Bore size and lip bends

[DrP2009]

Curious what the brain trust thinks about how bore size of the trumpet effects the ease of lip bends.
_________________
Above the staff,
Paul
B-7, Getzen Severinsen, Selmer Paris, P5-4, Jupiter Flugel, Jupiter Pocket, Creator of "Doc's Sock" bottle mute adapter

[Don Herman rev2]

Mostly other things than bore size, including bell flare and mpc. And you, the player, natch.

Lots of threads on bore size, and of course the old "irrelevance of bore size) note from Jim Donaldson's (RIP) Schilke Loyalist site, recreated here: https://www.everythingtrumpet.com/schilke/B_flat_trumpets.html
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"After silence, that which best expresses the inexpressible, is music" - Aldous Huxley

[Dayton]

I haven't noticed a difference. I've owned 0.468 step bore horns (CG Benge and Lawler C7)...0.448 (King Liberty) and many in between.

I do think that there are design differences that make some horns more flexible or less locked in than others, but for me the biggest difference is in the mouthpiece receiver gap. The smaller the gap the easier it is to bend notes.

[DrP2009]

Thanks for the replies. My experience as a hobby come-back player is that irregardless of the MP, I can slide around on my Getzen, Selmer, Callet Sima C and Jupiter pocket more easily than my B7, which is a medium bore, the others are ML. Comments??
_________________
Above the staff,
Paul
B-7, Getzen Severinsen, Selmer Paris, P5-4, Jupiter Flugel, Jupiter Pocket, Creator of "Doc's Sock" bottle mute adapter

[harryjamesworstnightmare]

Why don't you measure the gap and see what the differences are. You may discover the B7 has a larger gap than the other horns. Jason Harrelson sells a kit that allows you to adjust the gap so you can have the same gap on all horns if you wish. Every individual is different as to what gap they prefer. And every horn is different as to what gap works best for the specific mouthpiece.
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[Bflatman]

Let us think about acoustics for a minute.

A standing wave sits in an instrument when a tone sounds.

A standing wave will typically have nodes and these nodes can be pulled to or resist an impediment or step within the bore - this is the thinking behind reversed leadpipe designs.

Or the node can be pulled by the uncovering of a hole - this is the thinking behind the baroque trumpet with holes and keys.

In order for the note to bend the wavelength of the note must vary. This varys the position of any nodes within the bore.

The impediments on the inner circumference of a small bore instrument with a wall thickness of .450 for example will affect the sanding wave proportionately more than those of a large bore of 474 simply because there is less room within the bore for the standing wave to slide around.

The standing wave sees the same wall thickness differently in different bore sizes according to this logic.

Mouthpiece gap then exhibits the same effects as the ends of the slides do on the standing wave. The gap is a double step.

The same thing applies to the valves if they are slightly misaligned they form an impediment to sliding the standing wave.

The effect of loose valves are more difficult to predict but empirical research has shown that following a valve job the instrument typically slots better and resists the bending of notes.

Logic suggests that large bore, smooth bore, no mouthpiece gap, well aligned valves, and loose valves, are most conducive to note bending whereas small bore, steps in the bore, presence of mouthpiece gap, misaligned valves and tight valves, inhibit note bending.

Does this seem a reasonable view.

[Don Herman rev2]

Resonant length also depends upon bell flare, mouthpiece insertion, lip engagement, etc.

The resonant frequency of a tube does depend on diameter, but it's a secondary effect, and for trumpets we're usually talking small difference swamped by things like the bell flare.
_________________
"After silence, that which best expresses the inexpressible, is music" - Aldous Huxley