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Wedge Trumpet Mouthpieces |
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Patent Pending The Wedge is unlike any trumpet, trombone, or French horn mouthpiece you have ever tried before. The Wedge mouthpiece has been described by those using it as the greatest innovation in brass wind technology in decades. |
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| Benefits of the Wedge Mouthpiece Reported by Players • Improved core to the sound in all registers • Greater comfort • Increased range • Better flexibility • Better endurance • Less lip swelling • Better articulation • Easier multiple tonguing • A more forward focused, closed aperture setup with a cleaner sound • A darker, richer lower register on the shallow models in the line • Better comfort and better sound if you have braces Downsizing With the Wedge Numerous players have reported great success in going to a smaller mouthpiece when switching to the Wedge. There are often four limitations when switching to a smaller mouthpiece with a conventional rim. • Less room for swelling, causing the sound to close off or shut down after playing for a while, especially in the upper register. • Less central lip mobility because the embouchure is restricted by the smaller diameter. This impairs flexibility makes things feel cramped. • A smaller sound. • Poorer articulation. The nature of the Wedge tends to overcome these limitations. Most players report less swelling with the Wedge because of improved blood flow in and out of the central part of the embouchure. This means that a smaller mouthpiece can often be used, since there is less need to allow for more lip in the cup as swelling occurs. The sloping shoulders of the Wedge provide much better range of motion at the corners, which translates into better control of the central vibrating portion of the lip. A smaller mouthpiece therefore does not pin the embouchure in place at the corners when using a Wedge the way a conventional smaller rim would. This means that even with the smaller size flexibility is maintained and the smaller size feels more comfortable and less cramped because the lips are more free to move. The Wedge tends to sounder bigger, with more core to the sound, compared to a conventional mouthpiece. Smaller, shallower Wedge mouthpieces do not take on the stuffy, nasal character of smaller sized mouthpieces with a conventional rim. They also tend to sound more consistent and bigger in the upper register. Most players report improved attacks and cleaner articulation on the Wedge, especially with multiple tonguing. This offsets the impaired articulation often experienced with smaller cup sizes. These characteristics mean that many players can go down at least one size when switching to the Wedge without sacrificing the quality of their sound or attack. The advantages of the smaller size usually include improved range and endurance. So if you have been thinking of a switch to a mouthpiece of a smaller size the Wedge may help you to get the advantages of the change without some of the limitations. Will the Wedge Work for You? Experience is demonstrating that there are two types of players: Wedge "responders" and Wedge "non-responders". Wedge Responders usually know fairly quickly that the mouthpiece will work for them. It feels as comfortable or more comfortable than their current mouthpiece. Many players report an immediate and sometimes dramatic improvement in performance. The initial level of comfort and improved playing tends to evolve quickly over the first week or two. Advances in players with previously stable abilities are still evolving after six months. An intermediate group of less dramatic Responders finds that the Wedge is comfortable, and plays as well as their current equipment, but is not dramatically better on initial assessment. There is however a gradual improvement over subsequent weeks. Some of these players have converted to the "dramatic" Responder group with a change in size. A small group of "Non-responders" find the Wedge uncomfortable or not as good as their current gear. At this point about 25% of mouthpieces purchased on-line or over the telephone are being returned. 15% are being exchanged for a different size. The return rate on mouthpieces purchased after being fitted in person is less than 10%. Since October 2007 we have been collecting feedback from players who have tried the Wedge. Results have been very consistent, with the exception of improved outcomes in players who are fitted in person at a trade show. Actual numbers fluctuate slightly over time, but results indicate that players are indeed enjoying improved comfort (60%), endurance (60%), ease of upper register (60%), and flexibility (60%), and sound in all registers that is as good or better than their regular mouthpiece (90%). Only about 10% rate it as not as good as their current mouthpiece. Overall 75% of responders rate the Wedge as superior to their regular equipment. Design Concepts • sloping rim at the sides The areas of the rim in contact with the corners of the embouchure slope sharply away from the center of the mouthpiece. The rim is therefore narrower at the sides than the on the upper and lower segments. Hence The Wedge name. • varying rim contour and high point The contour and position of the high point changes around the rim. The parts in contact with the upper and lower lips have a high point shifted to the outside by a slight rounding of the inner rim. This produces a relatively soft bite and a sloping contour of the rim. • shifted lateral rim contour medially toward the center of the mouthpiece The shape of the side rim has the effect of moving the inner cup border toward the middle, and contributing to a slightly oval shape to the cup. The long part of the oval is pointed up and down when playing. • lateral dip of rim contour The sloping shoulders also cause a dip in the profile of the rim when viewed from the side. This dip is designed to transfer pressure from the side to the upper and lower rims. • changing inner rim bite The changing rim contour produces a changing inner rim bite, which is sharper and narrower at the sides than on the upper and lower rim. How Wedge Mouthpieces Work The Wedge trumpet mouthpiece differs from conventional mouthpieces in several important ways. • The parts of the rim touching the corners of the embouchure slope away from the center of the mouthpiece. This shifts the high point of the rim toward the inside, and makes the sides narrower than the upper and lower parts of the rim. • The parts of the rim touching the middle of the upper and lower lip are the same width as a conventional rim, but have a gradual slope, with the high point shifted to the outside. The combination of rim contours produces a slightly oval cup. • The sides of the rim touching the corners of the embouchure dip down when viewed from the side. These features have a very special effect on how the Wedge mouthpiece plays. The sloping shoulders and dip in the side rim decreases the amount of contact and pressure on the embouchure at the corners. The mouthpiece therefore interferes less with the movements of the lips. With less pressure at the sides of the mouthpiece the player is forced to use the corners to produce a more efficient, forward focused, closed aperture. The improved range of motion at the corners and solid contact with the top and bottom lip make it easier to open the corners and to return them to the optimal playing position when taking a quick breath. Decreased mouthpiece pressure at the corners also improves blood flow in and out of the central part of the lips, improving endurance and decreasing swelling. The slight slope of the upper and lower rims produces top to bottom lip compression and improved range, rather than cutting off the note as moderate pressure is applied. The Wedge mouthpiece in most cases increases the range available to the player. It does not do this the way a shallow or small mouthpiece does, by producing a bias towards upper register performance. Instead it expands the "dynamic range" on the instrument. Both lower register and upper register performance is enhanced, producing a bigger sound throughout the entire range of the horn. The spread between the lowest, fattest note and highest note that can be played is increased. Depending on the characteristics of the Wedge mouthpiece selected the improved performance in either the upper or lower register may be more evident at first. In some cases the lower register is fuller and easier while the upper register is unchanged or more challenging. This almost always means that a change to a smaller or shallower Wedge will shift the mid point of the range up and return lower range performance to the same level as a conventional mouthpiece while providing improved upper range performance. The effect of using a Wedge is improved comfort, endurance, range, articulation and flexibility without sacrificing any other aspect of mouthpiece performance. The Wedge is simply a more efficient design. Wedge Playing Instructions Many players have difficulty figuring out how to position the Wedge when they see it for the first time. This is because it is completely different from anything they have experienced before. The Wedge is always played with the sloping shoulders at the sides as shown, never top and bottom. This orients the long axis of the slightly oval shaped cup up and down, not sideways like other oval mouthpieces. It takes very little time to get used to the Wedge. The trick is to get the feel for the more centrally focused embouchure and go with it. Think "pucker" and "gripping" the sides of the mouthpiece with your chops. Another approach is to try to feel your lips fill the gap between them and the sloping lateral shoulders of the mouthpiece. This seems to encourage a more focused, central set up with the mouthpiece. You may note a sensation that the corners are not supported, and may initially even notice some leak of air there. Do not be concerned. This indicates that you have been relying on your mouthpiece for corner support. The leak will go away as you get used to the mouthpiece and as it works on your chops over a few days to produce a more closed setup with lots of natural vertical compression. Performance will improve as a result. Backbore Options Large (L) 27 Similar to a Bach 24, or Warburton 10 backbore. This is a large orchestral backbore. Large (L) 25 This is the 25 throat version of the Large 27 for a more open blow. Medium Large / Large (MLL) 27 (Engstrom 27) This backbore has an upper component intermediate in size between the ML and L sizes. It is designed for use with a Large shank. Medium Large / Large (MLL) 25 (Engstrom 25) This is the 25 throat version of the Engstrom 27 Medium Large (ML) 27 This medium large backbore resembles a Bach 10 or Warburton 7 backbore. It is a good choice for all round use. Medium Large (ML) 25 This is the 25 throat version of the ML 27. Medium (M) 27 This is a medium sized backbore similar to a GR #2. It has a more compact sound and offers a little more resistance than the ML. Medium (M) 25 25 throat version of the M25 for a more open blow. TT 27 This is our smallest commercial backbore, designed for endorsing artist Terry Townson. It is comparable to a Warburton 4 or 5. TT 25 This is the 25 throat version of the Townson backbore. Small (S) 27 This backbore is similar to a Schilke A or Warburton Q backbore. This is a tight commercial backbore. Although many players prefer a larger backbore on the Wedge, this remains a good choice for those who want more resistance and a compact sound. Small (S) 25 25 version of the S 27 backbore. Warburton Backbores The Wedge was originally designed to be used with Warburton backbores. Warburton backbores have a #27 (0.144") throat. Many players seem to like the Wedge on a top and backbore reamed to a #25 throat---write a note in the Ordering Options box on the Shopping Cart page for this option. Wedge reams the backbore to 0.002" larger than the top, just as in the Wedge backbore, in order to avoid any disruption of air flow at the joint. 4, 5, 6 Tight to medium. With progressively less resistance, these models produce a bright and very projecting tone. The #5 is by far our most popular with strong lead players. Q Backbore New in 2004, the Q is our most aggressive backbore, preferred by lead players who also need to maintain dominance in the middle register without spreading or over-loosening their chops. KT Backbore Added to the line in mid 1987, this backbore appeals to commercial/lead players and is characterized by its projection and secure slotting of notes above high C. The comparative resistance falls in the 4, 5, 6 series. 7, 8, 9 Medium large sizes. The #7 has been our best selling model for the past seven years. This series produces a quality of sound acceptable in the orchestra as well as the concert band. Models #8 and #9 are very well received by the orchestra player who appreciates the increased volume of sound with less resistance. 10, 11, 12 Very large "Symphonic" sizes. These models have very little resistance and offer the strong player the potential for the ultimate in full, rich sound. |
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