Great to hear a reference of Bill Cardwell's work..... he was a graduate of Caltech and wrote some articles for Scientific American that also might be of interest. This is a very interesting conversation. Thank you.
Thank you, slidegrease! Bob Reeves and Bill Cardwell were good friends for many years and he was thankful to learn so much about the science of how our instruments work from him!
Can we conclude that it’s not about “airflow” but Energy through the instrument ? Energy that we make ? Because I’m fact, the air is already inside, it’s everywhere. Another point of view is that too much airflow can increase the mentioned Back Pressure and therefore, clog the “freedom” and overall perception of things, altering all the Embouchure ? Thanks for sharing this 👏
Actual video of Mr. Snell IN the shop, though I suspect his family is near by....seriously, love you guys...you're the best...was just in Cali last month but I generally don't go south of Carmel :)
You guys should install small preasure taps and microphones throughout a trumpet and show the results in a visualizing animation using something like LabVIEW. Do THAT video!
Great demostration! Have you tried to play the two trumpets with different finger positions? Is one resonating while the other one in not? I mean the length of one trumpet (with its own harmonic series) is affected by the fact that there is another trumpet with different length in parallel to the first or they are acting independently?
Great question! Yes, we have tried playing two different keyed trumpets and also playing two different finger positions. Once you move mover than 1/2-step away the standing waves are no longer sympathetic so they cancel each other out.
The standing wave in a trumpet acts like ripples in a pond, and NOT like wster from a hose or river. I've argued about this with world famous trumpet players, and they still refuse to believe that the air only flows enough to maintain equalibrium with the outside pressure.
Yes!!!! What we think as trumpet players is going on, versus what physically is going on are often two different things. One thing is true, however, the laws of physics will always win!
When a trumpet player talks about air, it refers to what is necessary for the lips to vibrate. So though you say that air isn't necessary for the trumpet to produce its sound, it is necessary for the lips to vibrate. The difference is literally academic (physics>acoustics). So air isn't necessary for the sound (on the bell end) but it is for the vibrations (on the mouthpiece end).
Remember also that, most importantly, the more direct function of moving air as wind players is to energize the air already inside the instrument. Our lips don't vibrate because we blow air through them, they vibrate because of the energized air coming back at them from the reception of the leadpipe.
@@chrisdudleytrumpet Can one produce a tone without the lips vibrating? Vibrations cause sound. What causes vibration? If one didn't try to buzz one's lips, would one produce a tone without trying?
@@ChaplainAcosta I suppose so, yes, since the lips don't buzz when we play. For them to buzz, they'd need to create energy by touching and then releasing at an extremely fast rate while air moves through them, but as we know, when playing trumpet, our lips never actually touch each other, which is why I try to describe it more as an energizing and less of a buzzing, because that element of buzzing lips is missing when we play. The air solely needs energized. When you slap your mouthpiece while in the receiver, pitches come out, and the valves still control those pitches (you can press them and change the resulting sound). No buzzing is required for that, and theoretically, if our hand could hit the mouthpiece at the rate required for the vibration of sound (strong emphasis on "theoretically"), the same sound would be created but without good tone quality. So I'd certainly agree with you there, air is certainly essential to create sound, or at least maintain what we know to be a great trumpet sound.
@@chrisdudleytrumpet So we would agree that vibrations are counted to arrive at a frequency; that is, how many times something happens per given period. For us to produce the standard A 440 Hz, or 440 cycles per second, our lips need to vibrate at that rate per second. Slapping the mouthpiece and getting a sound means one has produced a tone at significantly less than 1 Hz. One vibration per some millisecond. So vibration is a necessary component of any sound. Seems to me that air is involved as a sound medium just as water is for sound traveling in the ocean.
@@ChaplainAcosta I think this would be the case for an object for which air isn't already inside, allowing for a more complete energization. For example, we don't need to create that 440 hz at the mouthpiece to synthesize that pitch because that energization occurs inside the horn. That small amount of vibration, as we've said less than 1 hz, doesn't result in that same pitch. Slapping the mouthpiece without pressing any of the valves gives us a Bb3, which I believe is around 230 hz if not a bit higher. For an object without air inside, which further energizes the pitch, this would be true. Very small vibrations created at the source would result in a very small pitch that reflects those vibrations. I think it's also important to remember that while vibration is necessary for a sound, it isn't necessary for pitch. Even while the mouthpiece slap gives us a frequency, we also get a frequency with no vibrations at the mouthpiece at all. Simply blowing air through the trumpet with an open embochure gives us that same fundamental pitch and changes with the valves. So yes, while I agree with what you're saying, I think that concept does change with instruments since the energization happens inside of them and with that already-present air (which creates those pitches) bouncing back, playing a factor on the physical response of the vibrations of the air
I completely disagree. I understand the demonstration but know from personal experience the amount of air moving through the mouthpiece and horn makes a HUGE difference. First pro line horn was a Benge 3X that I got as a sophomore in HS. Worked great until I got to college and really learned how to breathe and blow properly. Then the horn was backing up on me. Fighting with it for YEARS. Finally sat down in a music shop with a Bach 180-25L and some other ML Bach horns. With my college trumpet teacher across the room from me (he had been a skeptic of my claim about the fighting with the horn) listening to the testing, it was OBVIOUS that the large bore Bach made a HUGE difference in my playing. Quoting him: "On that horn all the problems you've been having in your lessons just go away." Had that horn 10 years and then bought a Stomvi Elite. Both horns were supposed to be .462 but there was a definite difference in sound. The Stomvi had a sound I loved but for that I sacrificed the freer blow of the Bach. I went from the Stomvi to a Holton ST307...the MF Horn. .468 bore. HUGE difference in sound and playability. That horn would take all you could give it. Blew more freely than even some .470 horns I've owned and played. I know I cannot play small horns. DOES NOT WORK. ML and M just won't do it. Try to play high on a Yahama Shew model and total backup occurs. Same is true with the throats on mouthpieces. I ALWAYS drill out my throats because the standard 27 DOES NOT WORK for me...does not allow the air through that I need. Notes pinch off before the drill out that PLAY after things are opened up. That is air flow...period. So academically your demonstration is interesting, but practically I know moving air through both the horn and the mouthpiece -- FOR ME -- is a HUGE part of what does and does not work for my playing.
Hi Steven, Thank you for your comment! We agree that scientific principals don’t always dictate what will, or even should, work for a player. For example, we’ve designed horns and mouthpieces that mathematically play perfectly in tune, but that doesn’t mean that a player will play them in tune, that it will respond well, or be suited for any particular job. In your case, we have no doubt that you need to play on larger equipment. We have plenty of customers who do as well. We go with results, so if you sound your best on that set up then we are not even concerned why -- only that it works and that you can make music the most effectively on it! Our hope is to get players to think about what is physically going on in the instrument as opposed to what they feel is going on and what has been traditionally taught. We’ll be putting up more videos in the future that will help to demonstrate these concepts. Like any advice, if it works for you go with it, and if it doesn't keep doing what you're doing!
The principle described in the video is only shown to demonstrate that air itself isn't required for the sound, but only a force that interacts with the standing wave in the tube. That does not mean however that the way you play is wrong or that the video disproves the way you play, because in the case of brass playing the force that is used to interact with the standing wave within the instrument IS air. Different bore sizes work for different people because everybody's air is different, however I would bet that your magical mouthpiece/horn combo has the same physics as somebody else's that works for them :) Your air force/amount requires a different horn/mouthpiece venturi for the physics to work best for you, but that doesn't mean that it is your air that is creating the sound. Only the force which is applied from your air is what is creating the sound. If your equipment allows your preferred method of air delivery to work efficiently, I would say that you are probably utilizing the principles stated in this video and you just don't know it.
I can't do two trumpet with one mouthpiece but.. I can play two trumpet with two mouthpiece... Maybe because I play tuba before go for the trumpet I have two place where my air would leak... One is in the middle and the other is slightly to the right... I can close the second hole if I want.. But if I let it out I can play two trumpet at the same time.. Its kinda odd.. But I thought its kinda cool
Nice demonstration! The only thing is that we ARE blowing air through and the way the air flows and meets obstructions is what makes all the difference in how the player communicates with the instrument. The changing resistance in the different registers by both the standing waves and airflow work as a “roadmap” for most players. So this is a nice demonstration but can be compared to showing that if you don’t put the pepper in your food you won’t taste it.
I think this video unveils the myth that you need a lot of air to generate a sound out of the trumpet. It's the myth and psychology that come into play the very first time someone plays a note on a trumpet and sets that player up for failure as they then fight against the instrument to progress. It's not a video denying the fact that we need air to generate the vibration of the sound wave, hence the pepper is still fully in the recipe.
zflyingtrumpet I agree! Of course you are right. But as a custom trumpet builder I get customers to tell me that they want to draw a design that they want me to make. If I tell them that it’s not that simple because of multiple reasons and one important one being the overall feel of the instrument it sometimes happens that they say that you don’t need air to flow through the instrument. Usually after they watched smith watkins material on youtube. I am also a profesional trumpet player / teacher and one of the things I focus on with my students is learning to use te air that is coming back from the instrument (resistance) in such a way that it helps to keep the playing system “open”. This air (again together with the sensation you get from the standing waves) is used and needed to play the instrument as human beings. So although I think this is a very nice and fun demonstration I feel that isolating this bit of science is not going to change much to trumpet players. But as soon as no air is needed anymore to play the trumpet things will become very insteresting for everybody. Maybe it would be a nice conclusion to say technically a trumpet doesn’t need airflow through it to vibrate, but a player does need air to generate vibrations to play it.
@@MarkGeelen78 Thank you for your comments! We are happy to see people talking about the science related to the trumpet and hope to drive this conversation more. We have other videos planned for the future that will further these ideas. Our goal with this video is to highlight that what a player feels when they are playing the trumpet is not related to air flowing through the instrument. Instead, what they are actually feeling is an acoustic phenomenon based on the collective properties of the instrument, mouthpiece, and player. Yes, we must use air to play the instrument which is why we have an air exit hole on the mouthpiece. The illuminating part of the video is John’s description of the feedback he is getting in different registers when playing the no-airflow mouthpiece. He has to manipulate the sound, or do more work, in the low register when nothing was attached to the mouthpiece. Once a second trumpet was added that could properly set up the lower frequencies the feedback opened up, or as many players would describe - became more “free blowing”. No more or less air was able to flow by adding a second trumpet yet the difference in sound and feedback to the player was dramatic. So why does this matter? The more we understand how our instrument works the better we can use that tool. The more synergy we have with our instrument the more we can focus on musical expression. In terms of thinking about equipment, following the path of air flow can lead a player astray, which is why many players have ruined mouthpieces by opening up the bore or throat section!
Bob Reeves Brass Mouthpieces this is very interesting. I really appreciate you took the time to respond to my reply. Excuse the language barrier. Maybe I have not understood your reply properly but could it be that when the second trumpet was added, it all felt normal and free blowing again because there was something to blow against? And is this feeling the standing waves or the air reacting in the added trumpet? Until we can play without air we can never tell what that feeling really is caused by, right? My logical thinking tells me that it is a mix of the air collumn vibrating causing the standing waves and because there is a little bit of flow it gives the player a connected feeling to the instrument. A good mouthpiece should be built to serve both these scientific processes. It would be great if it was possible to test these processes seperate from each other. As a trumpet maker this would of course help me, too!
@@MarkGeelen78 Even without the language barrier it is difficult to describe because the words in English make it hard to be precise with the meaning. The connected feeling between the player and the mouthpiece/instrument we would describe as the "response". There are many experiments that demonstrate that you can change the response of a mouthpiece and instrument making an acoustical change that doesn't change the fluid dynamics of airflow. One common experiment is adjusting the bore size of a mouthpiece. Since this is usually the most restrictive (in terms of airflow) spot in the whole system, one would think that a larger bore would mean a more open, or "free blowing" response to the player. Yet, many times the opposite is true. That doesn't mean one should never open the bore, just that it should be opened for other reasons. In regards to adding the second trumpet, the airflow dynamics didn't change since the exit hole of the mouthpiece (the most restrictive part in terms of airflow) remained the same. The only thing that changed was the addition of a sympathetic standing wave in the second trumpet that reinforced the standing wave in the no-airflow trumpet that, in turn, changed the response for the player.
Oh my gosh. Everything I know is a lie.
Thanks for doing this guys! So informative and helpful!!
Thank you, Andrew!
Great to hear a reference of Bill Cardwell's work..... he was a graduate of Caltech and wrote some articles for Scientific American that also might be of interest. This is a very interesting conversation. Thank you.
Thank you, slidegrease! Bob Reeves and Bill Cardwell were good friends for many years and he was thankful to learn so much about the science of how our instruments work from him!
Guys! This is awesome! Great demonstration.
Thank you, Michael!
Probably this is one of the most interesting video about brass instruments!! Thank you!!
Thank you for your comment. We're glad you liked our video!
@@bobreevesbrass I think every brass player and brass teacher must see this video... I shared it to all my students!!
Amazing video. You blew my mind when I first saw this. Excellent quality video also. Miss being able to visit you guys. It's been way too long.
Thank you, Andrew! It has been way to long.
Can we conclude that it’s not about “airflow” but Energy through the instrument ? Energy that we make ? Because I’m fact, the air is already inside, it’s everywhere.
Another point of view is that too much airflow can increase the mentioned Back Pressure and therefore, clog the “freedom” and overall perception of things, altering all the Embouchure ?
Thanks for sharing this 👏
Actual video of Mr. Snell IN the shop, though I suspect his family is near by....seriously, love you guys...you're the best...was just in Cali last month but I generally don't go south of Carmel :)
You guys should install small preasure taps and microphones throughout a trumpet and show the results in a visualizing animation using something like LabVIEW. Do THAT video!
I want to see 2 trumpets combined together just after the valves, halfway between 2 mouthpiece one trumpet and 2 trumpet one bell. For two to play
Very Interesting! Thanks.
Thank you, Bob!
Great demostration! Have you tried to play the two trumpets with different finger positions? Is one resonating while the other one in not? I mean the length of one trumpet (with its own harmonic series) is affected by the fact that there is another trumpet with different length in parallel to the first or they are acting independently?
Great question! Yes, we have tried playing two different keyed trumpets and also playing two different finger positions. Once you move mover than 1/2-step away the standing waves are no longer sympathetic so they cancel each other out.
That is crazy interesting. I have many books to burn.
The standing wave in a trumpet acts like ripples in a pond, and NOT like wster from a hose or river.
I've argued about this with world famous trumpet players, and they still refuse to believe that the air only flows enough to maintain equalibrium with the outside pressure.
Yes!!!! What we think as trumpet players is going on, versus what physically is going on are often two different things. One thing is true, however, the laws of physics will always win!
When a trumpet player talks about air, it refers to what is necessary for the lips to vibrate. So though you say that air isn't necessary for the trumpet to produce its sound, it is necessary for the lips to vibrate. The difference is literally academic (physics>acoustics). So air isn't necessary for the sound (on the bell end) but it is for the vibrations (on the mouthpiece end).
Remember also that, most importantly, the more direct function of moving air as wind players is to energize the air already inside the instrument. Our lips don't vibrate because we blow air through them, they vibrate because of the energized air coming back at them from the reception of the leadpipe.
@@chrisdudleytrumpet Can one produce a tone without the lips vibrating? Vibrations cause sound. What causes vibration? If one didn't try to buzz one's lips, would one produce a tone without trying?
@@ChaplainAcosta I suppose so, yes, since the lips don't buzz when we play. For them to buzz, they'd need to create energy by touching and then releasing at an extremely fast rate while air moves through them, but as we know, when playing trumpet, our lips never actually touch each other, which is why I try to describe it more as an energizing and less of a buzzing, because that element of buzzing lips is missing when we play. The air solely needs energized. When you slap your mouthpiece while in the receiver, pitches come out, and the valves still control those pitches (you can press them and change the resulting sound). No buzzing is required for that, and theoretically, if our hand could hit the mouthpiece at the rate required for the vibration of sound (strong emphasis on "theoretically"), the same sound would be created but without good tone quality. So I'd certainly agree with you there, air is certainly essential to create sound, or at least maintain what we know to be a great trumpet sound.
@@chrisdudleytrumpet So we would agree that vibrations are counted to arrive at a frequency; that is, how many times something happens per given period. For us to produce the standard A 440 Hz, or 440 cycles per second, our lips need to vibrate at that rate per second. Slapping the mouthpiece and getting a sound means one has produced a tone at significantly less than 1 Hz. One vibration per some millisecond. So vibration is a necessary component of any sound. Seems to me that air is involved as a sound medium just as water is for sound traveling in the ocean.
@@ChaplainAcosta I think this would be the case for an object for which air isn't already inside, allowing for a more complete energization. For example, we don't need to create that 440 hz at the mouthpiece to synthesize that pitch because that energization occurs inside the horn. That small amount of vibration, as we've said less than 1 hz, doesn't result in that same pitch. Slapping the mouthpiece without pressing any of the valves gives us a Bb3, which I believe is around 230 hz if not a bit higher. For an object without air inside, which further energizes the pitch, this would be true. Very small vibrations created at the source would result in a very small pitch that reflects those vibrations.
I think it's also important to remember that while vibration is necessary for a sound, it isn't necessary for pitch. Even while the mouthpiece slap gives us a frequency, we also get a frequency with no vibrations at the mouthpiece at all. Simply blowing air through the trumpet with an open embochure gives us that same fundamental pitch and changes with the valves. So yes, while I agree with what you're saying, I think that concept does change with instruments since the energization happens inside of them and with that already-present air (which creates those pitches) bouncing back, playing a factor on the physical response of the vibrations of the air
Interesting!
Thank you!
I completely disagree. I understand the demonstration but know from personal experience the amount of air moving through the mouthpiece and horn makes a HUGE difference. First pro line horn was a Benge 3X that I got as a sophomore in HS. Worked great until I got to college and really learned how to breathe and blow properly. Then the horn was backing up on me. Fighting with it for YEARS. Finally sat down in a music shop with a Bach 180-25L and some other ML Bach horns. With my college trumpet teacher across the room from me (he had been a skeptic of my claim about the fighting with the horn) listening to the testing, it was OBVIOUS that the large bore Bach made a HUGE difference in my playing. Quoting him: "On that horn all the problems you've been having in your lessons just go away." Had that horn 10 years and then bought a Stomvi Elite. Both horns were supposed to be .462 but there was a definite difference in sound. The Stomvi had a sound I loved but for that I sacrificed the freer blow of the Bach. I went from the Stomvi to a Holton ST307...the MF Horn. .468 bore. HUGE difference in sound and playability. That horn would take all you could give it. Blew more freely than even some .470 horns I've owned and played. I know I cannot play small horns. DOES NOT WORK. ML and M just won't do it. Try to play high on a Yahama Shew model and total backup occurs. Same is true with the throats on mouthpieces. I ALWAYS drill out my throats because the standard 27 DOES NOT WORK for me...does not allow the air through that I need. Notes pinch off before the drill out that PLAY after things are opened up. That is air flow...period. So academically your demonstration is interesting, but practically I know moving air through both the horn and the mouthpiece -- FOR ME -- is a HUGE part of what does and does not work for my playing.
Hi Steven, Thank you for your comment! We agree that scientific principals don’t always dictate what will, or even should, work for a player. For example, we’ve designed horns and mouthpieces that mathematically play perfectly in tune, but that doesn’t mean that a player will play them in tune, that it will respond well, or be suited for any particular job.
In your case, we have no doubt that you need to play on larger equipment. We have plenty of customers who do as well. We go with results, so if you sound your best on that set up then we are not even concerned why -- only that it works and that you can make music the most effectively on it!
Our hope is to get players to think about what is physically going on in the instrument as opposed to what they feel is going on and what has been traditionally taught. We’ll be putting up more videos in the future that will help to demonstrate these concepts. Like any advice, if it works for you go with it, and if it doesn't keep doing what you're doing!
The principle described in the video is only shown to demonstrate that air itself isn't required for the sound, but only a force that interacts with the standing wave in the tube. That does not mean however that the way you play is wrong or that the video disproves the way you play, because in the case of brass playing the force that is used to interact with the standing wave within the instrument IS air. Different bore sizes work for different people because everybody's air is different, however I would bet that your magical mouthpiece/horn combo has the same physics as somebody else's that works for them :) Your air force/amount requires a different horn/mouthpiece venturi for the physics to work best for you, but that doesn't mean that it is your air that is creating the sound. Only the force which is applied from your air is what is creating the sound. If your equipment allows your preferred method of air delivery to work efficiently, I would say that you are probably utilizing the principles stated in this video and you just don't know it.
I can't do two trumpet with one mouthpiece but.. I can play two trumpet with two mouthpiece... Maybe because I play tuba before go for the trumpet I have two place where my air would leak... One is in the middle and the other is slightly to the right... I can close the second hole if I want.. But if I let it out I can play two trumpet at the same time.. Its kinda odd.. But I thought its kinda cool
Nice demonstration! The only thing is that we ARE blowing air through and the way the air flows and meets obstructions is what makes all the difference in how the player communicates with the instrument. The changing resistance in the different registers by both the standing waves and airflow work as a “roadmap” for most players. So this is a nice demonstration but can be compared to showing that if you don’t put the pepper in your food you won’t taste it.
I think this video unveils the myth that you need a lot of air to generate a sound out of the trumpet. It's the myth and psychology that come into play the very first time someone plays a note on a trumpet and sets that player up for failure as they then fight against the instrument to progress. It's not a video denying the fact that we need air to generate the vibration of the sound wave, hence the pepper is still fully in the recipe.
zflyingtrumpet I agree! Of course you are right. But as a custom trumpet builder I get customers to tell me that they want to draw a design that they want me to make. If I tell them that it’s not that simple because of multiple reasons and one important one being the overall feel of the instrument it sometimes happens that they say that you don’t need air to flow through the instrument. Usually after they watched smith watkins material on youtube.
I am also a profesional trumpet player / teacher and one of the things I focus on with my students is learning to use te air that is coming back from the instrument (resistance) in such a way that it helps to keep the playing system “open”. This air (again together with the sensation you get from the standing waves) is used and needed to play the instrument as human beings.
So although I think this is a very nice and fun demonstration I feel that isolating this bit of science is not going to change much to trumpet players. But as soon as no air is needed anymore to play the trumpet things will become very insteresting for everybody.
Maybe it would be a nice conclusion to say technically a trumpet doesn’t need airflow through it to vibrate, but a player does need air to generate vibrations to play it.
@@MarkGeelen78 Thank you for your comments! We are happy to see people talking about the science related to the trumpet and hope to drive this conversation more. We have other videos planned for the future that will further these ideas.
Our goal with this video is to highlight that what a player feels when they are playing the trumpet is not related to air flowing through the instrument. Instead, what they are actually feeling is an acoustic phenomenon based on the collective properties of the instrument, mouthpiece, and player.
Yes, we must use air to play the instrument which is why we have an air exit hole on the mouthpiece. The illuminating part of the video is John’s description of the feedback he is getting in different registers when playing the no-airflow mouthpiece. He has to manipulate the sound, or do more work, in the low register when nothing was attached to the mouthpiece. Once a second trumpet was added that could properly set up the lower frequencies the feedback opened up, or as many players would describe - became more “free blowing”. No more or less air was able to flow by adding a second trumpet yet the difference in sound and feedback to the player was dramatic.
So why does this matter? The more we understand how our instrument works the better we can use that tool. The more synergy we have with our instrument the more we can focus on musical expression. In terms of thinking about equipment, following the path of air flow can lead a player astray, which is why many players have ruined mouthpieces by opening up the bore or throat section!
Bob Reeves Brass Mouthpieces this is very interesting. I really appreciate you took the time to respond to my reply. Excuse the language barrier. Maybe I have not understood your reply properly but could it be that when the second trumpet was added, it all felt normal and free blowing again because there was something to blow against? And is this feeling the standing waves or the air reacting in the added trumpet? Until we can play without air we can never tell what that feeling really is caused by, right? My logical thinking tells me that it is a mix of the air collumn vibrating causing the standing waves and because there is a little bit of flow it gives the player a connected feeling to the instrument. A good mouthpiece should be built to serve both these scientific processes. It would be great if it was possible to test these processes seperate from each other. As a trumpet maker this would of course help me, too!
@@MarkGeelen78 Even without the language barrier it is difficult to describe because the words in English make it hard to be precise with the meaning. The connected feeling between the player and the mouthpiece/instrument we would describe as the "response". There are many experiments that demonstrate that you can change the response of a mouthpiece and instrument making an acoustical change that doesn't change the fluid dynamics of airflow.
One common experiment is adjusting the bore size of a mouthpiece. Since this is usually the most restrictive (in terms of airflow) spot in the whole system, one would think that a larger bore would mean a more open, or "free blowing" response to the player. Yet, many times the opposite is true. That doesn't mean one should never open the bore, just that it should be opened for other reasons.
In regards to adding the second trumpet, the airflow dynamics didn't change since the exit hole of the mouthpiece (the most restrictive part in terms of airflow) remained the same. The only thing that changed was the addition of a sympathetic standing wave in the second trumpet that reinforced the standing wave in the no-airflow trumpet that, in turn, changed the response for the player.