Trumpet Momentum Volume 3 - Air Volume
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Trumpet Momentum Volume 2 - Fast Air SpeedToday's topic is Air Speed or more specifically, FAST air speed. Most brass players experiencing difficulties reaching the next note higher in their range should pay close attention to the following video. And those of you who can only play high notes loud may want to listen. Faster Air Speed IS REQUIRED to play higher notes. How is this possible? Why is it true? How does it work? I'll save that for a future post so we can get straight to the good stuff! Watch, try it and give me your feedback... Missed volume one? Check it out here... Trumpet Momentum Volume 1
Trumpet Momentum Volume 1 - How to play high notes
Trumpet Momentum is a philosophy that I live by in my daily routine. It is literally how I live and I encourage you to explore these principles and apply them to your own journey.
This first installment of "Trumpet Momentum" focuses on the elements of playing high notes. In reality, these physics principles apply to all notes from the lowest to highest. Most of us think of high notes as difficult or seemingly unattainable only because the mid-range is likely missing balance. The four primary elements necessary for high notes played without excessive pressure include:
Getting to the heart of the Trumpet Momentum philosophy, finding balance is the first element required for success in anything. The rest of this blog entry is in video format in two parts, which I believe is more useful than words. Please leave your comments below and I will answer your questions individually or in the next installment of Trumpet Momentum.
Harrelson Momentum on Kickstarter
Do you want to learn more about the key principles of Harrelson Momentum? Our Kickstarter campaign runs through June 22nd offering you the first option to experience Momentum in your own hands.
A lot of people first think 5MM is a reference to the metric system of measurement. However, the "5" represents the five major components of the mouthpiece that determine comfort, playability, tone, projection, intonation tendencies, etc. These are the Rim, Cup, Throat, Backbore and Body. There is a sixth component of the system known as the Nut, which prevents the Backbore from coming unscrewed and fills the visual external gap to the instrument receiver. What is the "MM"? This represents MODULAR MOUTHPIECE. The idea is simple. Start with your current size in the 5MM System, then try various options that previously did not exist in other mouthpieces to see what fits you better. The goal is to improve playability in terms of ease, clarity of attacks, intonation, tone and projection. You can also alter these attributes to achieve a very unique sound, attack and projection pattern depending on your needs. What is available in the 5MM that is not possible with other mouthpieces? Well, just about everything! The 5MM offers new options that do not exist in other brands and we will introduce more innovations year after year. Now you can create a shallow mouthpiece that produces a huge sound. Or a small rim diameter with solid fat attacks. How about a mouthpiece that uses very little air while creating a big broad tone? Yes, all of this is possible with the 5MM System. 5MM Rims The Rim is the most important element of any brass mouthpiece. Your body and mind have become accustomed to the shape and size of your current rim allowing muscle memory and reflex to provide the results you desire. Or do they? In many cases, your current rim selection may not be the best fit for your unique embouchure, dental structure, lip composition, etc. You may greatly benefit from trying a new rim based on the parameters of your original. Some players increase tonal color, range and endurance by moving to one size larger on the inside diameter. Others may benefit from a wider outside diameter or even different radii on the inside or outside, thus changing the overall "flatness" or "roundness" that presses against your teeth. Not sure what is right for you? Just ask us and we'll point you in the right direction based on your current equipment and performance results. One thing we know for sure is that we can make the right rim for you. We have the experience, tools and expertise to take your playing to the next level with just a few minor adjustments to your mouthpiece. 5MM Cups Our "Compression" series cups improve attacks in all registers without sacrificing range and endurance. Our "Triple" series cups improve attacks while giving you a smoother velvety tone for those times when you want to sound more complex. And our "Original" series gives you exactly what you experienced in your previous mouthpiece. 5MM Throats Our Modular system offers a major innovation for brass players, the ability to test every Throat size! We estimate that around 90% of all players are not using a mouthpiece designed to their optimum throat diameter. Why is this important? The inside diameter determines air flow and tone color. Too tight and you may sound shrill, experience diminished dynamics and have trouble in the low register. Too large? Well, very few standard mouthpieces offer a throat that is too large since the range of playable options is literally 40 sizes larger than a #26 throat. Let's just say that you will gain dynamic range (softer and louder), tone color, breadth of tone and improve your technique while strengthening your embouchure simply by moving to one throat size larger every few months for the first few years. Relying on small throats from #21 to #30 is the primary cause of limited flexibility within the full range of the instrument as well as an overly bright tone. Where do you start with throat sizes? I recommend ordering your original throat along with two others that are at least one size larger than the previous to get started. Work your way into larger throats gradually and consider stepping down one size for rigorous performances until you are ready to move up to the next size. What are compression throats? I have developed compression shape to the entrance of the throat. The throat segment of the 5MM was deliberately designed to allow for this option. By altering the "funnel" curve at the entrance, it is possible to compress your air stream to become faster when it reaches the smallest inside diameter. I currently offer three compression shapes with more to come in the future. Shape C - increased air velocity with less effort resulting in a full tone and easier upper register Shape E - brighter and more effective in the upper register than shape C Shape H - easier attacks in all registers with a slightly air "Chet Baker" tone 5MM Backbore Think of the Backbore as an extension of the Throat and the beginning of the Leadpipe. This crucial component is the physical acoustic link between the mouthpiece and the instrument. By optimizing the Backbore, you are essentially linking these two different objects to become one seamless acoustic instrument. However, the vast majority of players are playing with a mouthpiece that is mismatched to their instrument. How do I know? I work with thousands of brass players from around the world and only in certain instances are the acoustics even remotely close to optimum. How can this be true? Think about this scenario, you purchased a fine top of the line Bach or Yamaha trumpet and matching mouthpiece in 1982 and loved it. A few years later, you purchased Schilke 14A4A mouthpiece because you heard that the lead player in your favorite band was using the same size. In the early 90's you decided you wanted a bigger, fatter tone so you purchased a Monette B12 and ten years later switched to the B2S3 Prana. Sound familiar? What makes you think any of these aftermarket mouthpieces were designed to fit a Strad 37 or Xeno 8335? I know for a fact that they don't fit properly. And they do not produce optimum results acoustically. In reality, each of these scenarios playing various mouthpieces in your original horn created some results you did not prefer at the time whether you noticed or not. The reason is simple, the Backbore of each different mouthpiece does not always transition to the Venturi of the leadpipe, nor does it produce the optimum (or zero) Gap. Don't take my word for it, dig out your shoe box of mouthpieces and start measuring! What can you expect from matching the Backbore taper to your individual trumpet using the 5MM System? Improved CONSISTENCY is the number one benefit. Next... improved intonation, then flexibility and slotting. You may also adjust for intonation tendencies by altering the value found at the end of the throat and the beginning of the backbore. I'll discuss this in depth in a future post. 5MM Body (and Nut) The 5MM Body is the skeleton or frame work of the entire system. This component is responsible for added efficiency, which translates into easier wide interval leaps, increased dynamic range and improved endurance. I have written extensively on the subject of "Standing Wave Efficiency" within my online blog and there are numerous YouTube videos explaining the physics behind SWE Technology and how I have applied this concept to brass instruments. So which Body style is right for you? I specifically designed style "A" to be the optimum efficiency, weight and aesthetic design to fit most trumpets. This design (and styles B and C) tapers down to 5/8" with a nut option to transition to a 9/16" receiver, which is the most common size on almost all factory built horns. Those of you playing a custom horn with a 5/8" receiver may opt for the cylindrical nut. Around 1150 of you are playing Harrelson trumpets and a few hundred of our trumpets were built with a 3/4" receiver, which would require styles E or I as these taper to 3/4". Need more audible feedback? Then choose styles C or our Lightweight series as these lose more energy giving the player more feedback behind the bell. Need more projection? Choose style I for maximum efficiency and projection. What's with the Nut? The nut segment of the 5MM holds the backbore in place while creating a flush fit between the receiver and body. However, it is necessary to measure the external visual gap with the mouthpiece in place to determine the correct nut fit. For this reason, we have compiled a list of measurements to offer size range options which provide an educated guess for the actual nut length. There is no way to know for certain if a nut will completely fill the gap without either measuring or testing it on the exact instrument in which it will be used. For this reason, we have developed a Nut Size Gage on our 5MM Tool to solve this problem. When you order your 5MM, you have the option of ordering the 5MM Tool and holding your Nut shipment until AFTER you have measured all instruments that will be used with your 5MM Kit. This is the simplest method of finding the best fit if you cannot visit one of our shops in Minneapolis or Denver. Choosing a 5MM Kit
Find the Modular Mouthpiece kit to fit your needs by clicking the photo below... Someone recently told me (in a somewhat long rant) that they do not like high efficiency trumpets. My response was the following: What you mean to say is that you prefer to work harder, experience less efficiency and play at a level less than your potential. You would rather drive a Ford model T cornering at 15 mph than a Tesla cornering at 85 mph. You like to work hard and receive very little output for your work because this is a habit. It is true that many players do prefer working hard to play the trumpet. From my experience working with thousands upon thousands of players, almost all people do prefer a more efficient setup that results in, "more sound and less effort". The real problem is that most people think they, as the individual, are right about everything they understand in their personal life experience. This is where the psychology comes into play far more than the bio-feedback system. By resisting new ideas and experiences due to preconceived bias, you will almost certainly lead yourself to your expected outcome. If you say you won't like "xyz" due to a preconceived bias and then try it, you are not likely to give it an objective chance to fit within the realm of what you have previously known to like such as "abc". This bias truly prevents almost everyone in the world from experiencing reality. I know this is true because I have suffered strokes my entire life. After a major stroke, I lose my conscious memory, all of it. This means I've had to learn to walk, talk, write and play trumpet multiple times in my life. And I have forgotten the vast majority of my childhood, teen and early adult years of my life. And do you know what I have learned from these experiences? You're all a bit crazy! Seriously, every single person I know has strange unexplainable tendencies and beliefs that are on the magnitude of being extremist for no real reason. When asked "why" someone has a particular bias, the response is often something simple like, "I just don't like...". But when you've suffered a stroke and you're seeing the world fresh for the first time with no memory of bias, you can easily see that people live their lives by a personal code unrecognized by their own conscious mind that drives them to make choices beyond their objective free will. And yes, trumpet players suffer from extreme bias against modern technology, research and development and visual aesthetics. If it wasn't made by the mythical masters like Benge, Schilke and Bach, then it is an invalid option that should not exist. In many minds, these men understood everything there ever was to know about brass instrument acoustics and nothing can ever be improved upon their work. They were the masters of their art, the Stradivari of their time and we should stand and recognize their horns as the best in the world for all time. Some of you are nodding, saying, "of course, Bach was a genius and his horns are the best in the world". And others are thinking, "Bach was possibly a great genius and one of the best trumpet builders in his day, but humanity continues and things get better with time". My reality is probably closer to "reality". Bach was a genius, yet he was short-sighted due to the great successes he experienced throughout his lifetime. He did not experience enough hardship, enough challenge and likely, enough skepticism from his clientele. He basically improved upon a preexisting design that he and other professionals preferred. Then he found ways to personalize options to work with individuals. As his success and business grew, he created a production line and was financially successful. What is missing from Vincent Bach's career as a "genius" brass instrument builder? Innovation. He was a great businessman and a great trumpet player, but he did not innovate. In fact, I argue that his designs were nearly stagnant throughout his entire career. Do I respect his work? Yes. Do I like the sound of his instruments? Yes, I have owned over 100 Bach trumpets. Would I play one on a daily basis? Only if I were living in 1990 or earlier. Schilke was a great trumpet player like Bach and Benge. He preferred vibrancy in the tone and wanted to experience a lot of feedback from the perspective of the player at the expense of projection to the audience. He commissioned and performed a small amount of acoustics research, but threw out most of the important findings in lieu of personal bias. His personal bias was in fact what held him back from discovering some of the greatest advances in brass instrument design. Or perhaps he did make these discoveries, but withheld them because they did not fit his paradigm. Either way, Schilke proved that his potential for innovation was limited by the expectations of tradition regardless of whatever his true intentions may have been. And Benge? I believe Benge just wanted to build trumpets and live a good life. Innovation was not a consideration as is obvious from the output of his company. Schilke and Benge built nice horns, but they lacked innovation in almost every way possible. This is a good lesson for any business people out there reading...you don't have to innovate to be successful. What is my point? Most of you prefer antiquated designs simply because you were trained to like them. And in the process of learning social trumpet player norms, you also learned to reject new technology, designs, aesthetics and concepts. You may be thinking this cannot be true, but young players only have these biases after someone has given them their version of guidance. I have been focused on the young player segment of our brass playing community since 1996. I have been out there educating, sharing and asking questions of 5th graders through college students. And guess what's happening? They are learning about the physics involved in musical instruments on a level many of you have yet to grasp. They get it because they were introduced to the science of sound before they could play the Kennan or Arutunian. And they are extremely interested in learning about and experiencing Standing Wave Efficiency. This very moment is an opportunity for every single person reading. Consider your biases and admit that you may not know why you have them. Then question whether or not your bias is justified by reality or simply by a few short experiences that you did not fully understand. Perhaps the source of your bias was just a few, "words of wisdom" from a friend, colleague or mentor? Take this one step further and consider more serious biases you embrace outside of being a musician or trumpet player. What other parts of your reality don't quite add up? How can you change your perspective? How can you be more accepting and understanding of ideas other than what you have known? I encourage all of you to suffer a major stroke, lose your memory and experience life as a newborn in terms of how your mind interprets the world. Truly, waking up that first day is magical. Everything in the world feels like the greatest miracle. I recall seeing grass and trees for the first time. I literally got down on the grass and looked at it as close as possible and found an ant. Then I started sobbing uncontrollably as I began taking in the wonderful miracle of life on this planet. Yeah, that sounds pretty extreme, but do you remember waking up for the first time as a newborn? Probably not. Some of you have suffered major brain trauma and may relate to my experiences. Either way, we live in a beautiful world of possibilities and my innovations are part of our world. I'm not here to disrupt your reality so much as help you see possibilities. Concerning SWE, which is Standing Wave Efficiency. I coined this term, not for marketing as some may claim, but to sum up what actually happens to the sound wave inside a musical instrument. The "efficiency" is simply a measurement of energy in the wave as it relates to linear distance in the tube. A high efficiency instrument that exhibits more SWE will convert less of the anti-nodal high pressure into vibration of the tube throughout the instrument. It is that simple. No marketing jargon, just real physics. I have had so many laymen tell me that SWE does not exist and cannot exist, but in reality they just don't understand the definition. Standing Wave Efficiency is literally the amount of energy converted into vibration of the instrument versus the amount of energy remaining in the wave at the end of the bell. On the flip-side, I have had great conversations with hundreds of scientists over the years on the topic of SWE. I didn't invent efficiency, nor did I invent the standing wave as these are both concepts in science. I simply applied specific methods of design, structural analysis and production of brass instruments to reduce the transfer of energy from anti-nodal pressure into vibration of the instrument wall. Scientists get this with one exception, they often want to read published studies on the subject. This gets into another conversation about the value of research, development and findings that increase the value of my products. I certainly have no interest in releasing my life's work to the general public where my competitors can ride on my shoulders. Bio-feedback is another consideration and one of my favorite topics, which should not be confused with SWE. They are two completely independent subjects and my VPS or Variable Performance System addresses bio-feedback and the physiological psychology of Impedance variables within brass instruments. In short, the VPS is a system that allows us to adjust the Summit and Muse models to fit the playing preferences of every single trumpet player. I have taught Masterclasses on the Physics of Brass Instruments for over twenty years. I truly enjoy sharing my experiences both with brass players and in the form of scientific findings. I've presented at the University of North Texas, Georgia Tech, Metro State University, U of Oklahoma, U of Nebraska, U of Kansas, Montana State, Hofstra in NY, Loyola in New Orleans and numerous other colleges, universities and educational institutions. If your organization is interested in hosting a masterclass on the Physics of Brass Instruments, please contact Jennifer Sandquist at harrelsontrumpets@gmail.com or submit a comment below. You can read more about SWE and VPS on my website and in here in my blog. Or you can watch the following six-part video series which is a lecture I gave at McNally Smith Music College a few years ago. I am happy to announce the latest advancement in the 5MM Modular Mouthpiece System. The "Compression Throat" designs outlined below will definitely improve clarity, attack and stability in the upper register for everyone. Compression Series Throats offer more front end to the attack. Great for lead or situations where the attack is more important. "C" series - bright and loud with a balance of depth and ease in upper register "E" series - extremely bright and loud, easiest in upper register "H" series - aids in upper register while remaining big and full This 1-minute video gives you a taste of what is possible with Compression! The 5MM Throat regulates air flow and is a major factor in the harmonic overtone color produced by our 5MM Modular Mouthpiece System. Order your 5MM here or your Compression Throats here Most standard mouthpieces have throat measurements in the range of .145 to .165 with an end diameter of .20 to .22 inches. A 3C is typically .147 by .21 inches and is designated as F147.21 as in the example illustration above. Not sure which size throat you need? Call us and we'll make recommendations based on your specific performing needs. 651.330.7774 Understanding the numbers Example 1: B-120-20 designates the smallest diameter of .120" and an end diameter of .200" (matches Cup B, this is a small throat suitable for lead work) Example 2: F-145-21 designates the smallest diameter of .145" and an end diameter of .210" (matches Cup F, this is a medium throat suitable for all around playing) Example 3: H-170-22 designates the smallest diameter of .170" and an end diameter of .220" (matches Cup H, this is a large throat suitable for ballads and Mahler's 5th symphony) We recommend experimenting with throats of various sizes to achieve your desired tone color for each performing situation. Smaller diameter values produce a more focused tone while medium sizes offer vibrancy and warmth and large throats minimize projection producing a pleasant cello-like velvet tone. You may experiment with any diameter variations listed as they are all regular stock items. Change Throat sizes in seconds and see for yourself how this one factor will help you fine tune air flow, color, projection and intonation. Throat "length" should match the Cup "depth" value Throat "exit diameter" should match the Backbore "initial diameter" How does the 5MM Modular Mouthpiece system work? Why do I need it if I already like my mouthpiece? I have a drawer full of mouthpieces and I don't need another one, do I? The answers to all of these questions are revealed in the video below. My comprehensive "5MM Owner's Manual" video walks you through how the 5MM System works while highlighting benefits not found in any other system. Maybe it's time to list your mouthpiece collection on Craigslist or eBay and embrace the modern solutions available today. Yes, your Mt. Vernon 3C is a great mouthpiece, but could it be better? Could it be more versatile? Could it reliably do things it currently doesn't? Nope, but our 5MM version does more than you would believe. Sound too good to be true? Watching this video could change your mind, so those of you not interested in more mouthpieces should really hit the back button right now... I have invested the majority of my life into brass instrument design, manufacture and performance. And today, I am proud to announce the debut of the new 2016 VPS Summit model. I had the vision for this instrument in 2007 and began an 8-year-long journey that has led to this moment. There were numerous sources of inspiration for the development of the Summit model and most of these were directly related to customer feedback and my own performing experiences on the Bravura and earlier prototype models. I envisioned an instrument that exhibited the highest efficiency with more audible feedback to the player. In essence, give the performer more sound and also give the audience more sound with considerably less effort. I knew this challenge would be daunting, but I had no idea it would require more than 30,000 hours of my life! The VPS Summit includes three crucial developments that were previously unknown to brass instruments. 1) The first was a fully modular mouthpiece system that facilitates the fine tuning of every component including the Rim, Cup, Throat, Backbore, Body and even the Nut that bridges the mouthpiece to the instrument receiver. This is now known as the 5MM Modular Mouthpiece. 2) The second was a fully modular receiver system that facilitates the fine tuning of air flow, resistance, flexibility and slotting. This system is now known as the VGR (Venturi Gap Receiver) or the VPS Receiver (Variable Performance System). The VGR consists of a high efficiency removable mouthpiece receiver with integral inserts that fit inside. The inserts are available in every variation to guarantee a match with every player. 3) The third development was incorporating SWE (Standing Wave Efficiency) into every component of the instrument to increase overall efficiency, evenness in tone throughout the full range and maintain consistent intonation properties. The SWE developments represented in the VPS Summit include fully CNC machined components that are considerably more efficient than standard instruments. The entire receiver, leadpipe, tuning slide, bell crook, bracing, all caps and finger rings have been extensively researched and designed for this purpose. With the recent release of the 5MM Modular Mouthpiece System and the SWE Bell Crook, the VPS Summit trumpet is now complete. Up to this point, every previous version of the Summit was an incrementally closer version of my original vision. I am extremely happy to share with you that my research and development of this model is finally complete. I am confident that this design will exceed the expectations of musicians around the world for generations to come. A side note: I adopted the name Summit for this model as I am equally at home in the mountains, land and sea. Having grown up on the road, I always yearned to see over the next mountain pass either in the semi-truck or while hiking with my family. Reaching the Summit is often the primary goal in my life as the perspective from a high mountain peak provides more opportunities for wisdom, strength and continued challenges. And the next order of business will be incorporating these developments into my new Bravura Flugelhorn model. The following is a summary of the 2016 VPS Summit information we will be releasing in our upcoming press releases and our 2016 full color catalog. I would like to extend my sincere gratitude to every single one of you who have supported my vision throughout the years. Together, we are a team that has created value and solutions beyond what most of us could have imagined. And I could not have done it without all of your patronage, encouraging words, friendship, trust and true trumpet love. I am forever in your debt, Jason Harrelson Welcome to the future of brass instrument design The new 2016 VPS Summit line is here, ready to take your performance to the next level. If efficiency, versatility and personal fit are priorities in your trumpet search, then read on. You have just discovered the ultimate source for comprehensive solutions to brass playing challenges. We eliminate the guess work and frustration of finding, fitting and purchasing new equipment. And we guarantee you will love everything you own marked "Harrelson". Have you ever wondered why the upper register on one trumpet is easier than another trumpet? We know why this happens. In fact, we developed the Variable Performance System (VPS) to address this very problem. We guarantee you will find the correct VPS setting to fit your playing preferences in a matter of minutes. Does this sound too good to be true? Over 20 years of Research and Development has been invested in Harrelson VPS solutions. We studied the physics, we did the math and we produce the results! How do we build trumpets that play easier? Standing Wave Efficiency (SWE) is the name of the game when it comes to building trumpets that play easier. The VPS Summit model literally plays with less effort. If you struggle to play your highest notes on your current equipment, then two minutes playing the VPS Summit will reveal your instrument is in fact losing energy, thus forcing you to work harder. Why work harder when you could be making more music? How is the VPS Summit made? We build Harrelson trumpets embracing 21st century manufacturing techniques. Innovating with the latest technology, CAD software and modern CNC machinery, we cut almost every component of our instruments and accessories from solid brass round and billet stock. We are the only manufacturer in the world to employ these technologies and techniques. From the beginning in 1995, our vision has explored new technologies to improve the playability, versatility and personal preferences available to the trumpet player. We are the latest true innovators in the beautiful tradition of trumpet making. Innovation is everything at Harrelson Trumpets Our trumpets are designed, built and tested by Jason Harrelson, founder and owner of Harrelson Trumpets. Jason's perspective as a professional trumpet player and his work with thousands of the best trumpet players in the world as a mouthpiece, accessories and instrument builder has given him immense feedback and insight into approaching the challenges of brass playing. He has specifically designed the Variable Performance System to meet the needs of each individual player regardless of where they are in their quest for musical expression. We produce the only VGR in the world Our extensive research on Standing Wave Efficiency and the Variable Performance System led to the development of the integral Venturi Gap Receiver. This breakthrough innovation allows the player to adjust air flow, resistance, flexibility and slotting to any possible setting in seconds. Now you can fine tune your setup to fit you as an individual. And as your preferences grow with your ability, you can fine tune again and again with no need to ever purchase another instrument. We are the sole source for SWE Technology Harrelson VPS Summit models produce the highest efficiency of any custom trumpet in the world. This is a result of more than twenty years of research into our proprietary SWE Technology. The cross section of every machined component including the receiver, leadpipe, tuning slide, bell crook, braces, caps, finger rings and buttons have been carefully designed to preserve more of the sound wave than conventional instruments. In fact, our trumpets play so much easier that most people are in disbelief upon their first time playing a VPS Summit model. Where are Harrelson Trumpets built? All of our instruments, Mod Kits, accessories and 5MM mouthpieces are built in Denver, Colorado. After all these years, Jason Harrelson has remained true to his passion for building the highest quality musical instruments possible. He supervises or builds every single mouthpiece and accessory. And he personally builds every single brass instrument. With the help of two shop assistants, our team thoughtfully produces and finishes your instrument with meticulous precision and care to exceed your expectations. The name Harrelson is synonymous with the highest quality, precision and playability in the world today. Visiting our Minneapolis and Denver Locations We have locations in Minneapolis and Denver allowing you to schedule a visit to play test a VPS Summit at your convenience. The advantages of visiting include getting hands on experience with our extensive line of options, discussing your playing preferences with Jason, Jen or Christine in person for a personal fit and experiencing true Harrelson hospitality. We are truly a small team that is much more like a family that grows with every new member of our clientele. 12 Innovations exclusive to Harrelson Summit models
A fair number of people make comments that have me scratching my head. Like this one, "It must be nice to have those expensive CNC machines that will make whatever you want." In reality, my CNC machinery will do exactly what I program it to do. There is far more to building trumpets than pressing a few buttons! This is somewhat related to another comment I have heard hundreds of times, "If you know so much about brass acoustics, why haven't you published your findings in any scientific journals?" I could literally write numerous volumes of information, instructions, guidelines, rules, tips and tricks on running CNC machines alone. And I could write even more about entrepreneurship, communications, psychology, brass acoustics, manual machining, fabrication, engineering, aesthetic design, brass pedagogy, musicianship and the topic of minding your own business. But wouldn't you rather have the fruit of my labor rather than my knowledge? Who wants to read all those books that I could potentially write when I could be building instruments? So let's leave it at this... Yes, I have done my homework. Yes, there is much more to designing and building trumpets than you may imagine. And yes, you are welcome to visit either of my shops to get a glimpse of the process first-hand. An no, there is no team of little elves doing the work for me. Jen, Christine, Kate, James and I do all of the work ourselves. And craftsmen like Tom Green and the staff at Anderson Plating assist us in the final finish. Our team is small, our integrity is high and our results are second to none. Want a glimpse into the magic of CNC machining set to some of my own free improvisation? You're in luck! This video shows the final stages of a custom tuning slide being machined on our VMC. We are launching a new series of short informative videos on YouTube, Facebook and my blog. Designed to give all musicians a better understanding of our products, services and the physics behind our designs, our videos are divided into three categories; Product Reviews, Performance Tips and Physics Facts. Our goal is to give you a lot of valuable information in three minutes or less. The video below was our first attempt, which is nine minutes long, but considering the topic, it is a good start. |
Jason Harrelson
Inventor, Musician, Educator and Founder of Harrelson Trumpets, Trumpet Momentum and Harrelson Momentum. Archives
April 2024
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