Advice · Education · Gear Review · Interview

Design Innovations : Markus Arnold

The challenge of adding resistance to the mouthpiece buzz is one that a number of people have tackled, but always with big compromises to be made. German trumpet player, educator and designer, Markus Arnold talks to me here about his journey in designing the acclaimed ‘Buzz-R’.

Can you give us a little background to starting this design process?

My father taught me how to play trumpet at an early age. Since then I’m playing professionally in very different styles of music (classical music, bigband/jazz, german/austrian folk music, etc.).I also do workshops, band/orchestra coaching, clinics and private teaching.

The Buzz-R is handmade out of high quality wood and was developed in cooperation with a woodwind instrument manufacturer. We tested quite a few different sorts of wood and after a while we found the perfect one in terms of vibrance, resistance and longevity. The form of the product is designed ergonomically so the Buzz-R is easy and comfortable to hold. 

What are the primary purposes of the Buzz-R?

First of all, the main concept of this training device is added resistance. The mouthpiece alone makes it quite hard to produce a relaxed buzz. There’s much more embouchure and lip tension needed than if you would play your actual instrument. Especially Kids and Beginners are having a hard time with this lack of resistance. I think that buzzing the mouthpiece should feel like playing the instrument. And that’s why the Buzz-R works so well. You can adjust the degree of resistance, depending on your individual taste, with closing one hole or one-and-a-half or letting both holes open for a freer feel of blow.

One other great feature is that you can practice almost everywhere. Because of its quiet sound and small size you can use it in the car, on a trip, on holidays and at home. Especially whenever it is unable for you to bring your instrument with you.  The Buzz-R is also excellent for warming up. 

What challenges did you face along the way with this design process?

Of course it can be very difficult for a family company to grow and compete with the big brands. But our strong spirit and love of detail  helped us to make brass players from over the world become better players. We’re receiving messages everyday from happy customers, telling us about their progress. That’s a very satisfying feeling!

How long was the process from initial conception to the product reaching the market?

The process was quite long. I thought about the idea for over 20 years. And this idea wasn’t commercial at all in the beginning. I built the first example for myself after experiencing positive effects from buzzing the mouthpiece with added resistance, especially with wood. And so the “Buzz-R” was born. More and more colleagues got interested in the concept so I decided to produce more. 

What were your main ways of launching and marketing the Buzz-R?

In the beginning I was mainly advertising my products through social media like facebook and instagram. It took not very long and big shops like Thomann and Amazon got interested. Meanwhile there are dealers all over the world who are selling my products. And even famous players like Wayne Bergeron or Eric Miyashiro are talking about using the Buzz-R in their workshops and clinics. This is also not too bad 😉

Is there anything that you would differently?

Nothing!

What new developments are you currently working on?

We have a new product available in our online shop, called the “Lipmaster”. It’s a unique training device, which is also handmade out of high quality wood. With the Lipmaster you can train your embouchure and lip muscles easily and isolated, away from your instrument. You can find it on our website www.buzz-r.de.

We’ve also planned to publish a new brass method book in the near future where the concept of the Buzz-R is explained in detail. It will be an innovative compilation of common topics like embouchure, breathing, efficient practice, etc. This book also includes some instructional videos, exercises with funky play-alongs and practice routines.

So stay tuned! 

For further information, please visit www.buzz-r.de


Sign up here for new blog articles emailed direct to your inbox:

[jetpack_subscription_form show_subscribers_total=”false” button_on_newline=”false” submit_button_text=”Sign up” custom_font_size=”16″ custom_border_radius=”0″ custom_border_weight=”1″ custom_padding=”15″ custom_spacing=”10″ submit_button_classes=”” email_field_classes=”” show_only_email_and_button=”true”]

Advice · Interview

Trumpet Artist Profile: Eric Miyashiro

With a trumpet in his hands, Eric Miyashiro is a force of nature. The powerful sound, blistering range and flamboyant lyrical playing suggest a very different personality to the one that I met! Eric is one of the gentlest, nicest people that I have come across so I was thrilled when he agreed to spend some time doing this interview for Mouthpiece Online…

What drew you to the trumpet as a child?

My dad was a well-known trumpet player in Honolulu, Hawaii, so music and trumpet came naturally.  It was like a “toy” for me, I really don’t remember when I started to play!

Who are/were your main musical and trumpeting influences?

Well, there are sooooo many… my dad, Maynard, Bobby Shew, Snooky, Doc, Herseth, Vizzutti, Jerry Hey, Chuck Findley, Freddie, Stahl, Chase, Audino, Clark Terry, Faddis, Wynton… too many to list. I like everybody! I always try to find something in a player that I like, and then learn from them.

As a young pro, one of your first big touring band gigs was with Buddy Rich – What was it like as a young player going into that environment on lead trumpet?

To tell you the truth, I was too green to take that chair, I was not ready… but I think that Buddy saw something in me and he let me grow in to that chair. It was brutally a tough, difficult book to play. Buddy’s energy was so strong that you can’t help but to get caught up in that typhoon of power – it was real tough to try to keep up with him. But it was also the best, and the most fun I had on the road… I would not trade those years for anything!

You have worked with a few manufacturers over the years on custom mouthpiece and horn designs. Can you give us any insights on the design process from a players’ perspective, particularly in relation to your GR mouthpiece and Yamaha trumpet?

Over the years, I was able to meet and work with most of the famous makers. Each company has their own philosophy and systems in designing their products, some of them contradicted the others, but overall the science is the same. Yamaha and GR are at the highest level of product tolerance control in my opinion. To me, the horn and mouthpiece are just tools, it really doesn’t make you sound any different or better then you are capable… depending on how long the “honeymoon” period lasts!

But having a horn that is easy to work with is the key to letting your personal voice come through your playing. I have had about 600 mouthpieces, 47 Bb trumpets, 2 MF Firebirds, 5 flugels, 4 piccolos, 3 melophoniums and a superbone. I have tried all the gadgets known to mankind, and my conclusion is in the end, it’s you and your “voice” in your head that matters. You can change the way you sound by finding a sound that you want and need, that comes from listening, and trying to get a strong image etched in your head. Your priority should be finding equipment that is easy to handle. Only then can you concentrate on the music at hand, rather than fighting the horn, and blaming the horn and mouthpiece for your performances.

Mouthpieces are like your shoe size, bigger is not better! And resistance, from your horn or mouthpiece, is your friend. Learn how to use resistance. Lean against it, and let the resistance help to keep your buzz from opening up too much.

In some recent ‘clinics’ of yours that I attended, you discussed some really interesting approaches to playing high notes! You demonstrated with a leadpipe and some tissue paper that it is not necessarily about airspeed. Can you share some of your thoughts, theories on this? How did you come to start using these techniques?

I always knew from early on that it wasn’t all about the “Air”, “Tongue Arch”, “Pedal Tones” etc. Everything is important, and it’s about balance. We often base our playing on physics with fluid dynamic and acoustic theories. What we do is completely unique. There are very few detailed, and scientifically proven studies done on the physics of brass playing. Any studies are not accurate and reliable because of the player’s physical and personality differences.

The amount and the speed/pressure of the air is a factor that will come into play with the lip tension, tongue position, mouthpiece design, the horn, acoustical condition and the size of the room etc… and on and on… So many factors are involved, but one thing that is certain, is that we “overblow” when things are not working with the chops.

I know this because I am guilty of having done this for most of my life. So, I have been doing my share of studies and experimentation to figure what does and does not work. The bore size, bell size, venturi size, or the gap and drill size on mouthpieces does not necessarily determine the resistance. It is the balance between all of this, plus the most unstable factor, you and your preference.

For you, what are the key factors in keeping on top of your playing when you are travelling?

Sleep, (which is hard to do….) Lots of water, avoiding alcohol, (which is really hard to do)… and keeping your chops in shape by carefully maintaining the buzz centre and the mouthpiece position.

If you could give any advice to a teenage Eric, or suggest that he does things differently, what would you say?

Take lessons!!!! I have never taken a lesson in my life, I am self-taught so I have many bad habits!

Please visit www.ericmiyashiro.com to find out more.

To see the range of GR Mouthpieces, please visit Thompson Music and purchase with an additional 11% off over Thanksgiving weekend.


Sign up here for new blog articles emailed direct to your inbox:

[jetpack_subscription_form show_subscribers_total=”false” button_on_newline=”false” submit_button_text=”Sign up” custom_font_size=”16″ custom_border_radius=”0″ custom_border_weight=”1″ custom_padding=”15″ custom_spacing=”10″ submit_button_classes=”” email_field_classes=”” show_only_email_and_button=”true”]