 Do you know how many times I have heard people tell me that the design of a trumpet cannot improve the upper register? Take a guess. Ten times? A hundred times? I've heard this thousands of times.
This past weekend, I spent several hours working with a prominent Colorado trumpet performing artist. He is a retired Army musician who has performed with all of the Army's top ensembles including the Field Band, Army Blues, and Pershing's Own. Needless to say, he is a great musician and knows his way around the trumpet in every key. I'll leave his name out of this blog entry to focus on the topic at hand. He had borrowed a Harrelson trumpet from a mutual friend and discovered that he really liked what he was feeling and hearing. But he had some concerns and called me to discuss his experiences to see where it could go. Upon hearing his first few notes, it was apparent that there was an impedance mismatch. He sounded great, but I suspected he could sound much better with a few simple adjustments. I asked him how the trumpet felt in terms of air flow and he let me know that it felt too tight. Too tight in the upper register or in all registers? He confirmed it was too tight everywhere. I removed the receiver on the Harrelson Bravura trumpet he was borrowing from our mutual friend and exchanged the VGR insert with an insert measuring two sizes larger. Then he played again and immediately noticed it felt like a completely different trumpet. After 10 seconds of scales, his eyes widened and he explained that everything felt much better. This was the beginning of a 30-minute journey exploring various inserts to find the best impedance match to his oral cavity and the internal geometry of his personal mouthpiece to feel the most comfortable in all registers. In that short period of time, we found an insert that made his upper register easier than ever. And another insert that gave him the confidence and security to play better in all registers. Then we compared this setup to his trusted axe, a Bach 37 that he had played for decades. All three of us could clearly hear the difference. While his Bach is a nice trumpet and he is a great musician, the results were night and day obvious. The Bravura that had been impedance matched to his preferences gave him clean, solid, confident results in all registers. What sounded easy on the Bravura was clearly much more difficult on the Bach. Now I have endured a lot of criticism over the past 30+ years for statements like the one above. Comparing my [insert model] trumpet with a [insert model] factory-built trumpet is a very controversial subject. Why? Because trumpet players often believe that trumpet builders are not a part of this kind of conversation. I say this is ridiculous. If I cannot be integral to the comparison conversation, then why would you ever seek out my expertise and pay me to help improve your performance? Many liken this supposed conflict to some form of unfair capitalism. Well, let's be clear. I design and build trumpets for thousands of the best trumpet players in the world and thousands more who play for fun. And I do it for several reasons. I love working with trumpet players from all walks of life. I learn just as much as they do in the process of discovering what does and does not work for their individual goals. I enjoy solving problems as much as getting to know each and every person. And I enjoy being paid money. Yes, I said it. I do this for a living. This is how I pay myself, my team members, rent, expenses, and this how I invest in new technologies and processes that further my research and innovation. I will not apologize for inserting myself into the conversation of comparing what works and what does not work. Years ago, I published a comparison of mouthpiece gap results with various mouthpiece brands, including my own. I pointed out that none of our mouthpieces produced a physically acceptable gap range on every instrument. And in the following months, I pressed the industry to adopt a standard of measurement for mouthpiece shank taper and length to improve consistency and give the consumer (you) a better chance of finding what works for each performance situation. This was the first time I had received angry phone calls from other manufacturers. I was accused of attacking individuals and belittling their names and brands. This blog entry remains on my website here. You can read for yourself exactly what I explored and how I measured the results. In the end, every single manufacturer's mouthpiece exhibited the exact same problem, it produced an inconsistent amount of gap. And I included my own mouthpieces in the comparison which measured an unacceptable range from .060" to .118" in gap. All of these measurements were performed with the exact same trumpet receiver. And remember, this was published before I had finalized the Venturi Gap Receiver (VGR) solution. If I had been a trumpet player and not a trumpet/mouthpiece builder, it is unlikely I would have received so much negative feedback. And I do understand that most people do not want to make waves in our industry. But asking these kinds of questions is the only way we can shift the paradigm and move forward. This is exactly how my trumpet students discover major breakthrough events. By asking "why?" we discover opportunities that were always there, hidden in plain sight. I encourage every single person reading this to reexamine what you think you know and ask questions where you only see truth. I recall another time a simple post on Facebook lead to industry-wide outrage and resulted in an angry European manufacturer calling to tell me I had crossed the line. What did I post that led to many dismissing me forever? A photo of a one-year-old high-end custom trumpet sent to my shop for a VGR (adjustable gap receiver system) installation. The trumpet was brought to me by a customer who was experiencing serious slotting issues with this trumpet that was custom built for him. When I pulled the original receiver off of the leadpipe, I discovered that there was one small patch of solder holding it in place with an air gap between the receiver, a crudely made shim made of sheet metal, and the leadpipe. I posted this as a general FYI since I had seen this problem from multiple manufacturers for decades. The shim technique is a cheap way to make parts kind of fit when they really shouldn't be soldered together in the first place. I argued that a high-end trumpet should be machined in such a way that the receiver and leadpipe fit each other properly. After all, this is the standard requirement on all solder joints in a brass instrument. And this requirement is widely accepted by all reputable manufacturers. It seems that since I was performing so many receiver replacements, I was the only person to have this problem come across my bench so very often. Ironically, taking short cuts to assemble this specific trumpet with a shim is what caused the original slotting problem with my customer who requested a VGR upgrade. The fallout from the above experience was interesting. I had hundreds of people say they would never do business with me again. And hundreds more who thanked me for being honest. At the end of the day, I would do it again only because I hold myself accountable to the exact same standards that I find so critical in the design and manufacture of high-end musical instruments. I'm a perfectionist in this part of my life, which has resulted in a lot of criticism within all tribes of the trumpet world. My goal is not to be liked by everyone, but to shed light on the shadows and raise the bar for everyone peddling what may or may not live up to the hype. Anyone can sell you what is temporarily believed to be a major improvement. Yet very few will build what you think you are buying. And most of you will never know the difference. And that difference is taking the time to do it right the first time. That difference is asking why something isn't right and spending years working with the best musicians to find the answers. That difference is INTEGRITY. That difference is doing what is right even if it means more time, more energy, less profit, and delays. Doing what is right is why I can sleep soundly at night. And this is also why I am not a millionaire, but rather a man on our journey to achieve great things with you rather than alone. Getting back to impedance matching, which seems to be the most controversial subject in the trumpet world, we need to get this right. Everything in this blog post is about impedance variables. The receiver with the cheap shim affects impedance. The mouthpiece shank survey that produced inconsistent gap results is about impedance. And the accomplished trumpet player who found the best VGR insert setting that made him feel like a better player? Impedance. An easier upper register does not happen by accident. You can practice smarter and get results. You can practice longer and get results. And what do you do when you've practiced smarter and longer and have landed on a plateau? You turn to the scientific process and experience a major breakthrough by way of adjusting the physical reality of your physics "experiment". This is how I have made my living for my entire career and I will not apologize for pushing forward in pursuit of making great music with less effort. Feel free to share your thoughts! - Jason  We have great news! We will begin shipping Kickstarter Bravura trumpets next Monday with priority given to both your backer number and model ordered as outlined below. We originally estimated that shipments would begin in late July through early September based on early testing during the Kickstarter campaign. Since that time, we built several "Ambassador" Bravura trumpets that have been rigorously tested by active pro players in real life performance situations and discovered some room for improvement.  This early feedback helped us see potential challenges with the original modular finger ring design for the first and third slide rings. So we got to work and designed two new modular finger ring systems to address all concerns. The first version will be available on all Standard and "V" model Bravura trumpets and is a tube clamp design with two screws and two nuts. This version will be known as the "Clamp" system for future reference. This is very similar to the original variation you saw during the Kickstarter campaign. The improvements include adding a second clamping area to improve grip and a nut wrench that offers a more reliable way to tighten the hex head bolt and nut by using two opposing wrenches. We recommend using a small dab of rubber cement or silicone adhesive with this system after you have determined exactly where you want to position each finger ring. This will prevent the risk of over-tightening and will allow for easy removal when needed. The second modular finger ring version is our new "Rail" system that will be available on all "X" and "T" model Bravura trumpets. This system is an expansion of the modular pinky ring system on all Bravura leadpipes. It is founded on the T-slot principle where a T-rail is mounted to the slide tube with threaded holes along the length to provide multiple mounting locations. This system is more expensive to produce and install as the stainless steel rails are 3d printed then soldered to the tubes. The advantages of the Rail system are increased simplicity and reliability. One bolt holds each finger ring in position rather than the two bolts and nuts required on the Clamp system. And there is no adhesive needed. And finally, let's talk production numbers and estimated delivery dates. We announced last week on social media that we had produced our 50th Bravura trumpet. And here's a breakdown on which models have been assembled so far. Keep in mind, the only trumpets on this list to be shipped were a few of the Ambassador trumpets with the original finger ring system to get real world test results before final production.
Keep in mind that all of these builds are dependent on many variables, and we are shipping completed orders in the most logical order possible. We are prioritizing shipments by Kickstarter backer number and simplicity. For this reason, Standard and V models will ship before X and T models.
Thank you for your patience and support! Jason, Jen, Christine Harrelson is known for efficiency. We have invested over three decades into brass acoustics research and innovation. And in this time, we have discovered many breakthrough approaches to trumpet design that were previously unknown. The handful of manufacturers who have explored brass instrument design from a scientific perspective did not have access to the amazing technologies available to us today. These iconic pioneers include Renold Schilke and Vincent Bach, who likely couldn't imagine what is possible today.  Handheld spectrum analyzers, FEA (finite element analysis), CAD, CAM, and Topology optimized software, unbelievably accurate CNC machining, high definition metal 3d printing in a wide range of materials, and paradigm-changing performance psychology discoveries have revolutionized almost every aspect of trumpet performance and the instrument itself. At Harrelson, we have shed light in corners of brass acoustics that were completely unknown until recent years. Where there were once anecdotal theories, we now have sound scientific data supporting best practices in mouthpiece, receiver, venturi, leadpipe, tuning slide, piston, and bell design. Every one of these components was previously designed based on trial and error. And while there are equations to support specific bell flare design theory, this is the only component within the trumpet that has previously had any significant amount of research. Ironically, almost all bell research was performed by graduate students and mathematicians and not manufacturers. And with all that research, there has been almost no development of bell designs in over 140 years.  At this very moment, we have designed the world's lightest high efficiency trumpet (Bravura) that exhibits more resonance than any production trumpet available today. And the price is below a stock Bach or Yamaha. This achievement is a result of leveraging a great deal of cutting edge technologies. Decades of research has taught us how and where to preserve standing wave energy to produce the most bell resonance possible. These new designs leverage built-in technology to multiply your efforts when performing. Upper register challenges are no longer a concern as your energy is transferred exactly where it needs to go, to the wall of the bell. Wide interval leaps are commands rather than requests resulting in confidence on every interval through 3 octaves. Initial tone production is a reflection of your embouchure skill level allowing you to begin a phrase at the widest dynamic range you've ever experienced. We have achieved all this and more by doing the hard work for you. Improving on previous designs based on real scientific data and client feedback, year after year, has multiplied our efforts to produce instruments lighter, easier, and that truly feel like an extension of your body. See your own musical vision take shape by leveraging our VGR system, SWE and MBR technologies, and our fully modular mouthpiece system. Ask us how we can help you take your playing to the next level. 303-657-2747 We're bringing more technology and manufacturing processes in-house with our latest acquisition, a metal 3d printer that doubles as a precision CNC milling machine. We are partnering with Sodick, a Japanese technology company specializing in the highest accuracy machines of their kind. The OPM250L will allow us to develop many innovations including variable aperture mouthpiece rims, extremely lightweight high efficiency leadpipes, Muse mixed-sound-profile bells, stainless steel custom one-piece mouthpieces, topology optimized pistons, slide-less valve casings, and much more. These new solutions cannot be developed without this very specific type of technology where metal laser sintering is combined with precision milling throughout the build process. The components produced by the OPM250L will be the final net shape with a near mirror surface finish on key features. In fact, the linear motors on this machine move in increments of just 0.00001" meaning it can move 300 increments within a human hair.  Over the years, we've heard many times that we rely too much on technology in our research and production methods. Countless musicians have taken the time to let us know we're headed down the wrong path. Yet a high number of professional musicians who make their sole living from performing on trumpet have been our customers for decades. You've likely heard dozens, if not hundreds of recordings of our clients playing high efficiency Harrelson equipment in commercials, blockbuster movies, on the radio, on national and worldwide tours, and in hundreds of individual artist albums.
Which trumpet solutions require technology typically reserved for medical device and aerospace work? We'll touch on a long list of innovations in the works in future blog entries, and we'll start with variable aperture rims today. The Variable Aperture Rim (VAR) is something very special that should get your attention. It was specifically designed to work with your individual physiology. The idea is that we will scan your dental structure, take measurements of potential high point geometry and potential minimum aperture features to design and make a rim that maintains your current tone quality while expanding your range by up to an octave or more. How is this possible? Through the application of physics principles related to vibration, lip oscillation, air velocity, and air pressure. Without getting too technical, we discovered a way to play notes like double high C with less effort than C in the staff. While this sounds too good to be true, we have replicated this approach and refined mouthpiece rim designs for over 20 years leading to this very moment. Now it is time to put innovations like the Variable Aperture Rim in production for everyone to experience! Subscribe to my blog to keep up on this project and all the latest news at Harrelson. I never thought I would see the day when trumpets were 3D printed. Nor did I believe that 3D printing could produce better results than hand fabrication. Well, I was wrong. Modern high end Metal and Nylon 3D printers are now so accurate that they are printing rocket engines, molding dies, medical devices, and critical components on Formula 1 race cars. Let's add trumpets to that list as the Bravura is now the first trumpet in world history to boast an extremely accurate leadpipe printed from 316 Stainless Steel. And all of the bracing is printed from PA12 Nylon. These are not your average 3D prints. Thanks to amazing technology, industrial grade materials are transformed into the highest quality components the trumpet world has ever seen.  Why should you care? Because the results are more than impressive. The new Bravura has an efficiency to weight ratio unmatched by any Harrelson trumpet ever made. Vibrant, full-bodied resonance pours out of the Bravura bell with little effort. The leadpipe will effectively endure non-stop playing for centuries with no risk of red rot, ever. And the lightweight bracing is more durable and forgiving than soldered brass joints. You'll never need another solder repair. The greatest benefit of our new 3D printed hybrid trumpet is THE PRICE. By re-engineering nearly every aspect of bracing, assembly time is reduced so much that we can cut the price by 1/2 of our comparable 3rd generation Summit model. Ride the wave of revolutionary innovation and pay less than any other pro trumpet on the market today! I walk you through the entire process of 3D printing our new Bravura here:  I'm currently machining the very last production run of Muse MMXX leadpipe and bell bracing on our Hurco VM20 CNC milling machine. And we just finished the very last machined Muse leadpipe on our twin spindle lathes. After Sunday, these three machines will be moved out of the shop as they were sold in June. And this will mark the end of an era of immense innovation with 100 Muse MMXX trumpets built and played daily by great musicians around the world. You may be wondering why we would sell our CNC machinery since it really does perform half the work for us. Well, we are keeping the most capable lathe, which is more advanced than the others. It will be put into daily production beginning in September. But the other three machines, which have helped us build well over a thousand trumpets and over 10,000 mouthpieces are actually holding us back. Technology has evolved considerably since 2004, the year two of our workhorse lathes were built. Our goal is to purchase a new CNC 5-axis mill/turn system in 2025 that will feature full automation (part loading and unloading), collision avoidance, adaptive tool monitoring and compensation, and in-process sensor technology to maintain the highest production quality possible. In short, this new machine will outperform all of our current machines with the ability to produce higher precision components nearly every hour of every day including weekends when we're out having fun.  This week wraps up a very long production run of every CNC machined component for every new trumpet we will release in the coming year. We've spent the last 10 months designing and making the upcoming Rumors LS and Dreams LS, Summit G4, and Muse 25 models. And yes, every one of these instruments incorporates new topology optimization design technology, CNC machining, and laser sintering in a variety of brass, steel, nylon, aluminum, and titanium. We are literally on the edge of the future!  I honestly never imagined I would be sharing everything I've just written. Remember, I began building trumpets on a picnic table while studying trumpet performance and physics back in the early 90's. Having reinvested millions of dollars into improving the efficiency, design, and production of brass instruments, it is humbling to think we've come this far.
I sincerely thank each and every one of you for believing in my vision to create an elevated musical experience while blowing into a metal tube. You are the reason trumpet design is moving in the direction of previously unattainable efficiency and resonance gains. And you have taken the time to embrace a new understanding of what is possible on our instrument. Jason It's all about the sounds we create, right? We wouldn't pick up the trumpet day after day, year after year, if we didn't enjoy creating a series of beautiful, expressive, meaningful sounds. And our audience would prefer to listen to us communicate in an artful way. Making music is all about sound. If this is true, why do we so often overlook 50% of the sound-making equation? The mouthpiece and trumpet make up one half of the formula that holds the promise of amazing sound. The irony is that most people who think they are good at something give themselves too much credit. And this is often what holds them back from their full potential. In fact, the 50/50 debate is so heated that over 90% of the trumpet players I have polled believe that the player makes up of 90% of the sound equation. I've heard the words, "it's the player, not the horn" thousands of times.  The very first high efficiency stainless steel tuning slide ever made How then do you explain the thousands of high profile trumpet players who have worked intimately with trumpet makers to create something that fits their individual needs? Wouldn't these efforts be in vane if the player is 100% responsible for creating the sounds that immediately identify them, like a personal signature? Do they seek out custom trumpets and mouthpieces just to have their name engraved on their equipment? Having personally worked with hundreds of the most prolific and well known trumpet players alive today, I can safely say that pro players seek out new equipment because they recognize that they are only 50% of the sound equation. These are incredibly talented, hard working musicians dedicated to their craft, yet they would choose a custom trumpet and mouthpiece over something off the shelf.  Leroy Jones is one of those people you never forget after hearing him just once. He performs with his band weekly at Preservation Hall in New Orleans. This man squeezes every last drop of traditional New Orleans Jazz out of his horn in a way that transforms space and time. He takes you back to the early 1920's with every note. And he sounds amazing even on the cheapest trumpets. Yet he sought out custom solutions to fit his very specific individual needs to further his musical expressions. And, like all trumpet players, he wanted increased endurance, comfort, efficiency, projection, and the list goes on. If you've never heard Leroy, I highly recommend you jump on a plane and go hear him live. If that isn't possible, at least check out his albums here. I rarely drop names as I believe every single person pursuing musical expression on a brass instrument deserves my unbiased attention, care, and time. With that said, I will drop a few names today, to offer some perspective and hopefully open your ears up to a few more great musicians that may inspire you.  Charlton Singleton is one of the premiere trumpet players of our time. His expression on trumpet is only equaled by his captivating voice. Charlton is a founding member of Ranky Tanky, a band that will gracefully transport you into the Gullah culture of the Southeastern Sea Islands. You need to own his latest album Crossroads to truly understand what it means to communicate with your sound, both vocally and on a brass tube!  Pete Rodriguez, another premiere Latin Jazz trumpet player of our time, is the son of the Pete "El Conde" Rodriguez who was literally one of the greatest Salsa Band leaders of all time. Like his father, Pete takes his Latin roots and music very seriously! His album Obstacles showcases Pete's talents rich in tonal expression, thought provoking complexity, and sheer virtuosity. Pete visits my shop yearly to discuss his musical goals, fine tune his mouthpiece setup, and further explore the latest innovations within the Muse Modular system.  Jorge Vistel is perhaps the most prolific Jazz trumpet player in Europe today. I think of him as the Wynton of our time. Like Pete, Jorge is 100% devoted to his craft which leans heavily on complex phrasing, technical fireworks, and pure beautiful music. My dream is to someday host a concert featuring these two trumpet superstars in Denver. Jorge and his brother Maikel make up half of the Vistel Brothers Quartet currently based in Paris. Jorge will be taking delivery of the very first VPS Summit G4 made from laser sintered metal and solid hardwood late this year.  Dichrolam Fire captive inlaid finger buttons Now that I've been sharing some of our clients, I wish I had time to continue with my very long list of trumpet players who will instantly inspire you to take your playing to the next level. However, I need to go build another Muse Modular trumpet for a client and change over the tooling on a lathe. I promise to share more soon.
Jason There are typically three reasons trumpet players performance doesn't match their expectations. Technique/Fundamentals, Impedance mismatch, Equipment mismatch make up 99% of the issues I see on a daily basis. But there's one factor no one wants to discuss...
 I don't know if you've noticed by my social media posts, but I typically work five long (12-hour) days every week broken up with two days of mountain time. With the change of seasons, we are also experiencing a change of production as I finish up the remaining Rumors & Dreams trumpets and a few custom Muse MMXX orders.
Next on my bench will be a wide array of trumpet builds wrapping up the last 10 years of innovations in less than 50 days. I'm gathering up every single leadpipe, tuning slide, brace, finger ring, etc. on hand and assembling the remaining VPS Summit and Summit One, Muse, and X-series trumpets with the possibility of a few GS horns thrown in for good measure. My goal is to use every last component I have on hand in trumpet production before blazing into the future of trumpet design.  I would like to pay homage to the last decade of hard work and dedication our team has invested to create career-changing solutions by focusing on these for much of this coming Summer. And for those of you wanting to own one of the last instruments I'll make in this era of trumpet design, now is the time to pull out your calendar and plan your trip to see me in Denver! The Rocky Mountains are calling and I'm happy to share ideas for day hikes, side trips, jaw dropping mountain drives, places to stay and eat, and much more. We get hundreds of visitors from out of state/country yearly, and every one of them has shared how much they loved their mini (or full) vacations to Colorado.  Day one of our 26-mile backcountry hike in Maroon Bells
 To celebrate the past 10 years of Harrelson trumpet design, I will be offering special pricing in our showroom only. This means that visitors can save thousands on a brand new high efficiency trumpet this Spring and Summer. I estimate that we will sell out of the approximately 30 instruments I'm building by the end of September. You will also have special pricing on numerous single edition SpectraTone/5MM Mouthpiece bodies, inlaid finger buttons, and limited edition Mod Kits. These prices (and many items) will not be available to online customers.  In 2021, I was given a new lease on life which has given me more freedom than I ever imagined was possible. Take it from someone who has been very fortunate to see every new sunrise, you need to prioritize what is important in life today. I challenge you to stop everything and take the next 10 minutes to truly reflect on what is important to you.  When was the last time you intentionally picked up the phone to catch up with your best friend from high school? Who would be excited to meet you for lunch tomorrow? Where have you always wanted to visit, but never made the time or plans? There's someone out there who has inspired you over the years and would love to hear that from you. And likewise, you have very likely inspired others who would cherish a great conversation.  Interrupt your life with something that makes you feel excited, alive, and vibrant. And if that includes a visit to my shop, I'll be here to share our time together. Whatever you do, get started right now!
Jason I often hear trumpet players ask one another, "how is the response on that horn?" when discussing equipment. I've asked thousands of musicians what this question means to them, and the responses are quite varied. In my experience working with clients, vocabulary used to describe the playability and sound of brass instruments is fairly limited and often vague. A term that one player defines as clean, articulate, and crisp, another will player will describe as sharp, abrupt, and crass. It seems we spend a lot of time saying things that we have not taken the time to fully define and understand. The word response is one of the most misunderstood terms used by brass players. One of the most common types of phrases I've heard is, "I can't play heavy horns because they are not responsive". Another, "that lightweight horn is unbelievably responsive." Technically speaking from a physics standpoint, both of these statements cannot be true when using the true definition of the word response or responsive. In fact, the opposite is true in both statements. So why do trumpet players so often say these kinds of things? The answer is primarily found in their first-hand experience behind the bell of the trumpet, rather than from the perspective of the listener on the other side of the bell. Many trumpet players have worked very hard to achieve results on a relatively difficult instrument, which tends to make them believe they are experts at their craft. But being great at playing an instrument does not necessarily mean you understand how it works or what is happening in terms of projection, tone quality, and overall results at the back of the club, hall, or auditorium. Listening on a higher level requires more than hearing what is happening behind the bell. Your audience is not sitting next to you, they are in front of you. And the instrument was specifically designed to project your creative sounds in their direction, not yours. To save your eyes reading on a computer screen, I've explored the words response and projection in this video while explaining how our B.R.A.S.S. components help achieve the results demanding trumpet playing requires. |
 Jason Harrelson
Inventor, Musician, Educator and Founder of Harrelson Trumpets, Trumpet Momentum and Harrelson Momentum. Archives
October 2025
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