Material and Design

BACKGROUND

The design of a French Horn mouthpiece has always been intense interest to the player because this single component can easily be altered to effect changes in the sound and playing characteristics of a horn. The temptation to file, bore, sand, bend, grind or cut in order to make it better has been the ruination of many otherwise good mouthpiece designs, but sometimes improvement occurs in spite of everything.

As brass instrument designs evolved, local styles and schools of playing determined the type of equipment players used. The artist-player-teacher in the orchestras and conservatories passes their ideas on to both students and manufacturers of instruments. Equipment reflected the playing characteristics popular in that area. For example, orchestras in France sounded differently than in Germany, England or Russia and instruments in those countries were built in order to match the concepts of the musicians of that place and time. Communications between the horn player, other players and manufacturers was rather limited.

About the time of World War II there was a transition in the development of equipment, due in large part to increased air travel and improved communications. Ideas and information were shared. In the USA and Europe research into acoustics and manufacturing processes increased. Vincent Bach produced a line of mouthpieces and explained in an organized way how they worked; C.G. Conn Company installed an acoustical laboratory where Earle Kent, Dr. Arthur Benade and their associates developed many improvements in both the acoustics and manufacturing processes for building musical instruments; Philip Farkas, a famous player and teacher, became associated with the Holton Company and developed a series of mouthpieces widely used in this country; and Robert Giardinelli, in collaboration with many famous players, produced a large variety of French Horn mouthpiece designs.

At Lawson’s studies were made using a professional horn section and a divisible mouthpiece, whereby its four components: rim, cup, throat, and backbore could be individually changed. Since there are thousands of combinations possible from this kit it was difficult for players to analyze subtle musical differences. In 1968 there was no objective method for reducing the awesome number of combinations.

Another study was made to record the dimensions of hundreds of mouthpieces and average them. This yielded guidelines that a mouthpiece maker could use to develop designs acceptable even to the horn player of today who is performing a wide variety of music.

Presently, with the aid of computer technology, electronic means exist which simulate an instrument being played. The output contains a wide variety of objective information, previously expressed subjectively by the player. This information includes an analysis of : intonation, tone color, startup or response time, ease of playing in the different registers, uneven response, slurring, sound radiation, plus other qualities. Unexpectedly, the musicians’ collaboration with the designer is even more important than before as the players’ goals are diverse and need to be defined.

The mouthpiece is turned on a lathe from any material that is machineable to dimensions of very close tolerances. Precision in important as a musician can feel changes in the acoustics of his instrument as a result of mouthpiece variances of a thousandth of an inch (.001"). Brass or plastics are the materials of choice. Brass mouthpieces are generally plated with silver or gold. Some players prefer to use a bare metal rim because it oxidizes to a rough finish which gives a feeling of security. This is not recommended because of the danger of allergic reaction or even in severe cases, metal poisoning.

Players may be classified in two categories, those that use a dry embouchure or those that prefer a wet embouchure. The rim surface can greatly influence performance. A rough surface, such as a rim which has been silver plated is best for dry embouchure players who need extra friction for a good grip. Gold plate provides the slippery surface desired by wet embouchure player.

People with allergies to metal are recommended to use plastic rims. These materials vary, so careful selection of the right plastic is important. Some plastics are very brittle and are easily cracked or broken. Other irritate sensitive lips or are very slippery. Once the right plastic formula is found, the concerned player would do well to obtain a sample length so that future rims could be made without an aggravating search for the same material.

The most commonly plated surfaces are silver or gold. These two elements are relatively soft and wear in a gradual manner so that there is never a sharp edge where the brass metal is exposed. Once the plating has worn through, the mouthpiece should be refinished because the base metal will etch. Pits or scars will result if left unplated too long. Hard plates such as nickel or chromium are cheap but tend to chip leaving razor sharp edges that can seriously injure a lip.

RIM DIMENSIONS

In order to insure even wear of the rim and shank, the mouthpiece should be inserted into the horn’s mouthpiece differently every time.

The size and shape of the rim are extremely important to each player because of the direct physical contact. The dimensions of the rim (Fig. 1) are:

1. Outside diameter - may vary from.920" - 1.000" plus.

2. Curve depth - outside and inside the cup - this measurement with the grip, peak, and outside diameters determines the rim contour.

3. Rim contour -
Outside contour   (Fig. 2) - To those who use an ansetz (set on) embouchure the outside shape of the rim is relatively unimportant but an einsetz (set in) embouchure is very sensitive to the outside contour. Some players' lips shift from ansetz to einsetz as they pass through different registers. This is especially noticeable in a player who moves the lower jaw out for low note and rolls the lower lip around the rim edge. In this case a rounded outer contour of the rim will produce smoother slurs, particularly between lower open harmonics. There may be some loss of endurance due to the narrower front face of the rim, but the ability of the player to compensate with a build up of strength soon returns endurance to normal and the trade-off in having better flexibility is often worthwhile.
Face Contour - There are four popular rim face contours - oval, wide cushion, reverse peak, and round (Fig. 2). Selection of the proper shape depends on a person’s teeth, oral cavity, shape and thickness of the lips and how the rim feels and performs.

a. A round contour offers good flexibility and medium endurance.

b. A cushion contour enhances endurance because the rim is wide, but limits flexibility.

c. A reverse peak contour is a narrow rim that feels wide across the grip and conforms well to certain types of tooth structure.

d. An oval rim is a general purpose type which offers average endurance, flexibility and clarity of attack.

The player would do well to use empirical methods in the selection of a rim contour.

4. Peak diameter - the measurement which is obtained if a rim is placed face down on a glass plate smeared with some sort of colored material so that a mark will appear on the face of the rim. This is the outermost part of the rim contour that contacts the lips and it has a very narrow measurement range averaging from .800" to .835". The rest of the contour is built around this diameter.

5. Grip diameter - a vague yet extremely important dimension that must be determined primarily relying on experience. The grip controls slurring (flexibility) and clarity of attack. A rounded grip allows the lips to vary from tight to loose easily, a sharp grip restricts the lips but allows a more clear, crisp attack. Grip diameters generally vary in a narrow measurement range from .690" to .705" but there are many exceptions. The grip diameter is a very difficult measurement to make. Some players use dimes, a bus token or other methods to record their grip diameter. This is accomplished simply by noting how deep the coin drops into the cup vertically. If a person finds a mouthpiece that feels good, then that grip can be used as a reference for comparison with further measurements or other mouthpiece.

6. Screw rim depth - taken from the face to the joint where a screw rim meets its cup. Some screw rim mouthpiece are very shallow in this dimension - .092" - and if the rim and cup do not match well, the lips protruding into the mouthpiece will feel the joint. A good distance is .120" (approx. 1/8").

7. The threads that connect the screw rim to the cup usually number 36 to 40 per inch. They vary from manufacturer to manufacturer but the thread that is used should accommodate the variations found in cups and rim inside diameters. A thread of .740" x 40 is an example of a size that meets these requirements. Threads should be lightly greased to permit easy disassembly and prevent corrosion.

CUP DIMENSIONS

1. Cup threads - should match the rim threads.

2. Joint diameter of the rim - determines the width of the cup at the joint. This measurement varies in a very small range of .660" - .670". Variations influence the ease of playing or efficiency of the horn in different registers.

3. Cup volume - the most important acoustic variable of a mouthpiece which can now be optimized electronically for any given length of horn.

4. Cup shape - a major factor in determining the acoustics of the mouthpiece. Of the three styles of cup: convex, straight, and concave tapers, the latter has proven to be most efficient and best suited to today's requirements (See Fig. 3). The curve of the side of the cup can be altered to create different effects.

5. Throat size - can be controlled by varying the drill size of the hole and the total length of the cup. This is the one mouthpiece dimension easily altered but can only be enlarged. if the throat is to be opened, it should be drilled one number size at a time. The average throat size of a French Horn mouthpiece is a No. 11 drill (,191"). The most accurate way to size a throat is to use a reamer after drilling the hole undersize. This ensures a uniform, consistent bore. For a given diameter of hole, a long throat will give more resistance than a short throat and will play with a stronger response in the mid-range of the instrument at the expense of the high - range. Obviously, a careful balance must be determined for the intended player.

6. Backbore- this inside taper is made with a reamer and its size and shape can influence the ease of playing in the different registers and how much the horn ‘locks up’ to a particular range of harmonics.

7. Outside shank taper - determines the depth of the mouthpiece penetration and fit into the mouthpiece. American mouthpieces have a Morse 0 taper (approx. 3 degrees). The dimensions of this taper should be carefully maintained because poor mouthpiece fit can drastically alter an instrument’s performance.

DESIGN

The design of a French Horn mouthpiece influences at least seven playing characteristics of an instruments.

1. Ease of playing in a specific register.

2. Intonation (correct frequency of individual harmonics).

3. Tone color.

4. Bandwidth of the harmonics (width of the slot of each harmonic, also related to how fluid the horn feels as the player moves between harmonics)..

5. Ease of playing or fluidity when slurring between harmonics.

6. Clarity of attack on individual harmonics.

7. Power (efficiency of response of the instrument).

all of the above factors can be accurately measured electronically. By comparing dimensions of different mouthpiece designs, changes can be made in the interior shape in order to favor the areas that need improvement.

SELECTING A MOUTHPIECE

The proper rim is most important because contact with the player needs to be not only comfortable but efficient in allowing the lips to buzz the full range, to provide good support for endurance and to move freely between the high and low frequencies. The first place to start is to feel other mouthpieces and find a close match for rim face shape and inside diameter at the grip. The rim face contour can be determined by drawing a line across the rim with a soft pencil. When viewed across the edge of the rim, the contour is shown by the line of graphite. (See sketch).

The grip diameter can be determined if one uses a dime on edge to compare inside dimensions between mouthpieces. (See Sketch)

When sighting along the edge of the rim , the position n of the U and A, in the phrase "United States of America" can be compared between mouthpieces. The bottom edges of U and A just show in a .695" inside diameter rim. After a suitable rim is chosen, a playing test of the complete mouthpiece should be undertaken in order to choose the proper rim and cup. Refer to the seven factors as stated above in the section DESIGN.

1. Play from the lowest to the highest register.

2. Check intonation of open harmonics with an electronic tuner.

3. Record or have another musician listen for sound and tone color.

4. Evaluate how well notes lock into pitch or if intonation varies too easily.

5. Play open harmonic series, particularly in the low register.

6. Play hard and fast staccato scales or passages. The notes should start clearly and fast.

7. Check power - play very softly and very loudly in all registers. Crescendo and diminuendo long tones.

8. Play some excerpts.

By using the above criteria, different mouthpieces can be compared resulting in the selection of the one most suited to the player and instrument.

Evaluation by skilled players, careful analysis of the dimensions of hundreds of mouthpieces and information obtained from computer all combine to hasten the evolution of a superior French Horn mouthpiece.

LAWSON SCREW RIMS

Width at grip .690" .695"

Matching cup width .660"

Width at grip .700" .705"

Matching cup width .670"

Lawson Brass Instruments French Horn mouthpieces are offered in two cup shapes and two widths at the joint.

The S cup is gently concave and is designed to produce a (efficiently) balanced amount of power throughout the instruments’ range, have overall good intonation as well as smooth slurs between the harmonics.

 

The F cup is slightly more concave with the basic S curve toward the rim. This cup produces more power and ease of playing in the upper register, good intonation and quick staccato response.

 

The narrow .660 cup width at the joint fits .690 and .695 rims.

The wider .670 cup width at the joint fits .695, .700 and .705 rims.

The cubic contents of all cups are nearly the same and are matched electronically to operate most efficiently on modern double French Horns.

LAWSON MOUTHPIECES for Horn

Screw Rims - Ansetz - 4 Face contours with straight outer contour
Contour	P10	B23	R10	K
	(Oval)	(Reverse Peak)	(Cushion)	(Round)
Grip Dia.	690	690	690	690
	695	695	695	695
	700	700	700	700
	705	705	705	705

Screw Rims - Einsetz - 4 Face contours with .166" dia. @ rounded outer contour
Contour	P10G	B23G	R10G	KG
	(Oval)	(Reverse Peak)	(Cushion)	(Round)
Grip Dia.	690	690	690	690
	695	695	695	695
	700	700	700	700
	705	705	705	705

Note: Rims with larger .172" (D) dia. and smaller .156" (C) dia. rounded outer contours available by special order. Lawson rims are numbered and lettered according to the contours and grip diameter. EX: R10G 695 means that the face contour is a wide cushion type (R10) with a rounded outer contour of .166" dia. (G) and an inside grip diameter of .695".

Screw Cups
Cup Shape	S	F
Inside Dia. at Joint	.660	.660
	.670	.670
Throat size	No. 11	No.11
Backbore	3/8 concave	3/8 concave

Cubic contents - Same for all cups