Picking a Trumpet Mouthpiece - What Does What and How to Choose!

My process is:

• Find a comfortable rim.

• Find a cup that gives you the sound quality you are looking for

• Find a backbore that gives you the projection you are looking for with reasonable intonation.

• Adjust the throat to change resistance and fine-tune intonation.

• Adjust the gap to fine-tune intonation, resistance, and response.

START WITH THE RIM

Rim Variables

• Diameter – The overall width of the mouthpiece rim. This should not feel too large or small. Large rims often feel better in the short term, so make sure that you play-test any diameter changes for an extended time.

• Larger Diameters – Generally offer a fuller sound as more of your lip is vibrating. However, they also make range and endurance more difficult as it takes additional muscle to control the larger vibrating surface. If you use a mouthpiece with a diameter that is too large, you may sound “dull” or “lifeless” and have a limited range (especially after playing for a while). Additionally, you may feel as if you are “falling into” the mouthpiece if your embouchure is not strong enough to support the vibrating surface.

• Smaller Diameters – Generally offer a more compact sound and an easier upper register. However, it can be challenging to get a “full” sound on smaller-diameter mouthpieces. When your mouthpiece diameter is too small, your sound may sound “thin” or “nasal,” and your attacks will “split” more often. Additionally, your lips may feel cramped.

• Shape – Find a shape that grips your face well and feels comfortable without feeling “sharp” on your lips.

• Trying different rim shapes can be difficult, as many manufacturers offer only one rim shape without special ordering. One way to explore a range of rim shapes is to use similar-diameter mouthpieces from multiple manufacturers. Once you have an idea of what you may like, exploring special order or custom options becomes a more focused (and less expensive) process.

• Width – The overall thickness of the mouthpiece rim.

• Wide Rims – Often feel more comfortable and can aid endurance. However, this extra support can make flexibility more challenging. Rims that are too wide often produce a thin sound because they can hinder lip vibration.

• Narrow Rims – Generally offer greater flexibility and response. However, when too narrow, it can have a “cutting” effect on the lips, especially if excessive mouthpiece pressure is used.

• Highpoint Contour – The shape of the "rims” peak”

• Rounded Highpoint – Think “Hill” – Offers more flexibility but requires more muscle to control and feels more slippery. They can be more tiring to play on for long periods.

• Flat Highpoint – Think “Plateau” – offers a more secure feeling, but achieving flexibility can be more difficult. These rims help your endurance as you can rely on the mouthpiece for support.

• Bite – The bite is the shape of the inner edge of the mouthpiece as it transitions from the high point of the rim to the cup.

• Sharp Bite – Descends from the high point of the rim quickly to the cup (think of a crisp 90-degree turn) and creates a “sharp” feeling on the inner edge. Sharper bites offer improved articulation and responsiveness but can reduce endurance. If they are too sharp, they will be physically uncomfortable to use.

• Round Bite – Descends from the high point of the rim slowly to the cup (think of a wide turn) and creates a “round” feeling on the inner edge. Rounder bites are generally less responsive but are more comfortable and can aid endurance.

Rim Concerns

• Comfort

• Your rim should fit your face well. If you feel pinching, cutting, or any other discomfort, you likely need to use something different. On the other hand, if the rim feels slippery, difficult to “grip”, or unsteady, you may need to use something different.

• Quality of Articulation

• Surprisingly, the diameter and shape of the rim can have a pronounced effect on the quality of your articulation. If you are finding that your articulations do not respond quickly, you may need a smaller rim or one with a sharper “bite”. If your articulations are split or unsteady, you may need a larger rim or one with a softer bite.

• Ease of Flexibility

• The shape of your rim has an immediate effect on your flexibility around the instrument. If the shape is too flat, you will likely feel “locked in” and may have trouble moving easily through your range. Conversely, if the rim is too rounded, you generally find it easy to move around but may have difficulty maintaining accuracy and pitch control.

• Size Consistency

• A good rule of thumb is: use as few mouthpiece rim sizes as possible.

• If you are choosing an additional mouthpiece (for instance, for an alternate instrument like cornet or flugelhorn), I recommend sticking with the same rim that you already use. This helps make switching between the instruments as easy as possible.

• Suppose this means you can comfortably play everything on one rim —great! If you need to use two or three to cover all of your bases, this works great as well. I personally use two rims. One “big rim” for most playing and a “small rim” for lead and piccolo playing.

2. DECIDE ON A CUP

Cup depth: This is a significant factor in determining tone. A deeper cup produces a darker, warmer, mellower sound, while a shallower cup creates a brighter, more focused tone and helps with high notes.

• Cup shape: A U-shaped cup with a rounder, bowl-like interior often produces a focused, bright sound. A V-shaped cup, with its conical interior, typically creates a darker, warmer tone.

• Rim diameter: The width of the inner rim affects how much of your lips vibrate and how comfortable the mouthpiece feels. A larger diameter can produce a fuller sound and is easier for low notes, while a smaller diameter can improve endurance and make high notes easier.

• Throat diameter: The opening at the bottom of the cup affects airflow. A larger throat allows for more air and a fuller sound, but requires more breath. A smaller throat increases resistance, which can help with endurance and high-range playing. 

Cup Variables

There are lots of variables in the cup, but only two are readily orderable from most manufacturers: depth and shape. Some manufacturers use total cup volume to distinguish between different models. This is a hybrid measurement that combines the cup's depth and shape. While this can be a helpful measurement, I prefer to consider the depth and shape variables separately, as they each have distinct effects on the mouthpiece.

• Depth – Find a comfortable depth that offers you enough flexibility in tone quality to both blend with and project through the ensemble you are playing in.

• Deeper Cups – Help to accentuate the lower overtones in the sound. Deeper cups produce a darker, or “rounded,” sound. However, if your mouthpiece cup is too large, your sound will be unfocused and may not project well due to a lack of brilliance (high overtones). Additionally, range and endurance will be more difficult when your mouthpiece cup is too deep, as you will need to exert more effort to support the embouchure.

• Shallow Cups – Help to accentuate the upper overtones in the sound, and can help support the lips in the upper register. They offer a brighter or “edgy” sound and are primarily used with “high” trumpets (like piccolo) and in commercial styles of music (especially for “lead” style playing). However, suppose your mouthpiece cup is too shallow. In that case, you will have difficulty playing the lower register, articulations will split more often, and you may experience a feeling of restricted airflow or vibration, making playing at full volume difficult.

• Shape

  • “Bowl” Cup – Bowl cup mouthpieces are more resistant due to turbulence near the mouthpiece's throat (think water draining in a sink). This turbulence slows the air and typically results in a darker sound than a V-cup mouthpiece of the same depth. Response tends to be “faster” and have more “pop” in a bowl-shaped cup.

  • Due to their different shapes, bowl cup mouthpieces will have a greater internal volume than a V Cup mouthpiece of the same depth.

  • “V” Cup – V-cup mouthpieces are less resistant due to the absence of turbulence near the mouthpiece's throat (think water draining from a funnel). This allows air to move quickly and typically results in a brighter sound compared to a bowl-shaped mouthpiece of the same depth. Response tends to be “slower” and have less “pop” in a V-shaped cup.

  • Due to their shape, V-cup mouthpieces have a lower internal volume than bowl-cup mouthpieces of the same depth.

  • Hybrid Shapes – Most mouthpieces on the market are hybrids, blending the best of both styles in one way or another. Playing characteristics change dramatically if you alter the “ratio” of the hybrid.

Cup Concerns

• Tone Quality

• Tone quality is generally the primary concern when selecting a mouthpiece cup. Find a cup that produces a characteristic sound in the style of music you are playing. Additionally, make sure you can both blend and project with the same equipment.

• Articulation

• Articulation is also a significant concern when selecting a mouthpiece cup. Depending on the player, the mouthpiece shape can significantly affect articulation. Generally speaking, V-shaped cups tend to have a more “rounded” articulation, while bowl-shaped cups tend to have a more “pointed” articulation.

• Comfort

• Cup shape and depth should be physically comfortable. There are a few common problems that can be addressed quickly.

• First, if your lips feel pinched or cramped in the cup, it can indicate that your cup is too small, too “V”- shaped, or a combination of both.

• Secondly, your lips should not “bottom out” in the cup of the mouthpiece. If you are regularly bottoming out (especially when fresh), this can also indicate that your mouthpiece cup is too shallow, too bowl-shaped, or both.

• Finally, if you feel like you are “falling into” the mouthpiece or that it isn’t offering you any support, it means your mouthpiece cup is too large, regardless of shape.

• Additionally, playing through your range should be comfortable (within reason) if your high or low register is tough; that is a sign that your cup may be too deep or shallow, respectively.

• Size Consistency

• Eliminating variables can help make switching between horns easier. While not as vital as mouthpiece rims, I recommend that players use as few cups as possible. That being said, use as many as you need to achieve the sound that you want. The more styles of music/horns that you play, the more cup types you will likely need.

3. DECIDE ON A BACKBORE

Backbore Variables

The major differences between backbores are their internal shapes and total internal volumes. While there are many backbore designs on the market, it can be difficult (if not impossible) to find concrete information about what differentiates one model from another. Additionally, discussing backbores in detail is challenging because they interact so closely with both the player and the instrument. You will need to try many backbores to find the one that works best for you.

• Volume

• Smaller Backbores – Generally speaking, backbores with a smaller internal volume project a narrow sound (like a laser) and emphasize upper overtones. This creates a “bright” sound that “cuts” more easily, making them commonly used in commercial music styles. Additionally, smaller backbores tend to narrow the intonation across the instrument, flattening the upper register significantly while also sharpening the low register to a lesser extent. Smaller backbores are generally more resistant, and if your backbore is too small, you may find that your horn gets more and more resistant as you ascend.

• Larger Backbores – Generally speaking, backbores with a larger internal volume project a wide sound (like a flashlight) and emphasize lower overtones. This creates a “dark” sound that more easily “blends,” so they tend to be used in classical styles of music as well as during section playing. Additionally, larger backbores tend to spread the instrument's intonation, sharpening the upper register significantly while also flattening the lower register to a lesser extent. Large backbores are generally less resistant, and if your backbore is too large, you may find that your horn loses supportive resistance as you ascend.

• Internal Shape

• The internal shape of a backbore significantly influences the sound. This is why two backbores with similar (or identical) internal volumes can sound incredibly different. This is also why backbore with unique shapes can offer different sounds than their internal volume would suggest. Again, there is no set “rule” for what size to use. You will need to experiment to find what works best for you.

Backbore Concerns

• Projection

• The backbore is the primary determiner of how an instrument projects. You should choose a backbore that allows for both projection through an ensemble and blending within the ensemble you are playing in.

• General Pitch (compare Low C, Middle C, and High C)

• Because the backbore has such a significant effect on intonation (especially in the upper register), it can be helpful to check the general pitch of your instrument. I have found that comparing the intonation of different octaves is a very effective way to evaluate overall intonation. If the backbore offers the type of projection you want, this can also be adjusted using the throat.

• Consistency of feel across different instruments

• I like to think of the backbore as the “adapter” between the player and the horn. I personally have found that the backbore is the key to making a particular horn feel correct. With careful experimentation, you can find a suitable backbore for each of your horns that makes each horn feel more similar to the others while still providing sound projection and pitch. This makes switching between various instruments much easier.

• Resistance

• The shape and volume of a backbore affect the perceived resistance to the player. However, barring a significant issue, you will want to make adjustments to resistance using the throat, as the backbore affects many other aspects of playing more than resistance does.

How mouthpiece length affects your playing

• Intonation: Mouthpiece length directly affects the gap between the end of the mouthpiece and the start of the trumpet's lead pipe. Adjusting this gap can change the intonation. Some manufacturers, like Monette, Harrelson, and AR Resonance, design mouthpieces of different lengths to optimize intonation for specific trumpets, such as C, D, and piccolo trumpets.

• Resistance: The length of the mouthpiece's throat and backbore influences the instrument's resistance.

• A longer throat is more resistant, making low notes sharper and high notes flatter.

• A shorter throat is less resistant and can have the opposite effect.

• Tone and feel: These changes in resistance affect how the horn “blows,” or feels to the player, which in turn influences sound production. A mouthpiece's overall length is a balancing factor that allows manufacturers to adjust the internal dimensions for different desired outcomes.

• Historical context: Conventional mouthpiece lengths were developed for older “A/Bb” trumpets, and some modern players and manufacturers believe that the length should vary based on the key of the instrument. 

4. DECIDE ON A THROAT

Throat Variables

• Diameter – How wide the throat is. This is often determined by drill bit size. A larger-number drill bit produces a smaller-diameter hole.

• A few common sizes include:

• 27 Drill Bit = 0.1440in Diameter

• 26 Drill Bit = 0.1470in Diameter

• 25 Drill Bit = 0.1495in Diameter

• 24 Drill Bit = 0.1520in Diameter

• Remember that when you drill out a mouthpiece throat to a larger size, you also lengthen the throat.

• Larger Throat Diameters – Larger throat diameters typically lower perceived playing resistance evenly across the range. They offer a darker sound with a strong “core” and a greater dynamic range (especially at louder volumes). However, this assumes that you have sufficient air support. If the throat is too large, the sound will lack overtones and will sound “hollow” or “thin,” especially immediately after articulation. Low register articulations may also “air ball,” especially when playing softly.
  Additionally, range will become more difficult, endurance will decrease, and long phrases may be impossible as you run out of air to support the sound. One way to check if your throat is too large is to play a crescendo from PP to FF. If your throat is too large, you will likely go flat as you get louder.

• Smaller Throat Diameters – Smaller throat diameters typically increase perceived playing resistance evenly across the range. They respond more easily and offer a brighter sound with a smaller “core.” When the throat is too small, playing at loud volumes will be difficult, or you may find a “limit” on your volume. Additionally, if the throat is too small, low-register articulations may become inconsistent, and some partials may be “dead spots” that are difficult to slur over. One way to check if your throat is too small is to play a crescendo from PP to FF. If your throat is too small, you will likely go sharp as you get louder.

• Length

• Total length of the cylindrical section between the bottom of the cup and the beginning of the backbore

• Some mouthpieces lack a cylindrical section and are designed to transition directly from the cup to the backbore. Drilling out the throat of these types of mouthpieces changes their playing characteristics considerably as you introduce a new variable.

• Longer Throat Lengths – Longer throat lengths help focus the sound and accentuate upper overtones, which can aid projection. Lengthening the throat tends to maintain resistance in the middle register while increasing it in the lower and upper registers. Lengthening the throat will also typically reduce flexibility. When too long, they create a “locked-in” feel, where note slots are very secure but difficult to move between. Finally, longer throat lengths will narrow intonation, pulling the lower register sharp and the upper register flat.

• Shorter Throat Lengths – Shorter throat lengths help widen the sound and accentuate lower overtones, which can aid in blend. Shortening the throat tends to maintain resistance in the middle register while reducing it in the lower and upper registers. Shortening the throat will also help with flexibility. When too short, playing may feel “slippery,” with notes difficult to slot. Finally, shorter throat lengths will spread intonation, pushing the lower register flat and the upper register sharp.

Throat Concerns

• Resistance

• The throat is the primary way to adjust the resistance of the mouthpiece. Make sure your mouthpiece provides a comfortable airflow rate while playing, while still offering support. Balancing the length and diameter of the throat will allow you to keep a consistent resistance across the range of the horn. Typically, you will adjust the diameter if you need to distribute the resistance across the horn evenly, and you will change the length if the resistance feels uneven across the range.

• General Pitch (compare Low C, Middle C, and High C)

• Because the throat length has such a large effect on intonation, it can be helpful to check the general pitch of your instrument. I have found that comparing the intonation of different octaves is a very effective way to evaluate overall intonation. If the throat offers the type of resistance you want, it can also be adjusted with the backbore.

• Volume Control

• Adjusting the throat can make it easier to access your full dynamic range. You should be able to comfortably play both PPP and FFF and crescendo/decrescendo between them. If you are feeling undue back-pressure or a lack of support while playing at dynamic extremes, you may want to adjust the throat of your mouthpiece.

• Flexibility

• The length of your mouthpiece throat significantly affects how flexible your playing will feel. If your playing feels overly “slippery” or “locked in,” you may need to adjust the length of the throat.

• Consistency of feel across different instruments

• You can change the way a horn feels considerably by adjusting the throat, due to how the throat affects intonation and flexibility. With careful experimentation, you can find a suitable throat for each of your horns that makes each feel more similar to the others. This makes switching between various instruments much easier.

5. DIAL IN THE MOUTHPIECE BY ADJUSTING THE GAP

Gap Variables

Adjusting the gap can be difficult if you are experimenting with a mouthpiece without some gap-adjusting system. I personally use and recommend the Reeves Sleeve System. If you don’t already have this system on one of your mouthpieces, you can experiment with a larger gap by using the Paper Trick.

Click here for a link to a Bob Reeves blog post explaining how to use the paper trick.

• Length of the Gap

• The gap is the space between the end of the mouthpiece and the beginning of the leadpipe. Experimentation is your guide here. You want to find the gap that gives you the best intonation and allows notes to respond as easily as possible. Personally, I know when I have the correct gap when articulations “pop” easily. While there is no set formula for the best gap, I have noticed a pattern. Generally speaking, players who create their own playing resistance seem to prefer less gap. Alternatively, players who rely on their equipment for playing resistance seem to prefer a greater gap. That said, this is player-dependent and will change depending on how a player wants their mouthpiece to feel.

• Larger Gaps – Tend to be very slightly more resistant, generally felt as stronger “slotting” and contract the range towards the middle. When the gap is far too large, the lower register will likely feel stuffy, and the upper register can back up completely. Any adjustment to the gap will change the relative pitch of different partials on the horn.

• Shorter Gaps – Tend to be very slightly less resistant, generally felt as looser “slotting” and expand the range away from the middle. When the gap is far too small, a mouthpiece and horn combination will often feel extremely free-blowing but will offer no support to the player. Any adjustment to the gap will change the relative pitch of different partials on the horn.

Gap Concerns

• Specific Pitch (check Middle C, Middle E, and High G)

• The most crucial concern when choosing your gap distance is how the general intonation is around the horn. While the gap is not a miracle cure, adjustments to the gap can cause significant changes in the “problem” notes of the trumpet that help bring the trumpet closer to being “in tune” with itself.

• Response

• The gap can have a sizable effect on a horn's response (especially articulation). I have found that when the response feels good on a mouthpiece, I have found my proper gap setup for that mouthpiece/horn combination.

• Resistance

• Changes in the gap can change the resistance in one or more registers, which can serve as a helpful diagnostic. Could you make sure that the resistance through your entire range is comfortable and even? However, unless your gap is very off, adjustments to the gap generally do not cause significant changes in overall resistance. Instead, these changes usually act as a fine-tuner to the choices made in the throat and backbore of the mouthpiece. Changes to the gap can be beneficial when using the same mouthpiece on multiple instruments.