Does a better trumpet make you play trumpet better?

This is a topic that I’ve found myself discussing with people a few times recently. I think that instinctively people already know the answer but there is a lot of confusion out there over the definition of “better”, which is (of course) subjective. There is such a thing as a better trumpet for playing one style of music or another, but this post is more about better and worse quality instruments overall. In my opinion, unlike confusion about playing techniques, this confusion is caused by the marketing of instrument makers rather than by our traditions and misinformed knowledge-of-the-crowd.

A simple answer

When approaching this topic I am always reminded of a conversation I had with Trevor Head whilst on one of his instrument repair courses some years ago. When asked about how different things like the weight of an instrument or whether it is silver plated affect how it sounds, he responded by  proposing the following experiment: If you were to take a professional player and a novice player and give each of them two instruments, ask them to stand behind a screen and play you the same excerpt of music on both instruments then a listener would always be able to tell which person was playing, but not always which instrument was being played. You would also find that some listeners may prefer the sound of one instrument or another but couldn’t tell you for certain which instrument it was.

A little about instruments

I was recently having a conversation with a friend of mine who plays the bass. We were talking about how the pitch of a note produced by a string is basically influenced by three factors: the thickness or weight of the string, its length and its tension. He was explaining to me how it is possible to get such a deep sound from a bass ukulele, which is a tiny instrument compared to a double bass. He then asked me how this compares to trumpets. Some people imagine that the lips of the player are equivalent to the strings on string instruments because they vibrate to make sound, though whilst the tension and thickness of the lips certainly do have an effect on resonance and tone, the comparison is a misunderstanding. The equivalent to the string is the column of air inside the trumpet.
Modern instrument designers understand very well that it is the shape of this air column that is the primary influence on the intonation of a trumpet, i.e. how the various harmonics relate to each other and how well tempered these intervals are. Interesting people to research on this topic would be Bill Cardwell, Richard Smith, Renold Schilke and Jerome Callet.
So what would happen if you were to simply increase the size of this air column? Comparatively if you imagine the sound of an old “pea-shooter” trumpet from the 1930s-40s and the sound of a flugel horn then essentially the result would be that you gradually move from sounding like one to the other… but this is an observation of tone and not so much about pitch. The pitch would also drop as the instrument increases in size, but I don’t think that this is the important thing to take note of. When you increase the size of the air column you may end up with an instrument that’s freer blowing, that makes a bigger sound, but the compromise is that it may not slot notes so well and intonation may suffer too.
In looking for recordings to illustrate the point in the previous paragraph I watched a number of videos that showed what I describe next. Have a watch of this great clip with Trent Austin demonstrating a Buescher trumpet and I’ll continue: ACB Buescher Demo.
In all of the videos that I watched about the tone of older tightly-wrapped trumpets the player ended up switching mouthpieces to show different tonal qualities. This is because small differences in mouthpiece design make a much bigger difference to how an instrument performs and sounds than the whole trumpet. I demonstrated to my friend how my Stomvi Master trumpet sounds with my own TCE-RC mouthpiece, which is small, and an RPS 18C4, which is a large classical mouthpiece design. He could hear a distinct change in the number of overtones present in my sound between the two mouthpieces, and he also observed that I needed to push my tuning slide in to play in tune on the bigger mouthpiece. The thing that was less obvious in this demonstration is that it isn’t simply the position of one note that changes when you pick a bigger mouthpiece, but also the relative pitch-centre of the harmonics as well. I would argue that most traditional mouthpieces that people use today are too old-fashioned and as a result not designed to play in tune in certain pitch ranges.
What I’ve established so far in this section is little more than the fact that the size and shape of an instrument and mouthpiece combination can affect the player’s ability to play with good intonation. The important point is that if you have a low-cost or vintage instrument that does not play well in tune then every note you play could be a drain on your technique. This is very tiring and can have a pretty detrimental effect on stamina. In this case I would argue that all players could play better on an instrument that is well designed to play in tune, compared to one that does not. It’s also important to choose a mouthpiece that doesn’t compromise the intonation of your instrument, even for the sake of a “nice” tone. But is that everything?

a matter of philosophy?

Before I get into this next part I will start by saying that it is not my place to criticise the hard work and research of others. I don’t doubt that anyone who devotes their life to making and selling brass instruments has done plenty of their own research and development and that they honestly believe that their work is the best solution to trumpet-players’ problems. The interesting thing is that when two people look at the same problem and conclude that the solution is the exact opposite to each other then there’s an interesting discussion to be had.
The example that I’ll use here refers specifically to AR Resonance and Callet Trumpets, their marketing approach and opposing design solutions. There are other companies worth a mention; such as Harrelson Trumpets, Lotus Trumpets and Monette; and they’ll get it in due course.
On their website AR Resonance state about their mouthpieces:

We DON’T want the player to acclimate to our mouthpiece, we want to serve the player with the best solution they feel to be the right one. We’ve been through all that crazy stuff and we concluded that we must not be told what to think, do or feel, we want to be in control.

Contrary to this, Jerome Callet’s promotional material says:

[These mouthpieces] were specifically designed by Jerry to help players struggling with chop problems. [They] are small and unforgiving so they work like a bold ‘stop signal’ to close down as soon as your proper embouchure starts to lose its grip […] chop problems are immediately identified and avoided!

These statements represent opposing attitudes towards the way that people play. Callet says “if you don’t play properly then you won’t be able to make this equipment work. It is your responsibility to play correctly and you will be rewarded”; AR on the other hand basically say “play however you want and our equipment will make you sound better”. Obviously these are just my knee-jerk interpretations and my opinion is biased, but there is an element of dishonesty in the AR Resonance statement. Players will acclimatise to their equipment and if they’re already over-blowing a collapsed embouchure then it will make their problems worse, not better.
What’s really interesting as well is that AR Resonance mouthpieces are designed around a very large throat and feature a shortened backbore/shank to compensate for the intonation consequences of this design. Jerome Callet’s backbores, as described on the website linked above, were known to have a longer throat and backbore to solve intonation issues and to aid projection. His latest line of mouthpieces also featured a smaller than standard throat (#29 drill size). It seems that if you don’t wish to work on your technique then you should use a short backbore with a large throat and if you care enough to learn to play better then you should use a smaller, longer throat and backbore!
Jerome Callet was well known for saying that most manufacturers were not actually capable of testing their own instruments because they could not play well over the whole six-octave range of the trumpet. Let’s say for a moment that you’re a good professional player and you make a trumpet that enables you to improve your current range by a fifth. Does this mean that it’s helping you to play better? What if you could have learnt to play more efficiently and had the same result? Maybe you would find that this new instrument doesn’t sound as good overall when compared to you playing better on your original instrument. The real question is whether or not this matters. To me it does.

Telling lies to make money

Like I said in my mini disclaimer above – it’s not my place to criticise someone’s beliefs or hard work, but in the case of the following video this famous trumpeter is unashamedly grandstanding in his attempt to sell his trumpets. He does not demonstrate how he would actually sound when trying to play his best on the “lower quality” instrument: Lotus Trumpets Promo.
Ironically in this next video you can hear that his trumpet is not better than others when played by a good trumpet player. The comments also reveal that the Lotus trumpet is not rated highly by those who’ve left their thoughts: Trent Austin Superhorn Showdown. Trent Austin does state that he loves this trumpet, and I’m sure it’s fine as they are built by Andy Taylor, but the marketing is very disingenuous and not to mention disrespectful.

All about efficiency

When discussing the topics of good instruments and good playing then inevitably the subject of efficiency arises. In the simplest of terms I usually define efficiency as “putting less in but getting more out”, but apparently this isn’t universal. To some trumpet players it can mean “how efficiently can I put as much air as possible through the trumpet?”. I don’t want to argue the matter of right and wrong here, but it’s so easy to see that we still have a lot of ideas to unravel before the general standard of trumpet playing and teaching can improve.
Jason Harrelson talks a lot about what he refers to as “Standing Wave Efficiency” in the design of his components and custom kit-trumpets. Jason has put a lot of time into improving the efficiency of his instruments through damping and preventing loss of energy through the walls of their tubing. You can learn more about that in this video: K.O. on Heavy Bracing. Funnily the only comment on this video at the time of writing is Harrelson trying to refute what K.O. has to say. In the interest of fairness, here’s is his definition: SWE Explained.
These two videos demonstrate the same points of contention mentioned above in reference to mouthpieces. Whilst one is talking about accurately playing in pitch centre to create a resonant sound, the other is saying that if you buy his instrument then it’ll do that work for you. I think it’d be easy to go round and round in circles on this issue for quite some time, also discussing how the same opposing views exist in pedagogy: Is it the player’s responsibility to learn techniques to improve their playing, or should they focus purely on music or breathing and allow the rest of the system to figure itself out? Which of these is a more efficient way of learning?

A conclusion?

My opinion is that it is common for people to seek the path of least resistance. There are plenty of people out there who are willing to take your money in exchange for an instrument or mouthpiece that is easier to play, but won’t make you play better.
Changing how you play is difficult and it takes time, but it is the only way you will improve as a player in the long term. Both equipment and ideas that result in you playing more accurately will also result in you playing more efficiently but it’s also easy to take any one idea too far. A brilliant projecting sound is good in the right musical contexts, but when you’re in an ensemble that puts a premium on blending and not standing out then you could come unstuck fast.
To answer the question in the title: Playing well on an average instrument will always sound better than playing badly on a good instrument. When looking to buy a trumpet judgements should be made based upon sound and intonation first. Just like with a mouthpiece, doing the same thing and expecting different results will only get you so far. Sometimes a drastic change that results in you learning how to play differently can teach you more than years of routines that promise longer-term gains …and sometimes not.

One thought on “Does a better trumpet make you play trumpet better?

  1. Hi Rich – I enjoyed the article. Wondering if you’ve seen Charlie Porter’s recent (July 22/2020) experiment: a $200 vs $2000 vs $20,000 trumpet. Very interesting and well-recorded – definitely worth a listen!
    (ps – really enjoyed your talk today in the PTW group!)

    1. That was a great video Debbie, thanks for sharing it. I’ll spare you a lengthy commentary but it is really interesting to hear the variety of tones one after the other in those recordings. In my opinion the Monette mouthpiece made the cheapest trumpet sound better but the Bach trumpet sound worse (particularly the intonation).
      In all cases the sound of the Monette mouthpiece was more spread, with less resonance. I know that a lot of people like that sound though…. If you listen without watching then every time you hear him ascend to a high(er) note and it comes out flat, he’s using the Monette mouthpiece.

      1. I’ve concluded that technically gifted jazz players often sound just as good on lesser grade instruments, largely because of the way they abuse an instrument to get an effect. Anyway, I’ve also concluded that ‘better trumpets do make better players’ and the results are often outstanding when you find one that’s affordable, which is why I mostly buy a ‘better trumpet that’s been used extensively by a better player’.

        1. Hi David,
          Obviously a good instrument will be easier to play well than a poor one, but what makes a player better overall is practise and musicianship. The idea that buying an instrument that has been played well by somebody else in the hope that it will play better for you is a bizarre fantasy.
          I cannot agree with what you’ve said about jazz musicians simply because you are suggesting that good technical skill and good fundamentals are not required to play that style of music, which is not based in reality. These sorts of generalisations and assumptions about musicians based on the style of music they choose to perform is exactly the type of thinking that this blog exists to argue against. I’ve had pupils in the past who think that playing in a jazz style means playing with a bad tone and tasteless vibrato. All this demonstrates is that they haven’t actually listened to much jazz.

          1. Are you saying that practice rather than a better trumpet that makes a better player, missed that totally, best that neither of us goes into instrument sales then. My ‘bizarre fantasy’, as you call it, is based on more than 10,000 hours of practice, which apparently makes me an expert (!!). Anyway, you are right on one level though, I don’t listen to much jazz as it was a conscious decision to be a classical player and I do indeed tend to look down on jazz playing. Nevertheless, I do admire the extra effort required to play this genre though. Jazz is a bit like your lose reading of my last message, it is what you wish to hear and/or in this case read into something.

  2. Thanks for the blog Rich which was an interesting take on this debate. My personal view, as a musician who attempts to play well on a number of instruments, sits around three main ideas. Firstly, a poor musician be it tone , timing or technique , will sound no better on a quality made instrument but this central theme underpins all instrument marketing. I have heard great musicians getting great music from well made but inexpensive tools. They might not choose to buy or endorse them but they have great musicality inherent in their being. Secondly I know that , to quote a famous golfer, the more I practice the luckier I get. It is an inescapable fact if you wish to improve or maintain your abilities , then you can’t buy this. It requires effort. (And of course quality instruction ! ) Finally , tone is a personal experience and can only be experienced rather than accurately described as our vocabulary is insufficiently broad. What may sound thin and reedy to one person may sound delicate and balanced to others. In summary, get better with practice so that you can make informed choices on what instrument sounds good to your ears. Be your own person and enjoy making your music. Eric Clapton or Harry James ? They could not sound like anyone else but I betcha they didn’t go looking to buy that sound when they developing their talents. Rant over , keep up the good fight ….now where’s my Arban book…..

  3. Interesting article. I understand your point of view in that players should not expect miracles from their equipment. But you make it sound as if getting equipment to help compensate for your weaknesses is cheating, which I disagree with. Specifically, from how you describe Callet’s mouthpieces vs. those of AR Resonance, you make it sound as if the former is the obvious way to go, and the latter is only for unskilled players seeking an easy solution. Funnily enough, for me it worked exactly the opposite: an AR mouthpiece helped me finetune my playing to be more steady and efficient (to the point where I now play better on my old Bach mouthpiece than I ever could before). All the Callet mouthpiece would’ve done is frustrate me even more, likely to the point of quitting altogether.
    I also don’t see why it has to be either equipment or practicing…why can’t it be both?

    1. Hi Stuart,
      Thanks for your reply. In your response you actually confirm my conclusion. You bought a mouthpiece from AR and you did adapt to it. Your playing improved as a result, even on returning to ‘normal’ equipment, and yet the company’s advertising says that you needn’t or even shouldn’t adapt to use their equipment. This is the lie that I take issue with.
      My own experience is that I changed equipment a long time ago and it assisted in quite a major change to my technique. The mouthpiece wasn’t necessary but my progress would have been much slower without it. As you say – it was both the practise and the equipment…
      Just to reiterate, the thing I take issue with is the marketing wing of musical instrument manufacturers telling people things that aren’t true just so they can make a sale. What would be better would be to describe why they believe their approach to be better – I know there’s a lot of information on the AR site about the design specs of their gear, but there are a lot of assumptions made about why these choices are positive and there aren’t many great players out there sharing the same ideas.
      Best wishes.

      1. Hey Rich,
        I think I understand what you mean. There’s always a sort of dishonest overhyping when it comes to marketing. But some of that also comes down to intepretation and context.
        To me, the AR statement of ‘no adapting’ is directly in line with their customization philosophy. I.E. the player shouldn’t adapt to a certain pre-defined mouthpiece design that the maker feels should work well, but instead can get any shape or combination they like to finetune to their own preferred specs.
        Meanwhile, my initial reaction to Callet’s statement was that it implied that ‘if you cannot play this mouthpiece exactly the way I designed it, you’re not good enough to play the trumpet anyway’. Which isn’t completely honest either, as there are plenty of players who’ve never heard of Callet and yet are totally fine players in their own right.
        I feel that calling either a ‘lie’ is a bit strongly worded, and merely (as you initially stated) opposing attitudes. One of them gives you a mouthpiece and you either make it work, or forever be a failure. The other allows you to pick anything you like, but at the same time allows you to make (your own) mistakes.
        That being said, I’m biased towards AR so take my view with a grain of salt.
        Thanks for writing your blog posts, I’ve read (and enjoyed) many of them, and look forward to even more of them.

        1. Hi again, thanks for your reply. I’m definitely biased in the other direction so that’s probably where we’ll agree to disagree.
          It may be in the way that I described it, but could/should have made it clearer that as well as making instruments Callet was an embouchure teacher with very unusual ideas. His point of view was that by learning to use his equipment your playing will improve because the mouthpiece will not allow you to commit common sins, giving you a “strict stop signal” when you start to overblow. Many believe that they simply cannot use certain equipment because of the shape of their lips but it’s more a case of them not being able to carry on playing the way the do (which is what they want) and getting different results.
          Thanks as well for your compliments on the blog. I haven’t added any posts in a while but I’ll get back to it some time!!
          Best wishes.

        2. I’d like to weigh in here and come with my experiences and opinion.
          I am currently a dealer for AR resonance mouthpieces.
          I have played mostly MC and MD 42 throats with the Large backbore. I understood Antonio’s approach quickly  and was able to help others find combinations they were happy with. About 50% of my customers still play AR gear I sold them.
          I myself have gone in the Callet direction of sound ideal and approach and subsequently stopped using my AR gear very often, I did use my AR setup on a particularly good performance I did just the other day which was predominantly classical trumpet sound I was going for.
          Antonio will tell you himself that very few high level proffesional high note artists use his equipment. That’s not what they are built for.
          For me, the shallow tight mouthpiece culture that Callet is synonymous with is down to the unforgiving nature of the design. He obviously had many challenges playing on larger equipment and discovered that larger more open equipment almost encourages you to oberblow. In learning how to play small equipment he was able to discover what was falling apart when he overblew.
          I play incredibly small mouthpieces and sound bigger on them. I also sound louder on them. That’s not always what the doctor ordered…so learning technique from the small equipment I am able to use larger equipment for musical applications that require more delicacy.
          It is the age old concept of, Strength vs. Skill. It literally requires more strength to play larger more open equipment. The amplitude of the popping frequency is lower and therefore tin order to balance the equation, the play must use more lip tension and strength to support it. However if the lower amplitude is what the music asks for, we change the club but not the swing, and get dramatically different musical results.
          Either will get the job done. It’s up to the individual to decide which side they come from: dragging up from the bottom or dragging down from the top.
          Then Doug Mcvey enters the equation and you find out its an option to drag up and down from the middle…

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