The function of the rim contour of mouthpieces is to support the vibration of the lips as much as possible.
Consequently it shall neither be too wide (blocking) nor too narrow (cutting).
A good rim should enable the
A good rim should enable the musician to play over a long period of time.
Extreme forms of shapes should not be taken into consideration
(very steep curvature of the rim down to the outside or inside), too wide,).
唇边轮廓的功能主要是为了支持嘴唇的震动从而使号嘴能够适应不同的嘴唇。
因而唇边既不能锻造的太宽，也不能切削的太窄。
一个好的唇边能够让一个音乐家使用很长一段时间。
过于极端的形状不予考虑（比如唇边的内部或者外部的曲度很陡，太宽或者太窄。）
G: Traditional old Viennese rim contour without extremes.
Typical inner edge, flatter curvature of the rim down to the outside.
Provides for better endurance.
传统的维也纳唇边没有极端
典型的边缘，从唇边的下部到外面的边缘由统一的曲度。
给演奏者提供更好的耐力
L: Rim shape for Prof. Levora, soloist of the Vienna Philharmonic Orchestra in the 1960ies.
Smaller inner edge than rim G,
Rounder and steeper curvature of the rim to the outside,offers excellent embouchure.
唇边的形状是独奏家Levora教授于1960年在维也纳爱乐乐团所使用的
比G的唇边内沿边缘小，
唇边的外部是曲度比较圆和陡峭，能够为演奏者提供很好的口型，
H: This rim shape was created in imitation of the widely used mouthpiece,
rim for high flexibility during the performance
这种唇边的形状模仿的是广泛使用的1½ C的号嘴唇边
这种唇边能够在演出中提供更高的灵活度。
V: Is equivalent to rim shape 1¼ C.
With this model we provide the possibility to switch over from a mass-produced mouthpiece to
our module system without greater problems
. 这种唇边相当于1¼ C的唇边形状。
这种形状给我们提供了从大量生产的号嘴切换到我们的单独的唇边系统中没有很大的问题。
K: The inner edge is equivalent to rim G, it is extended to 28mm to the outside.
For a better endurance without a significant loss of the flexibility that rims with a normal width have.
Recommended for shallow cups.
内部的边缘与G相同，外边扩大到28mm。
在没有明显损失灵活性的基础下获得更好的耐力，唇边的宽度正常。
推荐搭配浅杯使用
W: The inner edge is equivalent to rim G. Outer diameter: 29.0mm.
内部的边缘与G相同，外径：29.0mm
Designed to minimise signs of fatigue during long-duration performances.
设计的初衷是为了在长时间演奏中更好的减轻疲劳。
Recommended for shallow cups
推荐搭配浅杯使用
.
1: Rim contour of Hans P. Schuh (Philharmonic Orchestra)
Hans P.Schuh型唇边。（爱乐乐团）
Developed out of a G1 which has been modified by my father according
to Mr. Schuh's requirements.
根据Mr. Schuh先生的要求从开发G1型号嘴时就修改了我父亲的一些依据。
High inner edge.
高内边
1C: Copy of the Bach rim 1C.
拷贝了Bach 1C号嘴的唇边外形
In the area where the curvature of the rim meets the curvature of the cup, the edge of the rim
contour was modified in order to make the rim fit the cup series G(on request of Martin Lechner).
This small selection of models is only a small part of the number of rims that are available and they represent
a cross-section of the whole range of mouthpieces. In the following table you will find the complete assortment, which is permanently extended.
Annotation: In terms of size the various pictures of the rims are inpidual and not proportional to each other.
Rims for module-system mouthpieces for trumpets
小号号嘴可更换唇边
Nominal width: measured at depth of 1.5mm to the inside of the rim.
公称宽度：唇边的内侧测量深度为1.5mm
Diameter of the cup: cup width where the curvature of the rim meets the curvature of the cup – 2.5mm to the inside of the rim.
杯子的直径：杯子与唇边相交的内测边缘的宽度为2.5mm
|
唇边型号 |
外Ø |
实际宽度 |
杯直径 |
产品描述 |
|
R |
27,700 |
15,973 |
16,000 |
唇边以 Prof. Rudolf的建议制造。（维也纳交响乐团1995年） |
|
7D |
27,950 |
15,974 |
16,000 |
与巴哈7DW、 Mt. Vernon外形相对应 |
|
7E |
27,700 |
15,974 |
16,000 |
7D内边平外边宽 |
|
2DE |
27,956 |
16,088 |
15,640 |
与Tilz 2DE相对应 |
|
BB |
27,890 |
16,096 |
16,000 |
典型的 piccolo 号嘴唇边，宽 |
|
K16 |
27,600 |
16,322 |
16,000 |
K型唇边适合16，00mm的杯 |
|
EL |
27,446 |
16,328 |
16,000 |
Engelbert LOIDL唇边. RSO维也纳 |
|
4X |
28,199 |
16,448 |
16,000 |
与 Denis Wick 4X相对应 |
|
7CE |
27,620 |
16,471 |
16,000 |
与Tilz 7CE相对应 |
|
V16 |
26,915 |
16,477 |
16,000 |
V型唇边适合16，00mm的杯 |
|
B |
29,000 |
16,551 |
16,400 |
B型唇边有舒适的宽而圆润的形状 |
|
A |
27,769 |
16,606 |
16,400 |
用老的A为依据测量，外形略圆 |
|
E4 |
27,626 |
16,633 |
16,400 |
与Yamaha 15E 4相对应 |
|
112 |
27,200 |
16,645 |
16,400 |
与Bach 1½ C相对应 |
|
T6 |
27,414 |
16,646 |
16,400 |
与Schantl T6相对应 |
|
GS |
27,543 |
16,664 |
16,400 |
与G型相同，按照着老的S2的外表轮廓制造 |
|
G11 |
27,424 |
16,668 |
16,400 |
老版本的G型唇边 |
|
V2 |
27,115 |
16,677 |
16,400 |
以Bach 1¼ C的唇边外形为基准进行改良 |
|
S |
27,500 |
16,690 |
16,400 |
According to rim contour gauge S |
|
1 |
27,496 |
16,693 |
16,400 |
H.P.Schuh型唇边 |
|
2 |
27,496 |
16,693 |
16,400 |
Randform H.P. Schuh (Phil.) mildere Innenkante |
|
3 |
27,220 |
16,694 |
16,400 |
Rand Bach Nr.3 |
|
ST |
27,408 |
16,706 |
16,400 |
Rand K. Steininger (Symph.) |
|
ST4 |
28,008 |
16,706 |
16,400 |
Rand K. Steininger (Symph.), breit |
|
G |
27,500 |
16,718 |
16,400 |
完整的G系列号嘴唇边 |
Nominal width: measured at depth of 1.5mm to the inside of the rim.
公称宽度：唇边的内侧测量深度为1.5mm
Diameter of the cup: cup width where the curvature of the rim meets the curvature of the cup – 2.5mm to the inside of the rim.
杯子的直径：杯子与唇边相交的内测边缘的宽度为2.5mm
The shape of the cup is significantly important in order to receive the desired tone-colour or to give the play the
desired expression.
杯子的形状具有重要的意义，可以获得理想的音色或者让演奏更有表现力。
It is still true that a large cup produces a beautiful round tone rather than a shallow cup.
尽管如此，大杯的音色要比小杯的音色更漂亮、圆润。
However, it should be the musician alone who at last decides which type of cup lives up to his/her expectations.
然而，音乐家为达到他/她所需要的表现力，需要由他们自己来决定杯子的杯子的类型
|
唇边型号 |
外Ø |
实际宽度 |
杯直径 |
产品描述 |
|
G2B |
27,450 |
16,720 |
16,400 |
修改过的G型唇边。 |
|
HD |
27,762 |
16,722 |
16,400 |
H.Demmer 型唇边(tone artist)。 |
|
K |
28,000 |
16,722 |
16,400 |
根据G型唇边的内沿，外沿则陡峭而宽。 |
|
W |
29,000 |
16,722 |
16,400 |
宽的唇边能够提供更好的耐力。 |
|
GL |
27,522 |
16,742 |
16,400 |
与G型唇边相类似，陡峭并且宽 |
|
GW |
27,500 |
16,752 |
16,400 |
原始的G型唇边 |
|
L |
27,376 |
16,754 |
16,400 |
根据 Prof. Levora提供的轮廓(Philharmonic) |
|
3C |
27,300 |
16,824 |
16,400 |
Bach 3C Mt. Vernon (Tamas Velenczei) |
|
H |
27,432 |
16,829 |
16,400 |
根据Bach 1½ 改进 |
|
VC1 |
27,315 |
16,867 |
16,400 |
Variation of V, sharper inner edge R1,452 |
|
VC2 |
27,315 |
16,875 |
16,400 |
Variation of V, sharper inner edge R1,389 |
|
V |
27,315 |
16,877 |
16,400 |
Contour according to Bach 1¼, modified R1,629 |
|
17 |
27,457 |
16,910 |
16,400 |
与Schilke 17相同 |
|
7C |
27,003 |
16,954 |
16,400 |
与 Bach 7C相同 |
|
114 |
27,498 |
16,994 |
16,500 |
与 Bach 1¼ C相对应 |
|
GW5 |
27,769 |
17,020 |
16,500 |
GW的轮廓, 但内部宽度较大 |
|
1C |
27,330 |
17,163 |
16,400 |
Bach 1C改良版 |
The module cups
杯组件
G1: Goes back to an old Viennese mouthpiece used by the Vienna Philharmonic Orchestra.
Progenitor of all mouthpieces of series G. ,Great tone volume and sonorous sound.
追溯到老的维也纳爱乐乐团所使用的号嘴，所有的号嘴都是原始的G系列，有着美妙的音色和洪亮的声音。
G2: Shallower than G1, excellent tone quality and ability to create the right intonation.
Popular especially as a mouthpiece for orchestra.
与相比G1,G2有着优良的音质
G3: Equally suitable for talented students as for professional musicians.
Recommended for both brass music and entertainment music.
此款好嘴同样适合天赋比较好的学生和专业的音乐家。
建议用于演奏铜管音乐和轻音乐使用。
G4: Musicians who have devoted themselves to a more modern style of music will enjoy this model.
Smaller bore (3.60mm), very shallow, however, with a wide Herz, in order to avoid shrill tones. Also suitable for piccolo.
音乐家们都喜欢把G3这个组件用于演奏现代风格的音乐会。然而这个组件的孔较小（3.60mm）而且很浅，
然而赫兹频数较宽，是为了为了避免声音过于尖锐。适用于高音小号。
G5: Shallow cup for Jazz and Big band, a high-quality piccolo mouthpiece when combined with the corresponding shank.
小而浅的杯子比较适合爵士乐和乐队演奏，这种高级的高音小号号嘴应当与相应的哨管配合使用。
G6: Extremely shallo w and flat cu p for the extremely high tones.
This small selection represents only a small part of the cups that are available and forms the basis of the whole
range of cups. (drawings not to scale)
Cups for module system trumpet mouthpieces
S: 浅 M: 中深 NT :正常深 T: 深 SS: 非常浅 MS:中浅 TT: 非常深 The names of the cups have partly been taken over or have been derived fro m already existing complete mouthpieces. 杯子的名字有部分被替换或者使用已经存在的完整号嘴名字。 The permanent enlargement of our range of products and their further development lead often to confusing names, which are mainly caused by overlapping or variation of several different shapes of cups. The bore has to be 3.8mm or smaller in order to guarantee that all different forms of shank will fit. Special bores can of course be inpidually produced on request at any time. 开空的尺寸3.8毫米或者更小，用来保证与不同形式的哨管搭配合适。当然在任何时候我们都接收单独的定制开空的尺寸。 Cup width: diameter of the cup at a point where the curvature of the cup meets the curvature of the rim – 2.5 mm to the inside of the rim. 杯宽：杯子与唇边相交的内测边缘的宽度为2.5mm Most commonly used rims fit my module system. The cups for rims with extreme diameters can be inpidually modified and cups of special model series fit, as well. We have decided to leave the topic of the sound character of a cup. Only system as a whole – musician, mouthpiece, instrument, mu sical style – can be judged subjectively. One should be aware of the fact that both rim and back bore have great influence on the sound! 常用的唇边都适合我们的模块更换系统。配合极端直径唇边的杯子可以单独修改配合特殊型号适合和的杯子 The musician is the only one who decides which cup (or mouthpiece) will be the best one for his/her kind of music. |
高音小号嘴
|
Playing the high register on the piccolo trumpet demands great effort from the musician. Consequently this special trumpet should have a corresponding mouth piece 音乐家在高音小号上演奏较高的音域需要付出巨大的努力。因此特殊的小号应当有相应的号嘴 The higher the frequencies the lips have to produce, the more power is needed by the mimic muscular apparatus. 嘴唇产生的高频率更多的力量是需要靠模仿肌肉的器械。 Wide cups produce fuller tones b ecause of more lip vibration, high tones, however, cannot be easily produced, which leads to lower endurance. 宽杯的制作是因为能够使嘴唇更充分的震动，但是高音不容易产生这会导致耐力的下降。 The reduced cup width means a less tiresome performance to the musician, which enables him/her to save po wer and to hit the higher tones more precisely. The result will be a more brilliant tone. 减少杯的宽度意味着降低音乐家表演时的疲劳，使他/她在演奏中更加节省力气的同时获得更好的音准和更高的音。 We should however, distinguish between two different groups of musicians, those who use their instruments only occasionally and for a short period of time, and tho se who have devoted themselves to the old masters of music. 我应该把投身音乐的老音乐家和那些很少使用自己乐器的乐手区分开 For the professional trumpeter there is only o ne possible way to master this task b rilliantly: to choose a real piccolo mouthpiece with its corresponding narrow cup diameter. 对于职业的小号演奏者来说只有一种方法来完成这个任务精辟：选择与其相适应的窄杯径的高音小号号嘴。 For musicians playing in orchestras, who play mainly C- or B-trumpets, it will be best to stick to the cup (rim) diameter and rim contour of his/her choice, and use a piccolo cup with the screw-rim of his/her choice. Thus the musician will then be in the po sition to meet most of the demands witho ut having to get used to a new mouthpiece. Musicians who see no problems at all in changing the rim could think about the possibility of solely using a piccolo rim (rim with a narrow inner diameter). This means that there wo uld be an edge, because the curvature of the rim does not fit perfectly to the curvature of the cup (intentionally a smaller rim is used for a bigger cup), which ho wever, could have some positive effects, as well: more volume of tone, caused by a greater cup volume, narrow rim, which supports the production of hig her frequencies.
Rims
|
Cups
| 杯型 | 开孔 | 深度 | 杯直径 | 产品描述 |
| G6 | 3,60 | SS | 16,400 |
高音小号和爵士用杯 |
| G5 | 3,65 | S | 16,400 |
适用于爵士乐现代音乐和高音小号 |
| GA4 | 3,70 | S | 16,400 | 高音小号和爵士用杯 |
| GB | 3,60 | M | 16,400 |
旧式维也纳式杯 |
| G4 | 3,60 | MD | 16,400 |
浅型杯宽赫兹 |
Every model that shows the letter G in its name is a member of the series G, to which all standard rims (with a width of 16.4mm at a depth of 2.5mm to the inside of the rim)
每一个在其名称里有字母G的都归属与G系列，这是标准的唇边（宽度为16.4毫米，到唇边内边的距离为2.5毫米）。
The follo wing picture shows a comparison of the shapes of different module cups.
下图展示的是不同的模块杯的形状对比。
The cup depth has an influence on both sound and ease of play. Cups, which are too deep will produce a beautiful tone, however, when the musician has to strain himself/herself too much, because of the depth, not only the endurance but also the quality of music will suffer enormously.The ease of play will give the musician more freedom in his/her performance.
It is important to find your favourite sound by using the corresponding back bore.
One should always be aware of the fact that estimating a mouthpiece by just looking at the inside of the cup or thro ugh the bore will lead to misjudgements in most cases. If one does not take the back bore into account, the measuring of a mouthpiece by visual judgement will not work. Referring to co mfo rt, the inner width of a mouthpiece is of major importance. My recommendation would be to get further information on this topic from an expert and to try different widths.
The shank
The back bore of the mouthpiece influences its ease of play to a percentage equaling its percentage of length Most musicians are not aware of the importance of this part of the mouthpiece. Mouthpieces are usually Classified a ccording to cup depth and rim width, and the only information one will get by looking through th e bo re is the degree of pollution.
The shape of the back bore can hardly be determined with traditio nal methods as this bore is too long and narrow
to be measured exactly. People began to realise the importance of this part of the mo uthpiece with the introduction o f the screw-rim mouthpiece. The mouthpiece works like a jet, its shape determines speed and intensity of the air compression inside the instrument, as well as the resultin g standing wave. So the musician
can easily choose his/her ideal tone system. The relevant aspects for the musician's choice of the right shank
should be ease of play and desired tone colour. Sometimes it will be impossible to find all aspects embodied in one and
the same mouthpiece. Our mod ule system will satisfy the musician's demands to a large extent.
In the following the number of the shank is inversely proportional to the volume of the shank. This means that number one is a b ulgy shank with a wide bore, whereas number eight is narrow and slim.
Wide shanks produce a full big tone, the high register is often hard to play. Narrow shanks produce bright and sharp tones.
In the list you will find shanks that have letters in their names. These shanks are newly developed models and were invented in order to add some characteristics that the ones with numbers only do not have.
Shank assortment: (ranking according to volume)
下哨管分类：（按体积大小排名）
W1: Copy of an old Viennese shan k. Trombone-like sonorous sound.
W1:
1: Bore of the G1 mouthpiece.
2: Beautiful mellow tone, standard bore G2.
G: Original version of shank Nr. 2; similar to G2 in terms of sound quality and intonation.
W2: Shape of shank W1, however with reduced volume.
L: Guaranteed precise ease of play, beautiful centred tone.
P: All-round orchestra shank, brilliant sound pattern.
3: Precise ease of play, bright to ne, standard bore G3.
4: Especially suitable for young players, a bit too wide for piccolo.
5: Big tone for piccolo, long Seele for the right no te in the high register.
6: For musicians who need deep cups but who do not have enough pulmonary volume.
S: Easy to play, without significant loss of tone quality.
B: For Jazz and entertainment music, easy to play.
J: Narrow dimensions, bright sharp tone, supports to reach notes in the high register.
N: For trumpets with piston system, good results in combinatio n with piccolo trumpet.
7: For Jazz and entertainment music. Bright, sharp tone.
17: Copy of a legendary shank of Bach Corp. Mt. Vermont.
8: Extremely narrow back bore for inpidualists.
On request we provide your favourite model of our mouthpiece assortment with the back bore of your choice.
New models are in planning, technical modification subject to change without notice.
