Resistance: Where and how?

Venturi · Veteran Member Joined: 02 Apr 2012 Posts: 262

Players who like resistance "to have something to push against" have always intrigued me. I've preferred pretty much the opposite.

Hoping that if you're such a player you can chime in and describe how you use it and what it does for you.

Also, where/how do you prefer resistance in your set-up -- say in a tighter mouthpiece backbone, or a smaller bore in the horn, or something else?

bg · Posted: Sat Feb 08, 2014 5:21 pm Post subject:

In the embouchure, in the oral cavity, in the drill, in the backbore, in the lead pipe and in the bore of the horn. I like all of those locations to be as resistant as possible.

This makes every aspect of playing easier.
_________________
Brad Goode
www.bradgoode.com

shofarguy · Posted: Sun Feb 09, 2014 7:57 am Post subject:

For me, I seem to like a bell that is medium to large taper. So far, the horns I've played with tight bells present a wall in the upper register that I haven't learned to overcome.

For the most part (38B is the exception), MLP or L bore horns give me the feel of freedom I prefer and a sound that doesn't hurt my ears to listen to as I play.

I have just changed horns and this current horn has a different mouth pipe which starts out smaller (.343" vs. .348") and is more resistant throughout my range. It also has a more distinct face to the pipe's leading edge. These two elements seem to hold my sound together more consistantly and give a more positive response at the beginning of each note.

I still like big open back bores more than small or medium.

I prefer the sound and feel of a #26 mouthpiece throat bore for most things, though I play on certain, larger throats for ballad style music.

Cup depth varies depending on the situation, but I prefer a steep drop off the rim and a medium-flat bottom to the shape.

Rim is a Curry #5 on everything.
_________________
Brian A. Douglas

Flip Oakes Wild Thing Bb Trumpet in copper
Flip Oakes Wild Thing Flugelhorn in copper

There is one reason that I practice: to be ready at the downbeat when the final trumpet sounds.

gstump · Heavyweight Member Joined: 14 Nov 2006 Posts: 934

I use resistance as a limiter. I am the kind of player that has a hard time not getting louder and fuller and thicker the more I play, particularly on shows or charts that are in mid-range. I would lose range because the notes got too big. I eventually learned to hold back. But playing ML horns with tight back bores seemed to put a limit on my lack of self control.

Playing against the "wall" of resistance seems to meter things for me.

I hope that makes sense.
_________________
Schilke B5
Couesnon Flug (1967)
Funk Brothers Horn Section/Caruso Student

dstdenis · Posted: Sun Feb 09, 2014 12:05 pm Post subject:

Phyllis Stork, of Stork Mouthpieces, posted an interesting article related to this, Tongue Position and the War on Excessive Volume in Equipment Set Up.

Adam V · Posted: Sun Feb 09, 2014 10:01 pm Post subject:

I try not to think too much about "where" I like my resistance anymore. Instead, I let the sound be the judge.

Having said that, I've found (after lots of trial and error) that a good amount of resistance pretty much everywhere gives me the best sound, and with the least amount of effort. Things like: medium-tight leadpipe tapers (25-style, Malone MB1, etc.), a straight ML bore, squared or semi-round tuning slides, Bach-style bracing, "average" bell tapers, medium-heavy valve clusters. These things give my sound the focus and fullness I want with the least amount of manipulation/effort from my embouchure and air stream.

As far as mouthpieces go, I like your typical unaltered Bach C-cup mouthpiece for a legit sound, and Reeves stuff for commercial work. Throats bigger than a 27, and open backbores both get rid of a lot of the focus in the sound for me.
_________________
1970 Bach 37 Strad
Yamaha 635 flugel

Marcinkiewicz E3/3C

rockford · Posted: Mon Feb 10, 2014 1:43 am Post subject:

EdMann · Posted: Mon Feb 10, 2014 12:20 pm Post subject:

Brad, as usual, makes a lot of sense. It became abundantly clear, on my flugel for example, that after coming from a large bore Benge 5 to a .413 Besson that I could climb as high as I wanted with very little effort, so I worked to make that happen with other horns to great effect, my King Lib, the Martin, my Conns-- all smaller bores. With the right setup, what a sound, too! There's no mistaking the big sound you get with a large drill and a big bore horn, but unless you plan on a few hours of work everyday, good luck on the gig.

ed