Tag

mouthpiece

In Advice

Are You Using A Formula to Calculate The Trumpet Mouthpiece Gap?

A lot of great, in depth work has been done about the trumpet mouthpiece gap. Unfortunately, many of the frequently cited formulas and studies on the gap have inherent problems that create erroneous results, which when relied on, will deter trumpet players from achieving optimum results with their equipment. I’ll address three of these inherent problems here.

Problem #1 – Failure to Take The Player Into Consideration

As we have written about previously, a proper study on the gap must include all three essential elements of the system – the trumpet, the mouthpiece, and the player. Having helped thousands of players through the years to fine tune their gap, we have no doubt that the player is the most important variable of the Player-Trumpet-Mouthpiece System. No gap formula or theory to date has been able to calculate what a player feels, and most importantly, what a player prefers to feel. Yes, there are certain generalizations about the gap and ranges of sizes that many players fall into. Relying on these generalizations is as silly as blindly buying a men’s size 9 or 10 shoe because that’s the range of shoe sizes most commonly sold, even though you are a woman who wears a woman’s size 8. Relating this back to the gap: Find the gap that plays the best for you, not what someone else told you should feel the best for you.

Problem #2 – Failure to Take Changes in the Equipment Into Consideration

We know that a change in the gap changes the acoustical impedance in the Player- Trumpet-Mouthpiece System. It is also well settled that there are thousands of other variables in the mouthpiece and trumpet that can change the acoustical impedance in the System. Due to the nature and limitations of mouthpiece and instrument manufacturing, it is impossible to consider every variable that affects acoustical impedance. Put another way, it is impossible to isolate and therefore calculate, what the gap should be considering every variable. The gap formulas and theories sometimes attempt, but do not succeed in addressing every variable in the equipment and therefore cannot predict anything with any consistency.

Problem #3 – Failure to Take The Environment Into Consideration

While the first two problems on this list are the most important inherent problems in any gap formula or theory, the third problem — considering the environment — is worthy of a mention. For argument’s sake, let’s say that we can calculate an optimal gap considering the player, the mouthpiece, and the trumpet. We know that the acoustical properties of the environment you are playing in can affect the acoustic impedance you feel as a performer. Playing outside in hot, humid weather and then moving inside a air-conditioned, dry, acoustically “stuffy” room can drastically change the acoustical impedance, and in turn, what you feel. In today’s musical climate, you could easily find yourself in a stuffy recording study, then in a huge, open cathedral. While most players would not think to adjust the gap in these situations, a significant minority of players have fine-tuned the gap to their varying situations. Experiment with the gap using the Reeves Paper Trick!
In Advice

This One Simple Trick Can Make Trumpet Easier

Trumpet Mouthpiece Gap Adjustment

Let’s face it, the trumpet can be a beast sometimes — stuffy low notes, tight high notes, quirky notes that just don’t settle or play in tune. While there is no substitute for diligent practice, there are always ways to make the trumpet easier. Maybe even a lot easier! What if we told you that with this one simple trick, you could make one or more of the following improvements to your trumpet playing immediately:
  • better intonation
  • more open feel
  • better projection
  • cleaner articulation
  • more secure slotting
This may sound too good to be true, but we see these results with our customers every day and have for the past 50 years! So what is this magic trumpet trick?

The Bob Reeves Brass Paper Trick

Here’s how to do the Bob Reeves Paper Trick yourself:
  1. Take a sheet of paper and cut off a small piece. It should be about 3/4″ long and only about 1/8″ wide. Set the piece of paper aside.
  2. Play an exercise that covers your comfortable range. It should include some articulation.
  3. Remove your mouthpiece and place the paper length-wise on the side of the shank of the mouthpiece.
  4. Put the mouthpiece and the piece of paper into your trumpet receiver.
  5. Play the exercise again.
  6. Note what changes you hear in your sound, articulation, slotting, and feel.

“I’ve Done The Paper Trick – Now What?”

One of three things will happen:
  1. It will play better with the paper.
  2. It will play worse with the paper.
  3. You won’t notice a difference.
If it plays better (#1), then you need a larger gap on your mouthpiece. This can be achieved by altering your mouthpiece and getting a removable sleeve at the larger size. If you don’t want a removable sleeve, we can re-shank your mouthpiece to that larger size while keeping the shank solid. If it plays worse (#2), you might need a smaller gap. This can be achieved by machining down your shank, or by converting your mouthpieces for Reeves Sleeves and experimenting with smaller sleeve sizes. If you don’t notice a difference (#3), try the experiment again, this time adding a second piece of paper on top of the first. Keep repeating until it plays better or worse.

How Does the Gap Work?

How can this simple trick improve your trumpet playing? The short answer is that it allows you to experiment by changing the gap between your mouthpiece and the leadpipe, which is an often neglected, yet crucial element of your playing setup. Some tips on doing The Paper Trick:
  • record yourself and listen back
  • have someone else listen to you in front of the bell
  • use the paper trick on all your mouthpiece and trumpet combinations

Paper Trick Video:

Exploring Deeper into the Trumpet Gap

If you would like to learn more about the gap, here are some additional blog posts you can read:
In Advice

Trumpet Mouthpiece Gap & the Player-Mouthpiece-Trumpet System

On a regular basis, we receive a call or email at the shop that takes on the same basic form:
“Hi, I play on a ABC mouthpiece on a XYZ model trumpet. What sleeve would give me the best gap.”
Usually, our customers are shocked when our answer is a resounding, “I don’t know!” After all, Bob Reeves invented and patented the adjustable gap receiver and sleeve system 40 years ago. How the heck couldn’t we know? The answer is simple – we only know two of the three variables needed to determine the best gap and really, we don’t know any of the three variables unless we have your mouthpiece and trumpet here in the shop for analysis.

The Player-Trumpet-Mouthpiece System

It is critical to realize that there are three elements that must be analyzed in assessing your equipment – the trumpet, the mouthpiece, and you, the player. It seems silly, but most players forget the most important element – you!

How The Gap Relates to the Player-Trumpet-Mouthpiece System

Think of the gap as a fine tuning device. It is a way to dial in your trumpet, with your mouthpiece, to the way you like to play. Let’s say we know the exact size of your trumpet mouthpiece shank and the receiver on your trumpet. There is still no way we (or anyone else in the world, for that matter) can know what you like to feel in your trumpet equipment.

The Shoe Analogy

Think of it like shoes. Imagine you wear a size 9 shoe. Let’s go one step further and say you wear a 9 Wide shoe. I could send you 10 pairs of size 9W shoes and I would bet that some would feel more comfortable than others. In fact, I’d be willing to bet that there would be some shoes, despite being your measured size, will feel downright uncomfortable to walk around in. The best shoe salesman in the world cannot blindly tell you which brand will feel comfortable to you until you try them on.

Put Yourself First!

Just like the shoe analogy above, only you know what feels comfortable to you. Put another way, no one can tell you what will work for you (if they do quickly run the other way!). So how do you find what works for you? Experiment. Our paper trick is a great way to discover what role the gap plays in your unique Player-Trumpet-Mouthpiece System. Experiment with the gap using the Bob Reeves Paper Trick!
In Advice

THE ULTIMATE FLUGELHORN MOUTHPIECE SHANK GUIDE

Does your flugelhorn mouthpiece wobble? Do you have problems with intonation, slotting or sound with your flugel?

If you’ve ever played a flugelhorn for more than five minutes you’ve undoubtedly run into a problem involving shanks and receivers. No mouthpiece seems to play or fit correctly and you keep hearing about a “taper” that isn’t a taper — what is going on?

Don’t worry, help is here to bring you your beloved flugelhorn sound!

Types of Flugelhorn Mouthpiece Shanks

Though there are many manufacturers of flugelhorns today, there are only three commonly used flugelhorn shanks and one more that is very rare.

1) The Couesnon Flugelhorn Mouthpiece Shank (French Shank)

The first shank is referred to commonly as the “French Shank” or the “Couesnon Shank.” As you may have guessed, it was used originally on Couesnon flugelhorns. This shank is not a taper, as is used on other trumpet, cornet, or flugelhorn mouthpieces. The bottom inch or so of the mouthpiece shank is cylindrical. At that point the shank flairs slightly into a shoulder which secures the mouthpiece into the receiver. Some folks call this type of flugelhorn mouthpiece shank a French Taper or a Couesnon Taper, which is a misnomer since there is no taper to the shank.

French Shank mouthpieces will not fit properly in other types of flugelhorn receivers.

2) The Standard Flugelhorn Mouthpiece Shank

The second kind of flugelhorn mouthpiece shank is referred to as the “Standard Shank” or “Large Morse Taper.” Unlike the French Shank, the Standard Shank is a traditional taper similar to what you find on trumpets, cornets, and other brass instruments. Many flugelhorns are manufactured today, including Yamaha flugelhorns, that accept this taper.

Standard shank mouthpieces generally do not fit in a French Shank or the smaller Bach Shank receiver.

3) The Bach Flugelhorn Mouthpiece Shank

The third flugelhorn mouthpiece shank that is commonly used is the “Bach Shank” or “Small Morse Taper.” It is also a taper, but at a smaller size than the Standard Shank flugelhorn mouthpiece. It has been used on Bach flugelhorns since they were first produced.

4) Trumpet Shanked Flugelhorns

The last shank that very few flugelhorns accept is actually the same size that is used on trumpet mouthpieces. This setup is used on some European flugelhorns, but it is exceedingly rare.

“What Flugelhorn Mouthpiece Do I Need?”

When you are considering a flugelhorn or a flugelhorn mouthpiece, always check and double check that the parts you will be using will work together. Having an incompatible setup of mouthpiece and receiver will result mouthpieces not fitting properly and poor intonation and playability.

The “American Shank” Flugelhorn Mouthpiece

Depending on where you live and who you talk to, you may run across mentions of an American Shank flugelhorn. In our research, we have found that manufacturers and players can be referring either to #2 or #3 above when referring to “American Shanks.” Bach is one of the most prominent U.S. manufacturers and so some people refer to the Bach Shank as the American Shank. Nowadays, more U.S. manufacturers use the Standard Shank size so that has caused some folks to label the larger Standard Shank as the “American Shank.” To avoid confusion, it would be best to use Standard and Bach, or Large and Small Taper.

The Double Standard

Unfortunately, some people refer to either the Large or Small Shanks as “Standard.” This is because many years ago, the Bach Shank was considered the standard size. Over the last 40-50 years, however, the Large Shank has become much more popular while the Bach Shank waned. There has been a resurgence in the Bach Shank in recent years, though the Large taper size is still much more common.

Looking To Improve Your Flugelhorn or Flugelhorn Mouthpiece?

Bob Reeves Brass has a complete line of flugelhorn mouthpieces for all shank sizes of you are looking for a mouthpiece.

You might also consider getting a valve alignment for your flugelhorn to improve sound, intonation, and projection.

Flugelhorns Manufacturers Grouped by Mouthpiece Shank Type

Couesnon (No Taper): French Besson, Couesnon, Flip Oakes, Kanstul, Miraphone

Bach (Small Morse Taper): B & S, Bach, R, S, Berkeley, Besson, Courtois, Eclipse, F. E. Olds, Holton, LeBlanc, James , Trevor, Kanstul, Miraphone , Phaeton, Reynolds, Schilke, Selmer, Shiller, Taylor, Van Laar

Standard (Large Morse Taper): Adams, Benge, Blessing, Callet, Conn, Eclipse, Gerd Dowids, Getzen, Josef Lidl,  Kanstul, King, Lawler, Miraphone , Orlando Wind Instruments, Stomvi, Thomas Inderbinen ,  Weril, Yamaha,

Trumpet Mouthpiece Taper: Gerd Dowids