the death campaign - death to war

No. 6 is the width of the cup, its diameter on the inside of the rim. No. 7 is the outside diameter of the rim. The 8th critical measurement is diameter of the shank at the very bottom or end where the shank makes contact with the mouthpipe that is shown in part in Figure B [below] where the tubing inside the mouthpiece receiver pipe abuts, or should abut, the shank end of the mouthpiece.
The system consists of interchangeable “TOP” sections and “BACKBORE” sections.
he wider or more open we make the shoulder of the throat, the mellower becomes the tone. In I the throat and cup shape combine into one long cup similar to that in a French horn mouthpiece, which, if used on the trumpet, is colorless. It is possible to achieve a judicious combination with the shallow cup which aids the lip and still avoid the stridency of tone usually produced by such a mouthpiece as F. This is done by opening the shoulder somewhat as shown in E, resulting in the double-cup originally designed by L. A. Schmidt of Cologne about seventy years ago for use in the low F, E, Eb, and D trumpets used by R. Strauss. These latter instruments incidentally but significantly, were played in the upper harmonics like a French horn. The double-cup mouthpiece makes for easier control in the difficult high passages.

vintage saxophone mouthpiece
soprano sax mouthpiece

As shown in the dimensions of mouthpieces by Rohner, the average throat diameter uses a 27 drill size. Small throats of 30 or even smaller and extremely large throats of 18 or 19 used by some players, but these extremes should be avoided by the average player.

A throat made with a drill No. 27 having straight sides for as much as 3/4 inch will tend to cause the player to play sharp in the high register. On the other hand, if the straight sides of the throat are too short, the player will tend to play flat in the high register. Thus intonational tendencies, either sharp or flat, can usually be corrected in the mouthpiece.

If the backbore flares out rather rapidly, the tone will be full but slightly more difficult to control. If the backbore becomes straighter, with less flaring out, the tone becomes thinn
own a common deficiency in which there is an appreciable gap between the end of the shank of the mouthpiece and the beginning of the mouthpipe. The two should meet. To correct the deficiency, the shank is turned down somewhat on a lathe so that it will be small enough to meet the end of the mouthpipe. A marked improvement in playing of the instrument is thereby effected.

Figure L [to the left] shows a cut-away section of a mouthpiece and receiver pipe. Notice the substantial overlap from the end of the shank to the mouthpiece. This is a serious defect. Though it does not show a gap between the end of the shank and the beginning of the mouthpipe as in B, it is possible that if the shortcoming of B is remedied, the present overlap as shown in L remains.

The mouthpiece has a large effect on the sound of the instrument. The major effects are due to the shape of the cup, shape of the throat, and the inner rim diameter. In addition players often choose a mouthpiece which complements their favored playing styles; a mouthpiece with a narrow bore is generally preferred by brass players who concentrate on the upper range of their instrument, and a wider bore by those who emphasize the lower range of their instrument in their playing.
The effects of different aspects of mouthpiece design
Mouthpiece element Effect on playing Typical size/nature
(Trumpet) Typical size/nature
(Tuba)
Inner rim diameter Larger inner rim diameters are optimised for lower ranges, giving a richer tone. Smaller diameters assist high range playing. ~16.0mm ~35mm
Rim width Wider rim widths reduce the pressure on the lips, allowing greater stamina. It does, however, reduce flexibility.

metal mouthpiece alto sax
vandoren clarinet mouthpiece
megatone mouthpiece
It is also used figuratively and with negative connotations to indicate the role of a spokesperson or mass media venue that is used to perpetuate the views or agenda of another, as in “the newspaper became a mouthpiece for its owner’s political views.”
Mouthpieces for brass instruments.
Mouthpieces for brass instruments.

Note the following articles:

We are in the process of updating the web site with some exciting new products :

—Stainless screw rims - now offered with H-Kote™

—Graham Ashton artist series of mouthpieces for trumpet, rotary trumpet, piccolo trumpet, and cornet.

— H-Kote™ Gold Titanium Nitride coating for stainless steel mouthpieces- It’s beautiful, comfortable, highly biocompatible for those with metal allergies, and it will virtually last a life time. Click on the link -upper left.

— We will feature (not sell) in depth, select Loud Mouthpiece models for this hugely succesful and expanding line of stainless steel mouthpieces.

—Dave Taylor stainless bass trombone models later this year!!
* PRELUDE
* REED OVERVIEW
* INTERLUDE
* MOUTHPIECE OVERVIEW

For additional information - use the ALL QUESTIONS link
at the end of this page.

bach trumpet mouthpiece
sax mouthpiece

As a PRELUDE to a discussion of reeds and mouthpieces, it is essential to note the function of the REED-MOUTHPIECE-INSTRUMENT as an acoustical system. For reference, advantage is gained from a glance at string instruments: one can easily perceive that all the tone which radiates from a violin is caused by a single source - i.e. the strings. For reference we assume a bowed violin, tuned at A=440 Hz.

1) a string is powered by the violin bow
2) the energy from the string is coupled to the violin body
by the bridge and sound post
3) the pitch of the string is varied by finger position on the finger board
4) the violin body acts like a sympathetic, multi-pitch resonator

While it seems as though all of the tone is created by the After another round of squeezes the profile is right. Note the hills and valleys of the inner edge. It will be difficult to get a good seal with such an irregular inner edge. So use little pulls and pushes to even out the hills and valleys…

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