Vulgano Brother

Most of us are guilty of stating speculation, theories and the like as fact; Vulgani are no exception, and it is a rare event when Vulgani admit to this. I would even go so far to say the following is nothing more than a (hopefully well thought out) hypothesis:

With a conventional instrument, we play two instruments, not one. One is the mouthpiece, the other the trumpet itself. The interface is the receiver, and the gap separates the two components, and is, when of acceptable size, inconsequential. This last statement is based on the following:

1. When placing a microphone before a trumpet bell, a distance equal to approximately one half of the bell diameter allows almost all frequencies to be recorded. In other words, this is a place where all the wavelengths meet. (see Arthur Benade, Fundamentals of Musical Acoustics.)
2. Likewise, at a distance approximately one half of the shank diameter we might expect a similar meeting point.

I propose that usable gaps are small enough that this meeting point occurs inside the leadpipe of the trumpet, in effect negating the gap.

I have long held that there are two different and viable methods of sounding the trumpet. One is to use the trumpet as an amplifier, the other to sound the trumpet itself. (Monette mouthpieces prove exceptional at the later.) If we eliminate the gap, as in an integral mouthpiece (as found in the Monette Raja), or as Schilke recommended with a conventional instrument, we truly play a one piece instrument. This means, however, that the mouthpiece, with all its quirks and curves and flares becomes part of the trumpet equation—nasty stuff to figure out even with a computer.

One of my instruments, a tricked-out (but not pimped out) bell-tunable C with a Bb bell has an adjustable receiver. I use a Curry BC cup short shank and a normal shank C cup mouthpiece (which have the same shank taper and end diameter) without any need for adjustment. I should add, for the most part, I like to perform playing the amplifying version of the trumpet for expression sake. (I tend to practice the sounding trumpet, however, which might explain my amazing success at sight-reading.)

In the 1970’s at least, Gerald Webster delighted in taking a Morse-tapered reamer to all of his student’s receivers to lessen the gap (including the prototype Monette leadpipe I bought—arrrrrrgh!).

I believe the mouthpiece gap can be perfect (rare), ok (almost most of the time when stock) or bad (also rare). If there is no gap, then any discrepancy of diameter between the end of the mouthpiece and beginning of the leadpipe might have an effect.


I think.



Maybe.

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