Player #1:

"I had the opportunity to give a shot to the Haefner line at Trumpetfest recently. The 1HX was too big for me, personally. I had many problems controlling it. The 1HC wasn't as difficult in that aspect. I found great improvement in all that when I tried the 3HC, and yet more when I tried the 3HC* which I now own one of. I'll be using it for Orchestra/Wind Ensemble playing. They're a great bunch of mouthpieces if you can control them. I suppose I'm a bit weaker than a lot of players out there, but it looks like they've got that covered in the line."

Player #2:

"If you feel the 1hx is to big , make sure you talk to them about backbores. I tried the one with #3 backbore and it felt to big. Then at ITG I played on the #24 backbore and was amazed in the difference it made in the overall feel of the piece."

GR:

I will explain some of these reasons why changing a backbore or something else will effect the way a player perceives mouthpiece size. The factors that can effect the way a mouthpiece feels are a change in the horn-or changing horns, venturi, gap, or backbore given the same rim, cup, and throat are used.

This is from lip equilibrium or the lip resting position in the mouthpiece. The lip is displaced into the mouthpiece and then a restoring force will return it to the equilibrium position in both directions. The louder you play the greater the amplitude or displacement into the mouthpiece. This may or may not change lip equilibrium but it will effect maximum lip engagement or penetration. Does your intonation change at very loud or soft levels? If so you may want to learn why. Lip equilibrium is increased into the mouthpiece when the resistance is changed, usually by decreased resistance. Therefore, as more or less lip is needed in the mouthpiece to play the trumpet it will have an effect on how the mouthpiece feels on the face. This is felt in terms of size/diameter as the lips will respond differently at different equilibrium levels. There is no correct equilibrium level, this is player specific and you must find out what works for you.

See GR's 3 Rules for Brass Playing:

1. The lips must be supple and free to vibrate without unnatural impingement or manipulation, cushion is required.

2. You need a constant supply of uninterrupted airflow that is supported. The air column must be free from impingement and manipulation.

3. There must be a match between the player, horn, and mouthpiece. If one changes the others must be able to accommodate the change or be changed as well.

Rule #3 is the key here. Any change must be accommodated. Here are a few things to consider.

1. Horn: If you change the trumpet or something on your trumpet this can affect the lip equilibrium.

2. Leadpipe: Gap and venturi should be measured and saved for future reference. Usually these will give you some insight if something is not working. History is always the key to the future. Lip equilibrium will also have an effect on Rule #1 as it can impinge vibration or cause manipulation.

The gap is important. Things that will change the gap are the way a receiver is mounted and the shank diameter of a mouthpiece. This can vary for horn to horn and maker to maker. If there is a problem I always look here first.

The backbore can make the system accommodate a poor match between mouthpiece, horn, and player. It is best to make sure the gap is correct before making a change in backbore. If the gap is correct different backbores will play better on different trumpets such as Bb vs. C. Often I will set up a player with the same rim and cup but change the backbore to accommodate different trumpets. Given that the gap is correct, with the Haefner series usually the #3 backbore works better in Yamaha and Bach C trumpets, Steve prefers the H24 backbore in his Blackburn C.