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WHO SHOULD PLAY ASYMMETRICS? While it's true that high range isn't everything, it's also true that playing in the high register is the single most difficult element of trumpet playing. Endurance is also an important factor for the more advanced player. A professional lead trumpet player today is expected to have at least a strong G above high C and the endurance to play it at the end of a four hour engagement. And, it seems like high playing is universally admired and sought after by both novice and professional. But Asymmetrics aren’t just for professionals. They're for any player who wants to extend his high register. I’d like to see students started with them also. But whether you’re a student, a weekender, a come-back player, or a full-time workhorse lead player, using an Asymmetric mouthpiece can improve your playing in the following several ways: 1. More High Range: The Asymmetric will extend your present high range by several semitones, essentially because the cup design enables higher between-lip pressures ( and thereby higher notes) to be attained than when using a conventional mouthpiece. You'll be able to play notes that were previously unavailable to you. 2. Increased Endurance: The Asymmetric will increase your endurance significantly, basically because the rim design has about 40 % more area in contact with your lips; this causes the horizontal force (exerted by your left arm), to be distributed over a larger area, thereby causing the average pressure (defined as force divided by area) to decrease accordingly. When pressure is decreased, wear and tear on the lips decreases, and endurance increases. 3. Easier High Registers: The high and altissimo registers will become easier to play, because the horizontal pressure (caused by the left arm) required for any note will be reduced, and because the cup is designed to specifically cause greater between-lip pressures; generally speaking, high C or the D above high C, will feel, typically, about like G just above the staff on a conventional mouthpiece. 4. Bigger Sound: The backbore design will give you a bigger sound, than a typical shallow-cupped, tighter backbored, conventional mouthpiece designed for high register playing. The Asymmetric's backbore design reduces backpressure, especially in the higher and altissimo register, and tends to produce a freer blowing, more open sound. MORE RANGE -- BIGGER SOUND -- EASIER HIGH REGISTER -- MORE ENDURANCE -- Any one of these qualities would be sufficient reason to choose an Asymmetric over a conventional, radially symmetric mouthpiece. But when we can use a mouthpiece that is advantageous in all of these respects, the choice must clearly be the Asymmetric. The relevant questions seem, to me, to be, "Do we want these performance features? -- Do we want cutting edge technology? -- Or do we want, for some nostalgic or other reason, to stay locked into warmed over, 65 year old, conventional thinking with no real analysis to support the design?" The choice is, of course, yours. My own feeling, however, is that when there is a mission to be accomplished, the appropriate tool to use, is the one that makes the job both possible and easier. And, if you're like most trumpet players, you buy a particular mouthpiece to enable you to play better. So, if you feel that you're ready for improvement, let's let the old 1938 technology rest in peace and play the trumpet the way it should be played! With an Asymmetric, the first real innovation in mouthpiece technology! |
THE MODELS
The model numbers can be thought of as rounded engineering indices representing upper and lower half-cup geometries and cup depth, on a scale of 1 to 5. The "Lead 342", for example, has a fairly conical upper half-cup compound curvature, a substantially reduced lower half-cup compound curvature, and a medium cup depth. Models are as follows:
AVAILABLE NOW!!!!
| The POET with pouch and brush - $73.00 |
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Our new Fluegelhorn mouthpiece , the POET, incorporates new design, manufacturing and assembly features that enable the greater cup volume, required for the Fluegelhorn , while retaining the lower lip restrictor, the required signature feature of an Asymmetric. The Asymmetric feature raises your high range limit, and, in most cases, doubles your endurance and eases the whole playing experience. This is engineering. But what players are more interested in is flexibility, comfort, ease of high notes, and above all – sound. When it comes to playing high or loud, to create excitement, there is nothing like the Trumpet. But there is a time for music to be softer and more communicative. These times and places, when the ultimate expression of intimacy is desired, are better served by the Fluegelhorn with its haunting, warm and seductive sound. Also, for the last 50 years or so Trumpet players have found that the Fluegelhorn, with its ease of playing and fingering (same as the Trumpet), along with its sound and adaptability, has given players an instant doubling horn with little or no work to master. But the Fluegelhorn does have a few limitations. Most players find the higher end of the range (high A to high double G and above), ellusive. And, endurance also, sometimes suffers, especially with the larger Fluegelhorns and mouthpieces. The POET solves these problems and provides you with the ultimate in Fluegelhorn capability. And, you’ll fall in love with the sound. The combination of your Fluegel and POET gives you a sound that can’t be matched - warm and butterey smooth, even if your Trumpet sound is bright and edgey. Whether you are playing a Hymn at Christmas time on a snowy street corner, a solo in a Brass or Stage band, a Ballad in a jazz cellar at 3 AM, or giving a virtuoso performance, on stage, accompanied by a full orchestra, -- you’ll do it better with a POET. | |
| VIRTUOSO with pouch and brush - $73.00 |
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From 1848, when Arban first established the Cornet’s place as a classic instrument, to the present, the Cornet has won favor among great brass virtuosos the world over as the ideal choice for brass expression. Other players, from highschool to more advanced professionals, also seem to be drawn to the warmer sound of the Cornet. Today, we also enjoy the landmark advantages of the Asymmetric mouthpiece. A natural step in the evolution of Cornet equipment would seem to be the combination of Cornet and Asymmetric mouthpiece. We at Asymmetric, have taken that step. The Asymmetric VIRTUOSO Cornet mouthpiece gives the player more and easier high register, a bigger sound and doubled endurance. And, the deep Fluegel-like cup and enlarged throat and backbore preserve the ‘British Brass Band’ sound, favored by many, if not all, Cornetists. Whether you’re an embryo virtuoso, or just like the sound and added capability in your Cornet, the VIRTUOSO will do the job, and do it better than any other cornet mouthpiece available now. Play one, and see what all the talk is about. | |
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The LEAD 342M |
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If you're one of those power players who likes to put a little more air through his mouthpiece, we're offering the Lead-342M | |
The LEAD 342
- The ultimate embodiment of the concept, having laser-like cutting power and a bright, full, brutal sound. Designed for demanding high register performance, with semi-flat upper rim, medium cup depth, 25 throat (.150") and dual, modified straight backbore for a good low register and a bigger altissimo sound. Effective in any playing situation, but most appropriately applied as a lead trumpet mouthpiece.
The 3C+544
- Similar in design to the Opera 545 but effectivly slightly shallower due to more cup/backbore separation (longer cylinder) with much less weighting, a different backbore configuration and a slightly different rim geometry. These design features tend to produce a little brighter sound than the Opera 545, but without the edge and cutting power of the Lead 342. Slotting is also a little less for more overall, non-specialized performance requirements. They also incorporate the intonation and ease of playing frequently associated with a 3C. But this is a 3C "plus". The plus means easier high-register, more endurance and several additional semitones of high range. Like the other Asymmetrics, the throat is open (.150") for a bigger sound, but not to the point of adversely affecting endurance or intonation. And, the cup and backbore have been balanced. Definitely the mouthpiece of choice for players requiring a mouthpiece for more all around application, and light years ahead of the competition. Band directors, start your students on Asymmetric "3C+544"s to avoid the unnecessary handicaps of poor range and endurance. And, switch your more advanced players to Asymmetric "Lead 342"s and have a powerhouse trumpet section in a few months!!
The Opera 545
- For Symphony players, Jazz players and others desiring a less aggressive, more legitimate sound with good projection, but somewhat less edge than either the 3C+544 or the Lead 342. The upper rim has a well defined inner edge for reliable upper lip suspension, good flexibility and clean attack. The rim surface is semi-curved with a slightly higher inboard surface, and slightly softened outside edge for comfort and endurance. The bottom rim inner edge has also been softened to improve low-register performance and flexibility. The #2 Schmitt style backbore, effectivly deeper cup (minimal cup/backbore separation) and 25 throat (.150") along with massive cup and shank weighting tend to provide excellent slotting and a somewhat darker, more Teutonic sound, ideal for symphonic, operatic or jazz performances. Enhanced range and endurance are here too, just as with the Lead 342 and 3C+544. This combination of features in a legitimate, orchestral mouthpiece is unprecedented!!
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