It is my idea that mouthpieces maintain certain types of sounds because of the outer shape of the mouthpiece as well as the inner dimensions. The weights can add or detract to a players sound. The instrument must be in balance with the mouthpiece and player. Finding the right balance is the key to feeling the horn work with you rather than against you. Developing this mouthpiece line I have found what I believe to be two very distinct outer shapes that provide very centered, consistent trombone timbers.

The NY blank maintains a few more grams of weight than modern day Bach mouthpieces (Elkhart blanks). The weight of the NY blank is distributed evenly around the bottom of the outer cup. This provides a more even core of sound with overtones that overlap. The overlapping overtones provide a sound that is thicker than conventional mouthpieces. The NY blank also provides the midrange overtones that are often lost with other mouthpieces.

The Deco blank is heavier in mass than the NY blank. It adds mass farther down into the throat region. This added weight is great for large bass trombone mouthpieces that can become very thin walled due to the large inner cup diameter. This is a very free blowing mouthpiece that provides a bigger darker sound. A sense of stability can be found within this mouthpiece. The stability of this mouthpiece helps define the partials of trombones that have partials that are wide and need focus.

Small Bore Tenor Trombone

Symphonic Bore Tenor Trombone

Bass Trombone

Jim Pugh and Eijiro Nakagawa have recorded a wonderful album that belongs in every musicians' collection. Pugh's playing defies the slide with which he creates his music. Eijiro performs like the prodigy he is.