Sizzle?

jazzsolotrumpet · Posted: Fri Dec 05, 2003 3:43 pm Post subject:

I have heard several times to add "sizzle" into my sound. How do I do this? Play louder? More 'uumph'?

*Confused*

-Matt

valvepimp · Posted: Fri Dec 05, 2003 3:52 pm Post subject:

Maybe if you drained your spitvalve less the sound would make more of a sizzle

It's not an agreed-upon term, I wouldn't think, so it's highly subjective as to what this person meant. Suppose I asked you to make your sound more "dynamic". You might know what I was getting at, and you might not. Dynamic as a trumpet playing term is a lot more definable than sizzle. Ask the person what he meant.
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musiclifeline · Posted: Fri Dec 05, 2003 4:14 pm Post subject:

sizzle generally means a bright, resonant sound, often a characteristic of lead trumpet playing. the term is most often applied to sounds in the medium-upper to upper register (say, above the staff). it's a sound that cuts through the band you're playing with.

the most popular ways to achieve this are a slightly shallow cup and/or a tight backbore in the mouthpiece, though there are quite a few players who can achieve this sound with large, deep mouthpieces (though they may have to work a bit harder for it).

El Fliscornista · Posted: Fri Dec 05, 2003 4:27 pm Post subject:

James Thompson's "The Buzzing Book" w/play along CD.

_bugleboy · Posted: Fri Dec 05, 2003 4:43 pm Post subject:

Get Leon Merian's Sizzler mpc.

Northern Brass has a few pieces that have a good sizzle. My preference.

[ This Message was edited by: bugleboy on 2003-12-05 22:24 ]

James B. Quick · Posted: Fri Dec 05, 2003 8:16 pm Post subject:

Do you mean "Schnizzle"? jbqd

JoeCool · Posted: Fri Dec 05, 2003 8:40 pm Post subject:

Although I respect Bugleboys opinion and usually agree on 99.9% of his posts, do not get a Merian sizzler. I had one and those mpcs are wacked. The rims are very unconventional. But I do agree on the GR. I have a 64M and 64S and they are awesome. If you make your aperture less round, more flat, you will get a more cutting sound as well. Lip impingement into the cup has a great effect as well. I am just learning this.

Zaphod · Posted: Sat Dec 06, 2003 3:48 am Post subject:

play with a smaller mouth cavity, tongue more up and forward ("EEEEEE" ("sea") instead of "AAAAAAAA" ("Bach")), faster air!
_________________
One cannot expect to attain the highest point of exellence without hard work and perseverance.[...] Try to improve to some extent each day and to experience that satisfying pleasure in having conquered what at first seemed to be an impossibility! - Clarke

DaveH · Heavyweight Member Joined: 20 Nov 2001 Posts: 3861

I'd consider these things:

1. "Lips together" embouchure setting. This helps focus and center the tone, and avoid a "flabby" and "spread out" sound that you do not want, if you want "sizzle."

2. Use a mouthpiece no deeper than a "C" cup. It would probably be easier to get this kind of sound going for you if you don't use anything bigger or deeper than a 3C. The very large, deep cups are not well suited for achieving this type of sound. They are better suited for achieving a "dark" and "deep" sound, which is the opposite of what you are trying to achieve. I'm sure you can "sizzle" on a #1, but it is easier and will happen more naturally if you go a little smaller than that. Don't get hung up in the brand name. If one particular brand name works - good - but there is no such thing as the "perfect" mouthpiece, regardless of how much money you spend. There may be the "perfect mouthpiece" for a particular player, but not in any universal sense for everyone.
It is also not necessary, or even desirable, to try to use the smallest, shallowest, tightest backbore mouthpiece you can find. This may do more harm than good in your overall playing.
It is also not necessary to spend a lot of money for a mouthpiece. There are a variety of mouthpiece brands that can "sizzle." There are some players who find the Jet-Tone brand offers some "sizzle." Just a brand name suggestion you may want to consider....
Watch out for overly extreme characteristics in mouthpiece design - these things often create a big sacrifice in tone quality, or consistency throughout the range. There is more range to the trumpet than simply the notes above the staff. You need to play the entire range with good tone; not sacrifice tone in order to squeal out a few of the highest notes. Even if you want to "sizzle," you still want to do it with good tone. Tone is your greatest asset as a trumpet player.

3. Mentally, get away from the big deal about "dark" tone. You want the opposite of that. Think bright, lots of overtones, etc. Think centered and focused sound. "Aim" the sound at a pinpoint on the wall. Think hitting the center of the bullseye with your tone. This probably means staying away from the heavyweight equipment also. It will tend to deaden your sound by reducing the overtones and dampening the natural vibrations the trumpet makes under ordinary conditions. If I were you, I'd only use standard weight equipment, no heavy valve caps, etc.

4. Don't think "big" tone; think centered, focused tone. Think resonance. Make the horn vibrate in your hand with a focused and intense air stream. Think "laser beam" tone, but GOOD tone. Don't confuse "sizzle" with raspy or nasal sound.

5. Find a player whose sound you like and try to play with that sound. Imitate that player as much as possible. You probably will begin to make some adjustments in your own playing as a result of imitating someone, in order to copy that sound.

Those are just some opinions of mine and how I would approach the topic. Your results may vary, of course.

[ This Message was edited by: DaveH on 2003-12-06 08:01 ]

[ This Message was edited by: DaveH on 2003-12-06 08:09 ]

Zaphod · Posted: Sat Dec 06, 2003 5:17 am Post subject:

DaveH: "5. Find a player whose sound you like and try to play with that sound."

- very good advice!
_________________
One cannot expect to attain the highest point of exellence without hard work and perseverance.[...] Try to improve to some extent each day and to experience that satisfying pleasure in having conquered what at first seemed to be an impossibility! - Clarke

_bugleboy · Posted: Sat Dec 06, 2003 5:26 am Post subject:

My suggestion of the LM Sizzler was on the good natured side, hence the

. If you are trying to get sizzle in your sound and there is a mpc called the Sizzler, then it stands to reason that if you use that mpc you will get sizzle in your sound, quod erat demonstrandum. Of course, it often doesn't work out that way.

Generally, you will probably have to go to mpcs on the shallow side to get "sizzle" which I think of as being a sound that definitely favors the high overtones. It should have edge, even at mf dynamics. The Parduba mpcs (eg. *5*) get it, but GR (especially the Northern Brass line) is probably the best place to start in a quest for sizzle.

A well developed embouchure is an asset to any kind of sound or playing but (as mentioned already by DaveH) you need to know the sound you're looking for. You need to know what it sounds like so you'll know it when you get it, or start getting close to it.

Listen to the Wayne Bergeron recording of O Holy Night, the high part at the end. That's a tone that sizzles and burns!!

_________________
Charles Raymond

[ This Message was edited by: bugleboy on 2003-12-06 19:47 ]

kalijah · Posted: Sat Dec 06, 2003 2:34 pm Post subject:

Dave H wrote: "This probably means staying away from the heavyweight equipment also. It will tend to deaden your sound by reducing the overtones and dampening the natural vibrations the trumpet makes under ordinary conditions."

This is not a correct explaination of the heavy horn response. Heavy horns do not reduce overtones by absortion. They enhance the transmission of lower harmonics, including the fundamental and sub-harmonics. These lower frequencies are absorbed less with heavy equipment and survive the length of the horn to become part of the projected sound.

The high harmonics are hardly different between light or heavy horns. Of course ther are other variables; bell size, mouthpiece, bore size, etc.

In a lightweight horn it is the lower harmonics that are absorbed quicker than the high ones that makes the higher harmonics seem enhanced. This becomes even more the case as the volume increases.

So it is the loss (absortion) of low harmonics in a lightweight horn that make it sound brighter.

Sizzle is primarily dependent on the development of the player to be able to produce a tone with a greater mix of harmonics. Of course equipment does color the sound, but equipment does not produce the sound or guarantee results.

Strive for a sound that has a full mix of all harmonics.

DaveH · Heavyweight Member Joined: 20 Nov 2001 Posts: 3861

If I want a sound that "sizzles," as I think I probably understand the initial poster's interest, I will not be seeking to get it from heavyweight equipment. My advice to the poster remains unchanged - it will be easier to produce the desired sound on standard or light weight equipment...

trumpetdiva1 · Posted: Sun Dec 07, 2003 12:03 pm Post subject:

I can produce that "sizzle" sound that you are talking about easier on my lightweight Bach trumpet. Lightweights are good for producing that type of sound. I also play on a lead trumpet mouthpiece. Of course, it is not just the instrument or mouthpiece. Listen to someone who gets those "full range of harmonics" on the trumpet.

Janell Carter

[ This Message was edited by: trumpetdiva1 on 2003-12-07 15:09 ]

jazzsolotrumpet · Posted: Sun Dec 07, 2003 5:48 pm Post subject:

You would think that I get enough sizzle playing on a Monette LT BL3...

-Matt

da_roadrunner · Posted: Sun Dec 07, 2003 6:00 pm Post subject:

What I would do is ask your teacher to demonstrate, and then imitiate. Listen to recordings and imitate. Sounds like you're using the right mouthpiece for "sizzle". (course i use a 5C w/ a 24 throat to get mine) The best way to get it is have the sound concept in your head and then try to get it to translate onto ur trumpet.