Foreword

It is the mouthpiece which provides the vital connection between the musician
and his or her wind instrument. Therefore, the mouthpiece must then meet the
most personal and critical demands of fine adjustment in order to achieve the
desired tonal color, flexibility and sense of well-being on the instrument.

While a student, it became clear to me that the right choice of equipment

provides decisive help in achieving musical goals. It also became apparent that I
had met the prerequisites for carrying out the task of designing innovative and
qualitative mouthpieces, namely;
(1) having advanced musical training (Conservatory of Linz, Vienna
Music University), and
(2) having the proper mechanical knowledge (completed apprenticeship in
a technical sector).

Now, as a professional musician, I am confronted daily with meeting the

challenge of making mechanical adjustments for various physical and musical
demands.

This being the case, it is easier for me to identify with the problems and wishes
of colleagues, and to find proper solutions to their problems.

The Catalog

Recognizing that my developmental work is constantly proceeding – and that I

can draw on the experiences of many customers – I feel that it is now necessary
to select and provide an overview of the present variety of products. Special
niche products
are to be put to the side (but not completely cancelled) in order to present the
advantages of the more popular mouthpieces. Revisions (especially on trombone
mouthpieces) have been labeled, and improvements described.

Now I can only hope that you can find a fitting combination among my products
that meets your needs. Naturally, whenever possible, I will offer my advice to
assist you in your search.
French Horn

Systems

In order to provide the proper mouthpiece that meets personal tastes and the
demands of various playing situations I offer two mouthpiece system with
numerous variations within each system.

Two-part system (standard) with

interchangeable (detachable) rim and
cup.
The two-part system features a fine
cost/performance ratio. The screw-rim
allows one to substitute shanks, while
keeping the same rim.

Three-part system with

interchangeable rim, cup and shank.
This system is most effective for
combination. By varying cups or
shafts, various tone and playing
qualities can be achieved. This is
very practical when changing to
other instruments. The embouchure is not affected, due to remaining on the
same rim. The cup depth ranges to a maximum of 30 mm; the maximum bore
diameter is limited to 4.7 mm.
Design

The design of the outer contours of the mouthpiece, including mass and shape,
considerably influence tonal quality and blowing quality. It is also a factor in
matching the mouthpiece to the instrument.

There are basically three weight classes offered, whereas the middle model is
best suited for the double horn, and the light version works best with natural and
Vienna horns.

For achieving a compact tone, the heavier models are advantageous. The tone is
somewhat darker, and it is reported by some that slurred passages flow easier.
There is less tendency for losing tonal focus in extremely loud passages.
Inversely, mouthpieces with less massive forms can produce a lighter, more
brilliant tone. The mouthpiece and the instrument both vibrate. The flexibility
one has with lighter mouthpieces is helpful for solo performance.

schwer mittel leicht

schwere barocke
Ausführung Ausführung

Standard Standard
Doppelhorn Wienerhorn

Ribbed” Form

This model was developed in order to

make extremely stable “slotting”
possible. The “ribs” substantially
enlarge the surface, leading to a
larger vibrant surface. This form is
only available by special order.
Standardization

The mouthpieces are standardized by using a system of letters and numbers,

with the letter denoting the form, and the number denoting the diameter of the
cup.
A certain letter before a slash (/) defines the instrument intended (examples: D/
stands for double horn and W/ for Wienerhorn = Vienna horn).

The cup diameter is measured at a depth of 2mm.The size standardization of the

cup diameter (or internal rim) runs from the numbers 1 to 9, and the
corresponding horn mouthpiece diameters range from 16.6 to18.2 mm.

∅ 16,6 mm Nr.1
∅ 16,8 mm Nr.2 Nr?
∅ 17,0 mm Nr.3
∅ 17,2 mm Nr.4
∅ 17,4 mm Nr.5
∅ 17,6 mm Nr.6
∅ 17,8 mm Nr.7
∅ 18,0 mm Nr.8
∅ 18,2 mm Nr.9

Rim

For a better overview, the overall descriptive character and the rim contour are,
respectively, divided into four subsections: the inner edge or rim bite, rim
thickness, the outer rim edge, and the rim width.
The inner cup diameter is chosen according to individual needs (dental anatomy,
etc.), allowing the lips to vibrate optimally.
The number of the chosen rim determines the corresponding cup.

Inner edge or rim bite The form can vary from “smooth” to “sharp”; a sharper
rim gives a precise attack and brilliance, whereas the smoother inner edge
weakens these qualities, while increasing endurance.
High point The position of this point influences the personal feeling for the
diameter of the cup. Should this point lie far to the outside, then the rim seems to
be wider than the numbered size. In this case, the tone will become darker.
Outer rim The outer rim is especially significant to horn players for setting in
(= German: einsetzen). An outer rim that is drawn-out more sharply offers more
support on the lip, but should not be taken to painful extremes.

Overview of the rims

H M T B

J C K E

U 29 Z Y

Width wide rims can improve endurance, while flexibility can be better
attained with narrower rims.
Model Width inner edge Description
J 3.78 rather sharp good response
U 3.78 rather sharp good response, rounded outer rim
TJ 3.80 rounded very sharp outer rim
E 3.82 sharp good response
Y 3.88 rounded Yamaha
H 3.96 sharp same as J, but wider
Z 3.96 somewhat rounded good endurance
B 4.04 rather sharp flat contact area
K 4.05 rounded stabile lip contact area
M 4.15 soft good endurance, flexibility
T 4.16 sharp good response, flat contact area
S 4.21 somewhat rounded smooth- rounded outer rim
C 4.25 rather sharp flat contact area, good endurance
29 4.27 soft by No. 2 – Schilke 29
F 4.30 rather sharp rounded outer rim
ML 4.47 soft comfortable, stabile lip
contact area
CL 4.60 rather sharp flat contact area
Cup

The analysis and description of the cup has been divided into three parts: the
cup, throat and bore. The cup depth is given in addition to the rim depth (rim
depth = 2 mm).

Descant horn
H/A H/B H/C

Cup model Bore Depth Description

H/A 4.0mm 18.0mm for extreme demands; tone quality is
compromised
H/B 4.1mm 20.9mm very good high range; sufficient tone quality
H/C 4.2mm 20.9mm good slotting in the high register; balanced
tone quality
H/MD 3.8mm 22.7mm rather V-form cup

Double horn

D/NA D/H D/B D/F

D/G D/E D/JZ

Cup model Bore Depth Description
D/N 4.2mm 21.2mm shallow U-form cup
D/NA 4.2mm 23.4mm good response; good slotting in the high
register
D/NB 4.3mm 23.8mm good response; little darker than NA-cup
D/H 4.4mm 24.7mm good upper range
D/A 4.4mm 25.0mm
D/K 4.4mm 26.3mm
D/B 4.3mm 27.0mm somewhat more resistance
D/F 4.5mm 27.0mm very playable
D/BA 4.5mm 27.4mm
D/G 4.3mm 29.0mm large tone; rather closed cup.
D/E 4.5mm 29.5mm well-liked cup; solid, dark tone
D/EG 4.5mm 29.5mm
D/EW 4.7mm 29.5mm
D/JZ 4.5mm 30.0mm open feeling; dark tone
D/J 4.8mm 32.0mm very open cup; better suited for low horn
D/ET 4.8mm 33.9mm

Wienerhorn (Vienna horn)

W/SL W/F W/G W/AN W/E W/EH W/D

Cup model Bore Depth Description

W/H 4.3mm 24.0mm very shallow V-form cup
W/JH 4.5mm 27.5mm shallow V-form cup
W/TJ 4.5mm 29.5mm very good upper range; rather bright tone
W/D 4.7mm 30.0mm very good high register; full sound
W/EH 4.5mm 30.5mm balanced, very playable cup
W/E 4.7mm 32.0mm large tone; somewhat more resistance
W/AN 4.6mm 32.6mm good balance between full sound and good
response
W/G 4.7mm 35.0mm large tone, combined with ease of playing
W/F 4.8mm 35.9mm large, dark tone
W/L 4.9mm 36.0mm for deep hornplayers
W/V 5.0mm 33.0mm open cup, large tone
W/SL 5.1mm 36.0mm very dark, open cup; ideal for Wagner tuba
Baroque Horn
B/A B/B B/C

Cup model Bore Depth Description

B/A 4.0mm 21.0mm very good upper range; for short tubing
B/B 4.0mm 23.0mm very good upper range; relatively full sound
B/C 4.0mm 24.5mm for long c; full sound
B/D 4.4mm 24.7mm

Natural Horn

N/A N/B N/C

Cup model Bore Depth Description

N/H 4.6mm 27.5mm
N/A 4.6mm 29.0mm very good upper range; for short tubing
N/B 4.6mm 32.5mm good high register; rather pure sound
N/C 4.6mm 32.5mm full sound; for long tubing
Backbores

Concave backbore: for natural horn

mouthpieces; good slotting and intonation; good
balance between stopped and open tones.

Straight backbore: standard for Vienna horn

and double horn mouthpieces; stabile intonation
and sufficient tonal quality.

Convex backbore: upon demand, for double

horn mouthpieces; very full sound; somewhat
strenuous in the high register.

Shank descriptions for the 3-part mouthpieces

Shank model description

K concave
2 slightly concave
S standard bore, straight
W slightly convex
B convex
Trumpets

The 3-part mouthpiece system (screwable) consists of rim, cup and shaft.

Standardization

The mouthpieces are

standardized by using Trompete Jazz bzw. Piccolo
a system of letters and Standard
numbers, with the
letter denoting the
form, and the number
Piccolo Flügelhorn
denoting the diameter
of the cup.
A certain letter before
a slash (/) defines the
instrument intended
(examples: Fl/ stands
for Flugelhorn; Flx/
for jazz – flugelhorn,
etc.).

The cup diameter is measured at a depth of 2mm. The size standardization of the
cup diameter (or internal rim) runs from the numbers 1 to 9, and the
corresponding trumpet mouthpiece diameters range from 15.4 to 17.0 mm. The
progression follows in increments of 0.2 mm.

∅ 15,4 mm No. 1 No. ?

∅ 15,6 mm No. 2
∅ 15,8 mm No. 3
∅ 16,0 mm No. 4
∅ 16,2 mm No. 5
∅ 16,4 mm No. 6
∅ 16,6 mm No. 7
∅ 16,8 mm No. 8
∅ 17,0 mm No. 9
Rim

For a better overview, the overall descriptive character and the rim contour are,
respectively, divided into four subsections: the inner edge or rim bite, high
point, the outer rim edge, and the rim width.
The inner cup diameter is chosen according to individual needs (tooth anatomy,
etc.),
allowing the lips to vibrate optimally.
The number of the chosen rim determines the corresponding cup.

High point (of lip contact)

Inner edge outer rim edge hexagonal screw-rim

Inner edge or rim bite The form can vary from “smooth” to “sharp”; a sharper
rim gives a precise attack and brilliance, whereas the smoother inner edge
weakens these qualities, while increasing endurance.

High point The position of this point influences the personal feeling for the
diameter of the cup. Should this point lie far to the outside, then the rim seems to
be wider than the numbered size. In this case, the tone will become darker.

Outer rim edge The position of the outer rim edge determines the character
of lip contact of the rim.
The lower the edge lies, the rounder the rim. The higher the edge lies, the flatter
the rim.

Rim Width Wide rims promise better endurance, while improved flexibility
is achieved with narrower rims.
Generally speaking, narrower rims are recommended for instruments that are
played in the low registers.
Overview of the rims

Z BA BF BC

H* E B H

T X C A

CE R KM MA

To assist the graphic descriptions of the rims, a grid has been set “underneath”
the rim contours, extending to the edge of the inner rim (right side). A small
arrow denotes the position of the “high point”.

Model Width inner edge outer edge Description

Z 5.27 rather sharp rounded comfortable / Schilke
BA 5.23 sharp rounded good response / Bach
BF 5.33 rather raised flat contact area / Bach flat
sharp
BC 5.13 sharp rounded good response
H* 5.38 rather raised good endurance / Breselmeier
rounded
E 5.37 rather raised flat contact area
sharp
B 5.46 sharp rounded excellent response
H 5.45 soft raised flat; good endurance
T 5.37 soft rather raised comfortable contour
X 5.60 sharp flat
C 5.62 soft rather raised comfortable; excellent endurance
Y 5.68 soft very comfortable
A 5.73 rather soft comfortable, comfortable
TC 5.79 soft rounded very comfortable / Tilz
R 6.05 rounded rounded
KM 6.12 sharp rather rounded very flat
MA 6.42 rather soft rounded very suitable for small inner
diameter
Cup

The analysis and description of the cup has been divided into three parts: the
cup, throat and bore The cup depth is given in addition to the rim depth (rim
depth = 2 mm).

The cup determines the volume of tone, with

forms varying from a C-form to a V-form.
BD The throat (or junction to the bore) strongly
influences the tone color, with a wide throat
producing a darker tone, and vice versa.
The bore -- combined with the throat – affects
the resistance. The bore diameter is responsible
for the tone’s core. A bore that is too large results
in a stuffy, airy tone.

“Lead” trumpet,
piccolo trumpet XA XB XC
The “X” cups with the
shallow dish form are
especially conceived for
high register playing.
C B Y

Cup model bore depth cup form throat

XA 3.7mm 9.0mm C-form narrow
XB 3.6mm 9.4mm C-form rather narrow
XC 3.6mm 10.0mm C-form rather wide
XV 3.6mm 10.2mm C-form V-form
A 3.6mm 10.4mm shallow, bowl-shaped narrow
B 3.8mm 10.0mm bowl-shaped narrow
C 3.8mm 10.0mm very bowl-shaped rather narrow
Le 3.5mm 11.5mm very bowl-shaped rather narrow
Y 3.6mm 12.2mm somewhat V-formed wide
AB 3.7mm 10.8mm bowl-shaped rather narrow
AC 3.7mm 11.4mm bowl-shaped rather wide
LH 3.7mm 11.2mm bowl-shaped rather narrow
LW 3.6mm 12.2mm bowl-shaped wide
Lead and piccolo cups 2

A AB AC

Le LH LW

Cups in the Symphonic

series DA BD F
The cups in the Symphonic
series are separated into
two categories, according
to construction depth. The
smaller series (adjacent) is
easily recognizable by the G R E
fitting (2 mm in length),
which leads into the
screwable rim.

Model bore depth cup throat

DA 3.7mm 12.0mm bowl-shaped rather narrow
S 3.8mm 13.5mm bowl-shaped rather narrow
F 3.6mm 13.9mm bowl-shaped narrow
R 3.6mm 14.0mm bowl-shaped narrow
BC 3.6mm 13.8mm bowl-shaped wide
G 3.8mm 14.0mm bowl-shaped rather wide
BD 3.8mm 13.6mm rather V-formed rather narrow
E 3.8mm 13.6mm rather V-formed rather narrow
 J L H The symphonic cups of the
larger category can be
recognized by the 3 mm
fitting. These are
appropriate for a large,
K BZ orchestral sound. In general,
BE instruments with Perinet
valves should have cups
with a bowl-shaped form,
while V-formed cups are
more suitable for
GJ GA M instruments with rotary
valves.

Cup model bore depth cup throat

J 3.6mm 13.6mm bowl-shaped wide
L 3.6mm 15.4mm bowl-shaped rather wide
H 3.6mm 15.5mm V-form very wide
BA 3.7mm 14.0mm bowl-shaped rather narrow
HM 3.9mm 14.7mm V-form rather wide
K 3.8mm 14.5mm bowl-shaped funnel-form
BZ 3.8mm 15.5mm rather V-formed rather wide
GJ 3.7mm 14.3mm bowl-shaped rather narrow
BE 3.8mm 15.0mm rather V-formed very wide
GA 3.8mm 14.5mm bowl-shaped rather narrow
EY 4.0mm 14.5mm bowl-shaped rather wide
M 3.8mm 15.6mm bowl-shaped wide

Flugelhorn cups

Fl/A Fl/B Fl/C Fl/D Fl/E

The flugelhorn cups are either combined with special, short shanks, or with
trumpet shanks with the corresponding diameter. The small cups are very suited
for playing in wind bands.
Cup model bore depth cup throat
Fl/A 4.0mm 16.0mm rather bowl-shaped wide
Fl/B 3,8mm 16.8mm V-formed wide
Fl/C 3,8mm 17.0mm bowl-shaped wide
Fl/D 4.1mm 18.3mm V-formed wide
Fl/E 4.0mm 18.5mm very bowl-shaped wide
Fl/F 4.2mm 18.2mm very bowl-shaped wide

Jazz Flugelhorn
Flx/A Flx/B Flx/C

Due to the very deep

construction of these cups,
they are only available in a 2-
part system. These large cups
exhibit excellent intonation Flx/D Flx/E
and tonal stability.

Cup model bore depth cup throat

Flx/A 4.2 mm 20.0 mm slightly bowl-shaped rather wide
Flx/B 4.2 mm 20.8 mm very bowl-shaped wide
Flx/C 4.2 mm 20.9 mm slightly bowl-shaped rather wide
Flx/D 4.2 mm 23.0 mm bowl-shaped wide
Flx/E 4.3 mm 24.0 mm very bowl-shaped wide

Shank bores

Results of testing show that a

slight S-formed backbore taper
provides the best balance of the
elements of sound, intonation,
response and blowing quality.
The bore types are labeled with
letters or numbers according to bauchig
size (see table below), and with parallel
(non-binding) suggestions for
usage.
konkav
P piccolo (longer shank) / short piccolo shank
(softer sound)
No. 9 little more open than P
No. 5 Eb trumpet
No. 6 Jazz trumpet / narrower symphonic shank
recommended
No. 7 Symphonic shank with very good slotting/
short piccolo shank
No. 4 Symphonic shank / smooth sound
No. 2 Somewhat brighter symphonic shank; good
high register / short piccolo shank

W Very open “Wiener” (Viennese) bore

No. 1 Long flugelhorn shank
E Short flugelhorn shank / standard with FLX
shank
Trombone
Design

The design of the outer contours of the mouthpiece, including mass and shape,
considerably influence tonal quality and blowing quality. It is also a factor in
matching the mouthpiece to the instrument.

There are basically three weight classes offered, whereas the middle model is
best suited for the tenor trombone, and is the standard.

For achieving a solid tone, the heavier models are advantageous. The tone is
somewhat darker, and it is reported by some that slurred passages flow easier.
There is less tendency for losing tonal focus in extremely loud passages.
Inversely, mouthpieces with less massive forms can produce a lighter, more
brilliant tone. The mouthpiece and the instrument both vibrate. The flexibility
one has with lighter mouthpieces are helpful for solo performance.

The newly developed light model with vibration ribs has met with very high
approval following a trial period. The vibration ribs are also known as “cooling
ribs” in certain musician circles. They not only protect from “overheating”, but
also provide blowing differences that are heard and felt. The original reason for
adding these ribs to heavy models was for increasing flexibility. This took place
due to the large increase in surface area, as well as to the vibrating of each rib.
Both factors lead to a sound that is versatile and rich in overtones.

The model in the middle (*) is the standard. The desire for light or heavy models
should be indicated when ordering.
Systems

In order to provide the proper mouthpiece that meets personal tastes and the
demands of various playing situations, two system variations are offered.
Due to low demand -- and the resulting low profitability -- the compact system
was dropped from the program. The well-known, screwable add-on weight has
been completely reworked and improved, resulting mainly in increasing
flexibility to bass trombone mouthpieces.

Two-part system
The two-part system features a fine
cost/performance ratio. The screw-
rim allows one to substitute shanks,
while keeping the same rim.

Standard system
This system is most effective for
combination. By varying cups or
shafts, various tone and playing
qualities can be achieved. This is
very practical when changing to
other instruments. The embouchure
is not affected, due to remaining on
the same rim.

Standardization

The mouthpieces are standardized by using a system of letters and numbers,

with the letter denoting the form, and the number denoting the diameter of the
cup.
A certain letter before a slash (/) defines the instrument intended (examples: Th/
stands for Tenor horn; A/ for alto trombone, etc.

The cup diameter is measured at a depth of 3 mm. The size standardization of

the cup diameter (or internal rim) runs from the numbers 1 to 9, and the
corresponding alto and tenor trombone mouthpiece diameters range from 24.5 to
26.5 mm. The diameter range for bass trombone mouthpieces is between 27.0
mm and 29.0 mm. The progression follows in increments of 0.25 mm.
 24,50 mm 1 27,00 mm
24,75 mm 2 27,25 mm
25,00 mm 3 27,50 mm
25,25 mm 4 27,75 mm
25,50 mm 5 28,00 mm
25,75 mm 6 28,25 mm
26,00 mm 7 28,50 mm
26,25 mm 8 28,75 mm
26,50 mm 9 29,00 mm

Shank conception

Size 1:for alto trombone, German trombone, bass fluegelhorn

Size 2: for Lätsch 3, tenor horn, baritone

Size 3: for trombones of American design

Size 3* same size as no. 3, but somewhat longer, in

order to increase tonal stability. This shank is marked with an
asterisk (*). (only custom made)
Size 4: for bass and contrabass trombones and, of late,
for mouthpiece systems of open construction design.

Rim

For a better overview, the overall descriptive character and the rim contour are,
respectively, are divided into four subsections: the inner edge or rim bite, high
point, the outer rim edge, and the rim width.
The inner cup diameter is chosen according to individual needs (dental anatomy,
etc.), allowing the lips to vibrate optimally.
The number of the chosen rim determines the corresponding cup.
 High point (of lip contact)
Inner edge outer rim edge

Inner width
Outer width

Inner edge or rim bite The form can vary from “smooth” to “sharp”; a sharper
rim gives a precise attack and brilliance, whereas the smoother inner edge
weakens these qualities, while increasing endurance.

High point The position of this point influences the personal feeling for the
diameter of the cup. Should this point lie far to the outside, then the rim seems to
be wider than the numbered size. In this case, the tone will become darker.

Outer rim edge The position of the outer rim edge determines the character of
lip contact on the rim.
The lower the edge lies, the rounder the rim. The higher the edge lies, the flatter the
rim.

Rim Width Wide rims promise better endurance, while improved flexibility
is achieved with narrower rims.
Generally speaking, narrower rims are recommended for instruments that are
played in the low registers.

Rims for alto and tenor trombones, euphoniums...

To assist the graphic descriptions of the rims, a grid has been set “underneath”
the rim contours, extending to the edge of the inner rim (right side). A small
arrow denotes the position of the “highest point”.
 SJ

JA HS BW GI

P RJ Y GA

Current mouthpieces and their merits:

Model Width inner edge outer edge Description / comparison

P 6.85 sharp flat bright, immediate response
JA 6.83 sharp rather flat flexible rim

SJ 6.85 rather sharp excellent response

BA 6.91 rather sharp descends excellent response
to outer rim edge
HS 6.76 rather smooth rather narrow very direct response; bright
tone

GA 7.08 sharp rather rounded good response; flexible rim

AP 6.92 smoothrather rounded dark sound / Andreas
Pfeiler
AF 6.99 smoothrather flat very good endurance

Y 6.98 smoothdescends to outer rim edge better response than

model RJ
RJ 6.83 very smooth descends to very dark sound /
outer rim edge Rudolf Josel
GI 7.21 rather angular rounded wide rim with good
response

S 7.68 smoothvery rounded / Slokar

T 6.98 rounded rounded lip contact area seems
narrower
BW 6.91 rather smooth rounded like the Bach inner edge,
but smoother
Bass trombone, contrabass trombone

Model width inner rim lip contact description

area
G 5.4 rather rounded rather flat good endurance despite
narrow rim

W 5.45 rather smooth flat good, direct response

Y 5.55 rather sharp descends to very comfortable rim; very
outer rim edge good response

HP 6.04 smooth rounded inner and outer rim

edges are like the
AP model (tenor
trombone)
GB 6.11 rather rounded rather rounded very good endurance;
dark sound
TB 6.53 rather sharp rather flat flat contact area /
Thomas Bender

Cups

The cup determines the volume of tone, with

forms varying from a conical form (V-form)
to a bowl-shaped form. The throat (or
junction to the bore) strongly influences the
tone color, with a wide throat producing a
darker tone, and vice versa.
The bore -- combined with the throat – affects
the resistance. The bore diameter is
responsible for the tone’s core. A bore that is
too large results in a stuffy, airy tone.
Alto trombone

In order to assist you in choosing cups, a sub frame has been integrated into the
diagrams. Cups E and F are also especially suited for lead trombone in bigbands.

A B J GM

C D E F

model bore depth description

A/A 5.8 mm 26 mm bright, fine sound; excellent for
high register
A/B 5.8 mm 26 mm more volume and somewhat
more resistance
A/C 5.8 mm 27 mm popular, balanced
cup for alto trombone
A/D 5.8 mm 27 mm voluminous tone
A/E 5.8 mm 28 mm very well suited for jazz
trombone
A/J 5.8 mm 23.5mm rather dark tone
A/F 6.0 mm 25 mm open response
A/GM 6.2 mm 23 mm very bright; somewhat open
A/JB 6.2 mm 26 mm shallow alternative; also for jazz
trombone
Tenor horn

As you can see from the drawing, my

tenor horn cups are really conceived
as “horn” mouthpieces. This should
help to fulfill the specific sound
requirements of this
instrument.

model bore depth description

Th/A 6.0 mm 23.5 mm smallest V-formed cup
Th/B 6.0 mm 25.0 mm V-form; easy high register
Th/C 6.0 mm 28.5 mm very popular V-shaped cup
Th/D 6.0 mm 32.0 mm voluminous tone;
now easier to play
CJ 6.4 mm 29.5 mm cup for tenor horn, jazz
trombone, possibly baritone

Cups – American type of design

A bore of 6.4 mm is recommended for trombones of American design. Here is a

short look (graphics) at currently used cups of the American type of design.

B GD CJ G

GA D(W) E(W) F(W)

Addendum to cups D – F: a cup labeled “EW” is, in principle, identical to cup
“E”. The only difference being that the “EW” has an extended throat (blue line)
for providing a better air flow.

model bore depth description

B 6.4 mm 26.5 mm excellent upper register;
bright tone color
CJ 6.4 mm 29.5 mm bright tone; cup for all-round use
GD 6.4 mm 28.0 mm also recommended for baritone
G 6.4 mm 30.0 mm dark tone color; somewhat more
resistance

SJ 6.7 mm 29 mm easily playable; brighter tone at ff

volume

SB 6.7 mm 30,5 mm comfortable high register with a full

tone

D 6.8 mm 29 mm rather bright symphonic cup

DW 6.8 mm 30 mm more V-form than D-cup
E 6.8 mm 31 mm very balanced, full sounding
symphonic cup
EW 6.8 mm 32 mm dark, open tone; works very well with
CL shank
F 6.8 mm 33 mm dark, full tone
FW 6.8 mm 34 mm very dark and open; for musicians who
set their lips deep into the cup

Cups with an open construction

Design

The term “open construction

design” refers to the feeling one
has when blowing mouthpieces
that give the impression that
less air pressure, but more air
volume is needed for tone
production. These cups
combine with shanks that are
consistently concave, such as
the B5, A5, and now, the new
K5.The outer dimensions of the
shank are identical to those of
the bass trombone shank. The
system is constructed so that the bore of the cup does not influence the bore of
the shank. This design is an absolutely new product development. The
“vibrating ribs” feature work extremely well with a “heavy” model, but with a
slight reduction of mass. One has the feeling of setting on railroad tracks, but
enough flexibility remains to make differences in tonal shading.
These mouthpieces are highly recommended for trombones made by Conn,
Edwarts, or any of similar construction. They are also for larger compensated
euphoniums, as well as for those players who would like to make their sound
broader and darker.

O/DS O/ES O/EG O/JA O/JS

model bore depth description

O/DS 7.3 mm 29.5 mm bright tone; good high register
O/ES 7.2 mm 30.5 mm good balance of response and Volume
O/EG 7.3 mm 30.8 mm dark sound; open blowing
O/JA 7.2 mm 31 mm somewhat more air pressure
O/JS 7.3 mm 31.5 mm big, dark tone
O/K 7.0 mm 34 mm very wide bowl-shaped
O/S 7.5 mm 32.5 mm shallow cup, long narrow throat

Cups – German type of design

The significant difference of this type of construction is due to smaller bore

diameter (6.0 – 6.2 mm), which allows for the smaller sized instruments.

D/A D/B D/D D/E

Here is a short overview (diagrams) of popular cups.

model bore depth description throat
D/A 6.0 mm 28.3 mm somewhat rather
bowl-shaped narrow
D/B 6.0 mm 30 mm very rather
bowl-shaped narrow
D/D 6.2 mm 30 mm somewhat rather
bowl-shaped wide
D/E 6.2 mm 32 mm bowl-shaped rather wide

Bass trombones

The large choice of cups, as well as three different (and extremely well tested)
outer contours, should hint at the fact that I am a bass trombonist.
• middleweight model with very improved weight
• strengthened “heavy” design for immediate response
• new, “heavy” design with the “vibrating ribs” feature

There are three possibilities for using the new, screwable, add-on weights.
• By tightening the large chamfer onto the cup, one deadens all natural
vibrations.
• By tightening the large chamfer onto the cup, one partially absorbs the
transfer of vibrations.
• By loosely screwing on the threads, one lops the peak vibrations of the
mouthpiece.

Cups

Here there are two schools of tonal concepts to be considered, and their
corresponding cup designs.
The American design has a very deep, bowl-shaped cup, which gives a very
broad sound. Their is a tendency for a “queasy” quality to appear. In order to
avoid this and to ensure good response, my American style cups have been
improved by widening the throat.
My conception of the somewhat conical (V-formed) cup contour improves
response (attacks) and produces a solid, centered tone with a very direct manner
of playing.

FW G SOLO SB

ENS SYM TB BG

model bore depth description

B/FW 7.2 mm 33 mm small, bright cup; good for large euphonium
B/G 7.3 mm 33 mm somewhat fuller and darker than the B/FW cup
B/C 7.5 mm 37.5 mm voluminous sound despite relatively small bore
B/So 7.7 mm 33.3 mm bright tonal color; very flexible
B/SB 7.7 mm 33.3 mm solid and rather bright sound; more
volume as the Solo cup
Ens 7.7 mm 34.3 mm somewhat more bowl-shaped; warmer
tone
Sym 7.7 mm 35.3 mm very open, centered tone; very good
response
SYB 7.8 mm 35.5 mm somewhat warmer sound than the
Sym model
B/TB 8.0 mm 36 mm dark tone, good for the large German
bass trombone
B/N 8.0 mm 37.6 mm darker symphonic cup; very flexible
B/BG 8.0 mm 39.0 mm very dark, full tone; large symphonic
cup; very good response
Contrabass trombone

Presently there are three different cup

forms for contrabass trombone. They
make up the logical continuation of the
bass trombone concept. The contrabass
trombone mouthpieces are available in
two widths (inner cup diameter).

No. 1 30.15 mm
No. 2 30.85 mm

model bore depth description throat

KBP/A 8.4 mm 39.5 mm rather bowl-shaped wide
KBP/B 8.4 mm 38.5 mm bowl-shaped narrow
KBP/C 8.4 mm 41,0 mm rather bowl-shaped wide

Backbores

The backbore is divided into two sections: the throat

(parallel bore section), and the actual backbore
(tapered bore section).

Bore In addition to the diameter, the length is a decisive factor. The bore
diameter corresponds to each given cup. A long throat – labeled with an “L” – is
recommended in combination with a deep cup.
A long throat assists stable intonation. A short throat ensures smoother lip slurs.

Backbore In a certain sense, the backbore influences the subtleties of blowing

and tone color production. The forms range from concave to straight to convex,
as well as mixtures of these forms. Concave forms have more resistance, while
straight forms allow a fine air flow. Convex forms provide a fuller tone, while
mixtures can help in the higher registers.
 concave straight curved mixed form

model description
A (L) concave
B (L) slightly concave
C (L) straight
D (L) slightly convex
E (L) convex
F (L) mixed form / 2/3 convex – 1/3 concave
G (L) mixed form / 2/3 convex – 1/3 straight (also for German trombone)
S mixed form / bottleneck form; darkens tone; open playing
H very convex for German trombone
J very convex for German trombone
K5 concave, for “open construction design”; very centered

Backbores “H” and “J” are only recommended for shank size no. 2 (mid-size
shank).
In addition to the letters, the shanks are marked with a number. This designates
the diameter of the bore, for example: G2 = 6.2 mm.

Sackbut (baroque trombone)

Baroque mouthpieces for alto, tenor and

bass trombones are available in the 2-part
system, as well as in three types of
“originality”.

1st type The cup is sectioned to the

bore, in combination with the modern
trombone rim. This is the best
compromise, when one must quickly
change between playing the modern and
baroque trombone.
2nd type The cup is sectioned to the bore, in combination with a very flat rim,
but has rounded edges.

3rd type The cup is without a section cut to the bore, and is combined with a
flat rim and sharp edges. This is the traditional combination, but has playing
difficulties.

Alto- Tenor- Bass-Trombone

1st type

2nd type

3rd type
TUBA
Design

The design of the outer contours of the mouthpiece, including mass and shape,
considerably influence tonal quality and blowing quality. It is also a factor in
matching the mouthpiece to the instrument.

There are basically two weight classes available.

For achieving a solid tone, the heavier models are advantageous. The tone is
somewhat darker, and it is reported by some that slurred passages flow easier.
easier There is less tendency for losing tonal focus in extremely loud passages.
Inversely, mouthpieces with less massive forms can produce a lighter, more
brilliant tone. The mouthpiece and the instrument both vibrate. Another
characteristic of the lighter design is more flexibility, especially for solo
performance.

System

The tuba mouthpieces

are offered solely in a
3-part system, whereas
the cup section is
available with a light
or heavy design. The
novel concept for tuba
mouthpieces allows a
bore change
encompassing a
variance of 8.6 mm,
independent of the
shank’s bore.
Standardization

The mouthpieces are standardized by using a system of letters and numbers,

with the letter denoting the form, and the number denoting the diameter of the
cup.
A certain letter before a slash (/) defines the instrument intended (examples: F/
stands for F-tuba and B/ for Bb tuba).

The cup diameter is measured at a depth of 3 mm. The size standardization of

the cup diameter (or internal rim) runs from the numbers 1 to 9, and the
corresponding tuba mouthpiece diameters range from 30.33 to 33 mm. The
progression follows in increments of 1/3 mm.

1 30,33 mm
2 30,66 mm
3 31,00 mm
4 31,33 mm
5 31,66 mm
6 32,00 mm
7 32,33 mm
8 32,66 mm
9 33,00 mm

Rim

For a better overview, the overall descriptive character and the rim contour are,
respectively, divided into four subsections: the inner edge or rim bite, high
point, the outer rim edge, and the rim width.
The inner cup diameter is chosen according to individual needs (dental anatomy,
etc.), allowing the lips to vibrate optimally.
The number of the chosen rim determines the corresponding cup.

Auflagefläche
Innenkante Außenkante

Innendurchmesser Breite
Inner edge or rim bite The form can vary from “smooth” to “sharp”; a sharper
rim gives a precise attack and brilliance, whereas the smoother inner edge
weakens these qualities, while increasing endurance.

High point The position of this point influences the personal feeling for the
diameter of the cup. Should this point lie far to the outside, then the rim seems to
be wider than the numbered size. In this case, the tone will become darker.

Outer rim edge The position of the outer rim edge determines the character of
lip contact of the rim.
The lower the edge lies, the rounder the rim. The higher the edge lies, the flatter
the rim.

Rim Width Wide rims promise better endurance, while improved flexibility
is achieved with narrower rims.
As is the case for all low instruments – especially for the tuba – the attack
(response) is a predominant problem. I therefore recommend the use of a
somewhat narrow rim, as this allows a more direct response.

Overview of the rims

GH T CB

Y BP R
Model width inner edge description
GH 7.93 rather roundedflat rim; good endurance; relatively
good response
T 7.89 rounded comfortable rim; slight sacrifices
in response
CB 7.16 rather sharp despite sharp inner edge, the broad
rim provides comfort
Y 6.87 smooth lips protrude into mouthpiece; very
comfortable
BP 6.81 smooth recommended, comfortable rim for
the highly trained; very direct response
R 6.68 sharp very direct response; possibly tires
one more quickly

Cup

The analysis and description of the cup has been divided into three parts: the
cup, throat and bore. The cup depth is given in addition to the rim depth (rim
depth = 3 mm).

The cup determines the volume of tone In order

to get a more direct response, a wider throat
should be chosen.
The throat (or junction to the bore) strongly
influences the tone color, with a wide throat
producing a darker tone, and vice versa.
The bore -- combined with the throat – affect
the resistance. The bore diameter is responsible
for the tone’s core. A bore that is too large
results in a stuffy, airy tone.

In order to assist you in choosing cups, a sub frame has been integrated into the
diagrams.
F-tuba cups

F/G F/W F/HP F/J

Model bore depth description

F/G 8.3 mm 39.0 mm easy response; rather bright sound
XS 8.6 mm 48.0 mm shallow cup, long narrow throat
S 8.6 mm 48.0 mm semi-shallow cup, long narrow throat
F/W 8.3 mm 41.0 mm good response
F/HP 8.3 mm 42.0 mm well-liked, balanced cup; dark tone
RW 8.1 mm 44.0 mm plenty of volume and power
F/J 8.6 mm 42.5 mm open, voluminous sound; very direct
response

C and Bb Tubas

C/F B/HP B/RW B/E B/G

Model bore depth description

C/F 8.4 mm 44.5 mm very open cup; good response
B/HP 8.1 mm 41.0 mm good response; relatively full sound
S 8.6 mm 48.0 mm shallow cup, long narrow throat
B/RW 8.1 mm 44.0 mm very direct, open cup
B/E 8.2 mm 43.6 mm darker sound; somewhat more
resistance
B/G 8.6 mm 45.6 mm large symphonic cup; large amount of
air necessary
Backbores

There is a choice of four different backbores for tuba mouthpieces. The

nomenclature ranges from E6 (very bowl-shaped) to B6 (concave), whereas the
no. 6 stands for the standard bore diameter of 8.6 mm.

Model description

W6 mixed form; 2/3 convex – 1/3 concave; very

wide bore

E6 very bowl-shaped; very warm, full sound; light

compromises in slotting

D6 slightly bowl-shaped; round, warm sound; open

blowing with good slotting

C6 straight ; very direct response with sufficient

tone quality

B6 concave ; very direct response; somewhat

more resistance; slight compromise in tonal
quality

S6 mixed form; 1/3 convex – 2/3 concave; narrow

bore, nice sound