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Equipment
By
Larry Roth • September 01, 1997
Mouthpiece Meditations Part 1 asks some deceptively simple questions. What makes a good trombone mouthpiece? How does one find it? After exploring why the answers to these questions are not simple, the article comes to some preliminary conclusions on which to proceed.
By
Larry Roth • November 01, 1997
Mouthpiece Meditations Part 2 considers how mouthpiece size and shape matter. The various elements of a mouthpiece are described and how each affects performance is examined. A table summarizes the effects attributed to changes in different elements. Attributed is the key word Ñ many of the claimed effects have a subjective element.
By
Larry Roth • January 01, 1998
Mouthpiece Meditations Part 3 deals with the problem of comparing mouthpieces. A set of measurements and how to make them is described in the article. While mouthpiece 'feel' and 'playability' is subjective, these measurements can provide an objective basis for systematic comparison between mouthpieces, independent of type or manufacturer.
By
Larry Roth • March 01, 1998
Mouthpiece Meditations Part 4 considers putting the information in the previous 3 articles to use. Having arrived at an ideal of what makes a 'good' mouthpiece, how different elements contribute to that ideal, and how to methodically compare between different mouthpieces, the question is how far to pursue that ideal, and the pros and cons of switching.
By
Larry Roth • May 01, 1998
Mouthpiece Meditations Part 5: Conclusion. There is a large body of theory behind mouthpiece design and use. How solid is it? Not as much as is generally assumed! This concluding article looks at mouthpiece assumptions, misconceptions, and hyperbole. It offers speculation and debate on where mouthpiece theory might profitably go beyond the current state of the art.
By
Aaron Dygart • October 14, 2001
After reading conflicting discussions of the benefits and qualities of practice mutes, Aaron Dygart decided to make a rigorous evaluation of the Humes and Berg, Softone, Denis Wick, Wallace and Yamaha Silent Brass practice mutes for tenor trombone. Tests included sound attenuation, intonation (pitch accuracy), resistance, weight and balance measurements, and design evaluation.
