.... If you can never seem to play at the level you think you ought to and you can't find any REAL help (other than what everyone has been saying since your private lesson teacher in college), then I recommend checking out Clint's website.
But be prepared ... he will say a lot of things that would make your college professor roll in his grave.
Well, there it is. Remember, if the shoe doesn't fit, just hand it to the next guy. -
-Brian Reilly

shoulders of greatness
For good or for bad, Mr. Gordon was shameless in his consistent claim that there is only one correct way to play brass instruments. It's not surprising that his students believe likewise. I think Gordon was extremely talented, a superb teacher, and very, umm, shall we say, confident.
Judging from his published materials, political correctness was not very important to him. Actually, in all these areas, I think he and Pops are "two peas in a pod". You love 'em or you hate 'em, but you never have to wonder what they are thinking!
Anyway, I think Gordon earned the right to be that way. He distilled all the mystery of trumpet playing down to a program of study that repeatedly produced great players, probably more consistently than any of his contemporaries. I'm very glad he did so.
I think Pops has taken the next logical step, probably improving on some things by promoting multiple approaches to technique. None of that makes Gordon's approach less effective however. It still can produce the same kind of players that it did 40 years ago.
Each of these guys stood on the shoulders of the great ones who came before them, and added something new that many players found valuable. They both deserve respect. - -------------------
Alan Rouse

I am very pleased to have happened upon your web site. My story is an odd one, at least for me, in terms of playing trumpet. I've been playing since age thirteen--some twenty-plus years. I've achieved some successes on a local scale playing jazz trumpet. That is, more as a soloist than much else (but I do that well). I've had some bright moments along the way--brightest: opening with a quintet for Terrance Blanchard at Bimbo's in North Beach, San Francisco, among other dates.
My point, I've been playing many years, and have had troubles throughout. To bottom line things: I found out that every teacher I had told me the wrong mouthpiece to use. They said go medium and shallow, and I did, and I died. I now play a Schilke 17D4D with a ML Bach I bought in 1970 (I have pretty full lips). Wonderful combination for me now, though
it wasn't until I came upon the Closed-Lip way of doing things that it all took off for me. I mean, endurance, consistancy, range, facility, and on top of all that less hours of practice each day--even a day off here and there with less come-back time. I was not a closed-lip player before, and it cost me (closed-lip being oddly easy as opposed to tense or tight, more easy-does-it than I thought--chops not scrunched tight but there, closed).
I happened upon your web site some six to eight months ago, and it took a little time for what I read to make it happen for me. I've been playing a long time, struggling a long time (20+ years), but it took only six months, some changes along the way, and I gained 200 to 300% in terms of endurance, CONSITANCY, and a boost in range (air pretty good, of course). I play up to a G and more above high C now (+/-); D and Eb was a ceiling for me for too long. I aspire to jazz solo work and a little more; anything above a G above high C is gravey and extra for me, and of little concern. I don't play lead, wouldn't want to. Second trumpet and solo spots are everything I could ever want.
Anyway, thanks for being there. Thanks for the web site, thanks for the inspiration, thanks for being Pops M. as you are.
I recommend your method, study materials, theories whole-heartedy. Hope to meet you some day, too.
Thanks,
Larry C.

Hi Pops!
We've never met and I hope you don't mind me addressing you that informally. I am very impressed with all of the great information that is contained on your website.
I studied off and on with Bobby Shew for about five years in the early 90's. When I started with him I had very severe embouchure problems. It's hard even to describe or even remember now but I used to play on the inside of both lip and I would cram the mouthpiece on my top lip. Not very effective. He never directly changed my embouchure but gave me all knowledge I needed to change it which I did just a couple of years ago. I've made leaps and bounds since then although my upper range is still inconsistent.
Bobby always made me aware of the benefits of buzzing without the mouthpiece and it was because of this that I was able to "wake up" my chops and begin to play more correctly. I haven't done lip buzzing since I changed my embouchure and I think that it's probably my missing link.
I just wanted to thank you for making this information available for me to find so that I could confirm what I probably knew all along. I hope I can meet you sometime to thank you in person.
Thanks again and take care.
Sincerely,
Brian Swartz

Comments on "The no-nonsense trumpet from A-Z": I have found this book to be very interesting and useful. It manages to present a great deal of information, information I have found nowhere else. The descriptions of proper use of air and alternative embouchures are excellent. Reading this book has led me to change my whole approach to trumpet playing. It's (ultimately) up to the player to decide what to believe, but this book has been a great resource to me in this quest.
Clint ("Pops") has been a great resource as well. He has answered many questions that have come up as I've worked at developing the different aspects of my playing, from mechanical embouchure adjustments to equipment to practice philosophy. His advice and willingness to "follow up" on questions has helped me considerably, and is something I truly appreciate.
I think that anyone who is serious about improving their trumpet playing, and isn't afraid of trying new ideas, will benefit from reading Pop's books and sending him a tape for evaluation and follow-up.
Thanks again,
Doug Endicott

in early 1998, i decided to return to trumpet playing after a 20-something year hiatus. and quickly found that there was more information on trumpet playing available on the internet, than i could believe. web-pages, a good mail list and a good usenet newsgroup (rec.music.makers.trumpet). whenever i had something giving me a hard time, i'd post my problem on the newsgroup and tpin. then i would receive several answers to my question. each from a little different perspective. as you may know, there is no such thing as "one way" to play the trumpet, due to embouchures, teeth formation, and lip size/shape. there are good pro players successfully doing things that others would consider taboo. thus, hearing different viewpoints gives you the opportunity to glean what is helpful to you. often times, one person phrases things in such a way as to make you "get it".
several times "pops" was the one who posted the insightful info that made something make sense to me. after continuing to see his good replies to other people's queries, i decided to buy his book. it is chock full of good trumpet related info. and i can say that any comeback player (and there seems to be a lot of us) would be well served to add it to his collection. my thanks to "pops" for his giving spirit.
sincerely,
dennis hill
(p.s.- don't add caps, or they'll think it wasn't really me ; )

Your books have wealth of information that most of us "old guys" had to search for for days, weeks, months to get. All the historical material is great, all the air and chops instruction is right on...just like Jake would've done it, I think, and that's a high compliment! I, as do many trumpet players, appreciate having so much material readily available as "one-stop-shopping!"
John Julian

I think your knowledge is first rate and I have personally benefitted in many ways. A couple of days ago, you gave an explanation about "air projection". Until the explanation, it didn't really make sense. I have since been able to utilize the concept to aid in taking the stress off the chops. If I can only now learn to utilize it subconsciously. Additionally, one of the best tips I ever got from you was how to control timbre with the shape of the aperture. I use it often.
Regards,
SK
stantondesign.com website
Stanton's Trumpet Page

I recently purchased copies of *Pops*'s books, and have taken a bit of time to peruse them before posting to the list....
Clint McLaughlin has distilled a lifetime of knowledge into these volumes--_PRACTICAL_ knowledge which deserves to be put into use in every trumpeter's practice room/studio. While I can't say that I agree with EVERY approach he advocates (I'm not an advocate, for example, for thrusting the lower jaw forward because I believe the potential tension caused by this technique outweighs the benefits of it), I CAN and DO agree with most of what he recommends....
This is not a book of theories or generalities, but a real resource designed BY a trumpet player FOR trumpet players. The exercises have real merit, and the *Trumpet FAQ*'s are PRICELESS! (talk about distilling decades of individual lessons into a single text!)
Don't waste any more time searching for the *ultimate guide to trumpet playing*....It's already been done, and between Clint's book and Ole Utnes' site there is enough material to last a lifetime (as long as you already own the mandatory texts of Arban's, Clarke Techs, Bousquet/Concone, Charlier, Colin Lip Flexibilities or Matt's *Fundamental Flexibilities*, etc ;^)
And you'd better hurry, because once the word gets out about the contents of these books, they'll be out of print sooner than you can tongue the cornet part to *L'Histoire du Soldat*!
Thanks for providing such a fine reference, *Pops*! --
Take Care!
Jeanne G Pocius
Archer Music/North Shore Brass Associates

*Mizpah* (The Lord God watch between me and thee while we are parted one from the other)
Genesis XXXI.49

I've been a pro brass player for nearly 25 years, and have been on-line for about 12, and reading "Pops'" advice on-line over the past years have made him one of the few people in the trumpet forum whose posts I always read and consider. His tips and advice are always well thought out, useful, and lacking in the emotionalism, personal bias and hyperbole that are so common on the net. Not that he doesn't have his own personal preferences - but that he labels them as such, recognizes the fact that all players are different, and then gets on to the business at hand. He's definitely an experienced player and teacher, and a resource to be valued.
Carl Dershem

When I returned to playing trumpet after a 35 year layoff, the first thing I did was look on the Internet to see what helpful information might be available there. As I expected, I found a multitude of web sites, newsgroups, and other services where all kinds of helpful tips and playing techniques were explained in detail. Some of the information I found extremely valuable. Many well-intentioned people were quick to provide answers to many of my questions, and I found the sage wisdom and advice communicated by Clint 'Pops' McLaughlin to be particularly helpful.
I thought the "on line lessons" from 'Pops' were extremely useful in facilitating my quick return to playing again, and I truly feel 'Pops' advice has actually helped me surpass my ability of many years ago.
The lessons I most appreciated from him were on the subjects of:
1. Embouchures - 'Pops' not only understands a variety of proven embouchures, he also knows how to describe them in ways which help players of all ability levels understand and benefit from his advice;
2. Buzzing - His explanations on how to buzz, both on and off the mouthpiece, as well as the value of buzzing was a revelation to me. I had no idea buzzing could be so helpful to the new player, or the comeback player;
3. Breathing - It is here where I feel I benefited the most from 'Pops' words. By focusing on proper breathing techniques, I have enhanced my range AND increased my endurance. Previously I had no idea how important breathing was in playing trumpet. I frankly paid no attention to it. I just played. Now I focus on breathing more effectively, and my playing has come along much faster than I had ever hoped.
4. Mouthpieces - Here again I had never paid any attention to my mouthpiece. 'Pops' helps explain why the proper mouthpiece is important if one is to attain ones maximum potential, but he also warns against the temptation to play the revolving mouthpiece game.
Anyone playing the trumpet for fun or profit should not be without 'Pops' book, "The No Nonsense Trumpet From A - Z." It is an invaluable guide for any trumpet player, new or old.
I highly recommend it!
Bob Dumon

I bought "The No Nonsense Trumpet From A - Z" because I was impressed by the helpful posts which Pops has made to the newsgroup rec.music.makers.trumpet--often excerpts from this book. I was happy to find that the book is a comprehensive synthesis of just about everything relating to trumpets and the basics of trumpet playing. It's not a slick packaging of one player's special techniques.
Instead, Pops discusses and compares various approaches and types of equipment. Neither is this book a collection of nice-sounding theories; Pops has mastered the techniques he teaches, and carefully researched his material. His approach is always practical.
The sections of the book which have been the most helpful to me personally were the discussions of mouthpieces, and especially, embouchure. I've often been confused by the different descriptions of embouchure I read by top players. They describe what works for them, but Pops has mastered all five embouchure systems available to trumpet players. He can compare them and discuss their relative advantages and disadvantages. In particular, I learned that my embouchure was too open, and would benefit from a small amount of lip curl and a bit more of a pivot. I haven't been able to play trumpet much lately because of graduate school, but I'm looking forward to a much easier time with it when I finish my doctorate this spring and pick up the horn again.
David J. Finton
David's page

I have been reading and pondering Pop's contributions to the cybertrumpet community for quite a while. It is clear to me that he is extremely knowledgeable about all the physical aspects of trumpet playing. More importantly, however, he has taken that great volume of contradictory opinion, anecdotes, methodologies, psuedo-science, scholarly literature, and personal experience, culled the wheat from the chaff, and simplified, reconciled, and articulated the best and most coherent of that material into reliable mainstream advice about playing the trumpet. He regularly brings clarity to matters which often grow quite confusing and anxiety provoking.
I find that I have understood my own playing better, recognizing what works and why, from reading his information. Many times his informed opinion has confirmed what I had discovered for myself, but was not confident about. That alone made me a stronger player and more valuable teacher. In many instances, I have applied his suggestions and tips to improve my own playing and that of my students.
I recommend his materials highly.
Jim Donaldson
The Schilke Loyalist

Pops is one of the most complete trumpet resources you will ever runacross. He is a master at helping you learn more about your trumpet playing so you can achieve your goals. Pops goal is watching his student succeed.
Thank you Pops.
Warren Lopicka

"After nearly thirty years of pro and semi-pro playing, I thought I had seen it all. Clint is, without a doubt, a pro's pro! His "cyber teaching" has made him a living legend to all of us who have benefited from his vast knowledge of brass playing. In my case, after asking Clint about how to "open up" my upper register, he suggested a slight mouthpiece alteration. At first I was skeptical because I don't often change equipment but, I went ahead and took his advise. Clint was right on target! My sound opened up and, as a bonus, I gained much more control over my timber and intonation - everybody wanted to know if I got a new horn!!
"Thanks Clint!"
Don Smith

I have named Pops "the cyber teacher" - and that is what he has been to me. I even made a web page where I collected some of the posts that Pops have sent to or to the news group The URL to that page is: 'Pops'
It all started late in 1997, with my friend Rune, lending me a book by Pops, "The No Nonsense Trumpet from A to Z".
Wow! - a lot of good information that one cannot easily find elsewhere, but the layout was poor (typewriter format). I scanned the book, and ran it through an OCR program. The output I sent to Rune. He then formatted it into a book and sent that to Pops. After a while a copy of the new edition arrived in my mail.
From then on, I have been in regular contact with Pops and I consider him also my friend. Maybe someday we can meet in person?
In the autumn of 1998, I proposed a project for Pops and Rune that Rune named "The Comeback Trumpeters Guide".
If you go there you will see that Pops have made a great contribution called "Tips for a CP". He has also made a booklet of it, that you can get almost for free from him.
Another excellent idea that he have recently implemented is the "TRUMPET FAQ's" Here you will find a distilled compilation of his "cyber teaching".
I know Pops is now working on another exciting project - but I will not tell you what it is. Just monitor his web site for a while.
Needless to say: I recommend all his books and his next projects as well.
Your friend Ole - from the other side of the "pond" --
"Oulee the Gentle Viking"

OJ's Trumpet Page

I first met Clint on the net about 3 years ago. After reading his book, this was a revelation to me, it made all sense:
There are several ways to play the trumpet!
Most books only teach the "one correct way of playing", sometimes with religious undertones. All methods being different, confusing the poor reader.
Clint's books are not like this. He describes several ways to play the trumpet to a level of detail not found anywhere else!
I soon contacted him, and he helped me to learn how to play the Stevens embouchure via e-mail support. I am very grateful for the help he gave me! Without him, I might still be figuring out how to do it myself.
During the past year, I have got to know him as a caring and sincere person. I wholeheartedly recommend his books, they are some of the best out there!
Thanks for sharing your knowledge with us all,
Rune Aleksandersen
Trumpet Playing Thoughts

In 1979 I wrote a paper for college. Through the years it was added to, written and rewritten many times. In 1995 I finally applied for a copyright. I sold in test markets out of different brass publications and continued to make changes to the book. I never changed my ideas or concepts but I did change wording to try to make each new edition easier to understand.
In October or November of 1997 I sold a copy to Rune Aleksandersen in Norway. Shortly after that Rune and his friend Ole Utnes did my typesetting and music notation (FOR FREE). They also each made me a web page. Rune did Trumpet College at http://www.bbtrumpet.com & Ole set up a collection of internet lessons Pops Page
All of this they did for free because they love the trumpet. They also have a desire for everyone to have access to knowledge.
What ever other endorsements I get in the future; NOTHING will say more than all of the time and effort that these 2 people who I have never met gave to my projects. If you learned something from what I've written thank these 2 because without them it is doubtful you would ever have seen 2/3 of my work. And FAQ's would not exist.
Thanks for all the help.
Clint 'Pops' McLaughlin