New Wedge Backbore Line
Compare profiles of backbores from various manufacturers
Special Features
1. Gap Adjustment
Wedge backbores are designed to provide the ability to adjust the gap of your mouthpiece / horn combination. The distance between where the tip of the backbore ends in the receiver and where the leadpipe starts is called the gap. A normal gap is often described as 1/8 inch, although Schilke mouthpieces and trumpets are described as having zero gap.
Gap can significantly affect the playing characteristics of your instrument, influencing slotting, resistance, intonation, and responsiveness.. Unfortunately there is no industry standard in mouthpiece receiver dimensions, and although trumpet mouthpiece shanks are close to a Morse #1 taper, there is considerable variation between manufacturers. As a result the actual gap in any particular horn and mouthpiece combination can vary considerable from the standard of 1/8 inch, which may or may not be the optimal gap for your particular setup.
The Wedge backbore is in two parts with a screw off lower shank. The shank is available in different lengths in order to allow for gap adjustment of any mouthpiece and horn combination. There are five lengths, 1/16 and 1/8 inch longer and shorter than the standard shank. These are designated as +1, +2, standard, -1,and -2. This system allows gap adjustment with a spread of up to 1/4 inch.
In most cases players are best to order the standard shank. It is possible to order more than one shank of different lengths as part of a size trial in order to experiment with different gaps.
Images of the Wedge backbore system can be seen on the Photos page.
2. Turbulence Reducing Step-up at Screw Joints.
Wedge mouthpieces are designed to be used with Warburton trumpet and cornet backbores, and other backbores using the standard 3/8-40 thread.
The industry standard for thread tolerances of the 3/8-40 thread is 3.5 thousands of an inch. This means that even with careful machining there is the potential for slight misalignment of the top and backbore. This can produce a slight lip where the top and backbore meet, with the potential for turbulent flow.
Wedge backbores are manufactured to minimize thread inconsistencies, and with a 1/1000" step up in the lumen radius at each screw joint. This virtually eliminates the potential for a lip in the path of the airflow. Air passes over the step up with laminar flow and minimal turbulence.
3. Flexibility of Step Bore Design.
Mike Herriott is one of our endorsing artists, with his own line of signature mouthpieces. In working out Mike's ideal configuration over several days of play testing we discovered that for all of his backbores he prefers a step bore configuration matching his Yamaha Bobby Shew trumpet. For example, Mike's lead configuration is a gold 10.5FC with a 22 throat into a Medium Large upper part and a Large lower shank of standard length. The modular nature of the backbore system allows one to produce more or less of a step in the mid section of the backbore that some players will prefer.
Wedge Backbore Sizes
Compare profiles of backbores from various manufacturers
Large (L) 27
Similar to a Bach 24, or Warburton 10 backbore. This is a large orchestral backbore.
Large (L) 25
This is the 25 throat version of the Large 27 for a more open blow.
Medium Large (ML) 27
This medium large backbore resembles a Bach 10 or Warburton 7 backbore. It is a good choice for all round use.
Medium Large (ML) 25
This is the 25 throat version of the ML 27.
Medium (M) 27
This is a medium sized backbore similar to a GR #2. It has a more compact sound and offers a little more resistance than the ML
Medium (M) 25
25 throat version of the M25 for a more open blow.
Small (S) 27
This backbore is similar to a Schilke A or Warburton Q backbore. This is a tight commercial backbore. Although many players prefer a larger backbore on the Wedge, this remains a good choice for those who want more resistance and a compact sound.
Small (S) 25
25 version of the S 27 backbore.
Backbores can also be reamed to a larger throat. Contact us to order Wedge backbores and to discus options with Dr Dave.
Warburton Backbores
The Wedge was originally designed to be used with Warburton backbores. Warburton backbores have a #27 (0.144") throat. Many players seem to like the Wedge on a top and backbore reamed to a #25 throat. We are now offering this option at no additional charge. We actually ream the backbore to 0.002" larger than the top, just as in our own backbore, in order to avoid any disruption of air flow at the joint.
For more information about other Warburton products visit their website.
4, 5, 6 - Tight to medium. With progressively less resistance, these models produce a bright and very projecting tone. The #5 is by far our most popular with strong lead players.
Q Backbore -New in 2004, the Q is our most aggressive backbore, preferred by lead players who also need to maintain dominance in the middle register without spreading or over-loosening their chops.
KT Backbore -Added to the line in mid 1987, this backbore appeals to commercial/lead players and is characterized by its projection and secure slotting of notes above high C. The comparative resistance falls in the 4, 5, 6 series.
7, 8, 9 - Medium large sizes. The #7 has been our best selling model for the past seven years. This series produces a quality of sound acceptable in the orchestra as well as the concert band. Models #8 and #9 are very well received by the orchestra player who appreciates the increased volume of sound with less resistance.
10, 11, 12 - Very large "Symphonic" sizes. These models have very little resistance and offer the strong player the potential for the ultimate in full, rich sound.
Compare profiles of backbores from various manufacturers
Approximate Backbore Comparison Chart |
||||
Warburton |
Bach |
Schilke |
Reeves |
Giardinelli |
1 |
No Equivalent |
No Equivalent |
No Equivalent |
1 |
1* |
No Equivalent |
No Equivalent |
No Equivalent |
1 |
2 |
No Equivalent |
AA |
No Equivalent |
1 |
2* |
No Equivalent |
AA |
69, 692 |
1 |
3 |
No Equivalent |
A |
69, 692 |
No Equivalent |
3* |
No Equivalent |
A |
69, 692 |
No Equivalent |
4 |
No Equivalent |
No Equivalent |
69, 692 |
No Equivalent |
4* |
No Equivalent |
No Equivalent |
2 |
No Equivalent |
5 |
No Equivalent |
No Equivalent |
2 |
2 |
5* |
76, 41 |
No Equivalent |
3 |
2 |
6 |
76, 41 |
B |
3 |
2 |
6* |
76, 41 |
B |
3 |
3 |
7 |
No Equivalent |
No Equivalent |
4 |
3 |
7* |
Standard 10 |
No Equivalent |
4 |
3 |
8 |
Standard 10 |
C |
5 |
4 |
8* |
Standard 10 |
C |
5 |
4 |
9 |
3, 24 |
D |
No Equivalent |
4 |
9* |
3, 24 |
D |
No Equivalent |
4 |
10 |
7 (SCHMITT) |
E |
No Equivalent |
5 |
10* |
117 |
D |
No Equivalent |
4 |
11 |
No Equivalent |
No Equivalent |
No Equivalent |
5 |
11* |
87 |
No Equivalent |
No Equivalent |
5 |
12 |
87 |
No Equivalent |
No Equivalent |
No Equivalent |
|
12* |
87 |
No Equivalent |
No Equivalent |
No Equivalent |