Side view drawing of the whole trumpet
Theory
I have been thinking about trumpet design for many years. There are a few things about traditional designs that have always bothered me, and I believe I have solved a few of them.
First, let me remind you of some laws of physics that apply to us.
Sound travels at a constant velocity in a constant medium. And even though sound velocity is actually faster in a flared brass instrument than it is in the open air at sea level, that velocity is still affected by air density and sharp bends in a similar way than it would be in open air. A change the medium's density changes the velocity, and a change in velocity is a change in pitch. That presents of a few problems in regards to the sound that travels through the air column of a brass instrument.
The real problem is double.
1- In tight curves, compressed air traveling through a tube will not have the same density throughout the bore of the tube. Granted that the phenomenon happens quite quickly, but there is still a theoretical negative result on the center of pitch, especially when you multiply the tight curves by 12, the average amount of such curves in a traditional trumpet design. On top of that, we also know that sound velocity is altered by the reflection phenomenon within a tight bend, further complicating that problem, and doubling it's effect when the standing wave is reflected back to the lips by the acoustic barrier created at the flare.
2- Vorteces occur when there is a sudden change in bore size. Sudden expansion creates a regular, concentric vortex, which is not too consequencial on the resulting tone as it keeps air density fairly equal throughout the bore, but sudden contraction creates an irregular, uneven and rather random turbulence, which, in theory, has a negative effect on the resulting tone.
Why do the problems described above negatively affect the tone of the instrument?
Simply because different parts of the sound are traveling at different speeds in a single longitudinal point in the air column. In other words, some partials become sharp, others flat, then get twisted around at the next tight bend, and so forth, about twelve times in a traditional design. Furthermore, the feedback wave, that which allows the lips to "know" how fast to vibrate to get all of the modes to cooperate, is also adversely affected by these problems associated with thight bends, making the trumpet less responsive, and the attacks less precise.
Design
How did we solve the above mentioned problems?
Again, the answer is relatively simple. Avoid sudden contractions and tight bends in the air column. In simple terms: GO OPEN WRAP. The trombone world has seen the improvement that open wrap makes with the invention of the axial flow valve (and later the constant bore rotary valves) for the "F" and "C" attachements. Most trombones are built this way now because it is a better design.
Come the OPEN WRAP trumpet.
All the bend radii have been maximised in Benoit Glazer's design, and with the use of a tuning leadpipe and very thin male slide tubing (compensated by thicker female slide tubing), as well as by remachining bends so they are perfectly concentric (right now, bends are stamped, then bored out with progressively larger beads shot at high velocity through the part, so the tube is thinner on the outside of the bend than it is on the inside, by as much as .009". Multiply that by 7 or 8, and you end up with a significant problem), sudden contractions have been all but eliminated.
The concrete result is a freer blowing, more easily centered instrument. It is a joy to play!!!
In order to achieve a .500" minimum radius on all bends, I have had to redesign the valve section. My design allows me to use all four sides of pistons 1 and 3, and I also augmented the second piston slide radius to .500".
The MONOBLOCK valve section.
The unique indexing also allows for the valve block to be carved out of a single solid block of brass. Traditional valve blocks are made of about 18 different parts which all have to be cut to (relatively) exact lenghts, then brazed together while being sort of held in place in a steel jig.
The Glazer valve block is carved on a CNC mill to tolerances 10 times tighter then anything up to now.
Once again, the incredibly precise machining insures that the air column diameter stays constant troughout it's cylindrical portion. NO BUMPS in the piston ports either. All you get is a horn that is easier to play, more in tune, and more centered.
And NEW IDEAS:
I believe that the rotary valve has the potential to be at least as good, and much easier to make, the the Perinet piston. What it needs are:
1- larger radius rotary, with truly round bore throughout, a little like the trombone valves that Shires and Greenhoe make.
2- a triangle design, with the valves touching each other, so that the overall width of the block is the same as a traditional block, so that it is easy to hold. That means the second valve slide would point up, while the first and third would back and front, like a traditional Perinet design. This design could be actuated like a German trumpet, or with a TARV system, so that it feels like a Perinet trumpet.
3- a normal Perinet trumpet proportions, with a ML bore, or a German trumpet proportions, with a smaller bore.
Theory
I have been thinking about trumpet design for many years. There are a few things about traditional designs that have always bothered me, and I believe I have solved a few of them.
First, let me remind you of some laws of physics that apply to us.
Sound travels at a constant velocity in a constant medium. And even though sound velocity is actually faster in a flared brass instrument than it is in the open air at sea level, that velocity is still affected by air density and sharp bends in a similar way than it would be in open air. A change the medium's density changes the velocity, and a change in velocity is a change in pitch. That presents of a few problems in regards to the sound that travels through the air column of a brass instrument.
The real problem is double.
1- In tight curves, compressed air traveling through a tube will not have the same density throughout the bore of the tube. Granted that the phenomenon happens quite quickly, but there is still a theoretical negative result on the center of pitch, especially when you multiply the tight curves by 12, the average amount of such curves in a traditional trumpet design. On top of that, we also know that sound velocity is altered by the reflection phenomenon within a tight bend, further complicating that problem, and doubling it's effect when the standing wave is reflected back to the lips by the acoustic barrier created at the flare.
2- Vorteces occur when there is a sudden change in bore size. Sudden expansion creates a regular, concentric vortex, which is not too consequencial on the resulting tone as it keeps air density fairly equal throughout the bore, but sudden contraction creates an irregular, uneven and rather random turbulence, which, in theory, has a negative effect on the resulting tone.
Why do the problems described above negatively affect the tone of the instrument?
Simply because different parts of the sound are traveling at different speeds in a single longitudinal point in the air column. In other words, some partials become sharp, others flat, then get twisted around at the next tight bend, and so forth, about twelve times in a traditional design. Furthermore, the feedback wave, that which allows the lips to "know" how fast to vibrate to get all of the modes to cooperate, is also adversely affected by these problems associated with thight bends, making the trumpet less responsive, and the attacks less precise.
Design
How did we solve the above mentioned problems?
Again, the answer is relatively simple. Avoid sudden contractions and tight bends in the air column. In simple terms: GO OPEN WRAP. The trombone world has seen the improvement that open wrap makes with the invention of the axial flow valve (and later the constant bore rotary valves) for the "F" and "C" attachements. Most trombones are built this way now because it is a better design.
Come the OPEN WRAP trumpet.
All the bend radii have been maximised in Benoit Glazer's design, and with the use of a tuning leadpipe and very thin male slide tubing (compensated by thicker female slide tubing), as well as by remachining bends so they are perfectly concentric (right now, bends are stamped, then bored out with progressively larger beads shot at high velocity through the part, so the tube is thinner on the outside of the bend than it is on the inside, by as much as .009". Multiply that by 7 or 8, and you end up with a significant problem), sudden contractions have been all but eliminated.
The concrete result is a freer blowing, more easily centered instrument. It is a joy to play!!!
In order to achieve a .500" minimum radius on all bends, I have had to redesign the valve section. My design allows me to use all four sides of pistons 1 and 3, and I also augmented the second piston slide radius to .500".
The MONOBLOCK valve section.
The unique indexing also allows for the valve block to be carved out of a single solid block of brass. Traditional valve blocks are made of about 18 different parts which all have to be cut to (relatively) exact lenghts, then brazed together while being sort of held in place in a steel jig.
The Glazer valve block is carved on a CNC mill to tolerances 10 times tighter then anything up to now.
Once again, the incredibly precise machining insures that the air column diameter stays constant troughout it's cylindrical portion. NO BUMPS in the piston ports either. All you get is a horn that is easier to play, more in tune, and more centered.
And NEW IDEAS:
I believe that the rotary valve has the potential to be at least as good, and much easier to make, the the Perinet piston. What it needs are:
1- larger radius rotary, with truly round bore throughout, a little like the trombone valves that Shires and Greenhoe make.
2- a triangle design, with the valves touching each other, so that the overall width of the block is the same as a traditional block, so that it is easy to hold. That means the second valve slide would point up, while the first and third would back and front, like a traditional Perinet design. This design could be actuated like a German trumpet, or with a TARV system, so that it feels like a Perinet trumpet.
3- a normal Perinet trumpet proportions, with a ML bore, or a German trumpet proportions, with a smaller bore.
Here is how my valve indexing looks like, seen from above
FeaturesHere are some of the additional perks.
As tuning is done via the leadpipe, changing leadpipe is a cinch, Choose a bell flare that is in the moderate zone, and you can easily find a good balance between your mouthpiece, your leadpipe and your bell flare.
We also recommend triple plating your trumpets inside and out. Copper, silver, and gold. The gold inside removes some of the skin micro-turbulence due to the relative roughness of the brass, and it ensures that your trumpet will last forever.
Simply blow a trombone-size cleaning sponge through your horn twice a week, and your trumpet will never feel stuffy (due to accumulation of debris) or corrode in any way.
I am a proponent of balance. The design of the instrument, it's manufacture, the material, the mouthpiece, the player's posture, the player's physical approach, as well the musical approach, all that encompasses trumpet playing should be balanced together to form a beautiful and glorious trumpet sound. I hope you are one of the lucky ones who will get to try a trumpet built in that manner soon. I am certain you will agree with me that my design is an improvement over previous ones.
UPDATE (2014)
I am now contemplating a rotary valve design. The rotary valve has many advantages over the perinea pistons, but the clear winner is the fact that their design is essentially a two dimensional one.
So, take a regular rotary valve, make it a little bigger so that ports do not collide and the bore stays full all the way through, now set three of them up so that they form a triangle, the middle valve being slightly below the other two, now the ports are aligned and there are no bends at all, since there are no connecting knuckles to speak of.
I will draw the design and put it up, so you can better see what I mean. And I know about the Schagerl-Morrison horn, and that is not what I am talking about. That is also a very good idea, but they keep all the design problems, and only solve the ergonomic issue...
Trumpet slides: a brief history of tuning
The following explains why a trumpet player needs to pull out the adjustable slides found on the first and third slides of the trumpet to play in tune. It is assumed that the tempered scale is used, at A=440Hz.
When playing on the Bb harmonic series on a Bb trumpet, the player presses no piston. The approximate length of the instrument is then 1180mm.
When playing notes that are on the A harmonic series, the player presses the second piston, thereby lengthening the trumpet by 70 mm.
When playing on the Ab harmonic series, the player presses the first piston, thereby lengthening the trumpet by 140 mm.
When playing on the G harmonic series, the player presses the combination of first and second pistons. The instrument needs to be 220mm longer, but the slides only add up to 210mm. Therefore, the player is required to pull on the first slide a little bit to allow the instrument to be at the proper length.
When playing on the Gb harmonic series, the player presses the second and third pistons. The slides then add up to 280mm, but the instrument needs to 310mm longer, requiring the player to pull out that third slide a fair amount to compensate.
When playing on the F harmonic series, the player presses the first and third pistons, for an added slide length of 350, but the instrument has to be made 400mm longer to be at that pitch, so the player has to pull any of these two slides so that 50mm are added to the overall length of the trumpet.
When playing on the E harmonic series, the player presses all three pistons down, for an added length of 420mm, but the trumpet needs to be 490mm longer to be at the right pitch. The player has to pull out the adjustable slides to gain a total of 70mm in length in order to play in tune within a tempered scale.
Many people seem to think that a well made trumpet should allow the player to play in tune without the use of the slides. This assumption is erred in its logic. A well made trumpet requires the player to use these slides in order to bring the instrument to the proper length for the different combinations of piston positions, as the slides are constructed to be at the right length when used individually, not in combinations.
I trust that this simple explanation is satisfactory. Here is the list of proper lengths for the different harmonic series.
Bb= 1180mm
A = 1250mm
Ab= 1320mm
G = 1400mm
Gb= 1490mm
F= 1580mm
E= 1670mm
FeaturesHere are some of the additional perks.
As tuning is done via the leadpipe, changing leadpipe is a cinch, Choose a bell flare that is in the moderate zone, and you can easily find a good balance between your mouthpiece, your leadpipe and your bell flare.
We also recommend triple plating your trumpets inside and out. Copper, silver, and gold. The gold inside removes some of the skin micro-turbulence due to the relative roughness of the brass, and it ensures that your trumpet will last forever.
Simply blow a trombone-size cleaning sponge through your horn twice a week, and your trumpet will never feel stuffy (due to accumulation of debris) or corrode in any way.
I am a proponent of balance. The design of the instrument, it's manufacture, the material, the mouthpiece, the player's posture, the player's physical approach, as well the musical approach, all that encompasses trumpet playing should be balanced together to form a beautiful and glorious trumpet sound. I hope you are one of the lucky ones who will get to try a trumpet built in that manner soon. I am certain you will agree with me that my design is an improvement over previous ones.
UPDATE (2014)
I am now contemplating a rotary valve design. The rotary valve has many advantages over the perinea pistons, but the clear winner is the fact that their design is essentially a two dimensional one.
So, take a regular rotary valve, make it a little bigger so that ports do not collide and the bore stays full all the way through, now set three of them up so that they form a triangle, the middle valve being slightly below the other two, now the ports are aligned and there are no bends at all, since there are no connecting knuckles to speak of.
I will draw the design and put it up, so you can better see what I mean. And I know about the Schagerl-Morrison horn, and that is not what I am talking about. That is also a very good idea, but they keep all the design problems, and only solve the ergonomic issue...
Trumpet slides: a brief history of tuning
The following explains why a trumpet player needs to pull out the adjustable slides found on the first and third slides of the trumpet to play in tune. It is assumed that the tempered scale is used, at A=440Hz.
When playing on the Bb harmonic series on a Bb trumpet, the player presses no piston. The approximate length of the instrument is then 1180mm.
When playing notes that are on the A harmonic series, the player presses the second piston, thereby lengthening the trumpet by 70 mm.
When playing on the Ab harmonic series, the player presses the first piston, thereby lengthening the trumpet by 140 mm.
When playing on the G harmonic series, the player presses the combination of first and second pistons. The instrument needs to be 220mm longer, but the slides only add up to 210mm. Therefore, the player is required to pull on the first slide a little bit to allow the instrument to be at the proper length.
When playing on the Gb harmonic series, the player presses the second and third pistons. The slides then add up to 280mm, but the instrument needs to 310mm longer, requiring the player to pull out that third slide a fair amount to compensate.
When playing on the F harmonic series, the player presses the first and third pistons, for an added slide length of 350, but the instrument has to be made 400mm longer to be at that pitch, so the player has to pull any of these two slides so that 50mm are added to the overall length of the trumpet.
When playing on the E harmonic series, the player presses all three pistons down, for an added length of 420mm, but the trumpet needs to be 490mm longer to be at the right pitch. The player has to pull out the adjustable slides to gain a total of 70mm in length in order to play in tune within a tempered scale.
Many people seem to think that a well made trumpet should allow the player to play in tune without the use of the slides. This assumption is erred in its logic. A well made trumpet requires the player to use these slides in order to bring the instrument to the proper length for the different combinations of piston positions, as the slides are constructed to be at the right length when used individually, not in combinations.
I trust that this simple explanation is satisfactory. Here is the list of proper lengths for the different harmonic series.
Bb= 1180mm
A = 1250mm
Ab= 1320mm
G = 1400mm
Gb= 1490mm
F= 1580mm
E= 1670mm