GR Parameter Definitions

Alpha Angle
The alpha angle defines the relationship of the rim to the first cup radius. Rb tangent to R1=L1 or Alpha.
(See GR Parameters)
The term "alpha" (first letter of the Greek alphabet) refers to the "first angle". The alpha angle has a very dramatic
effect on mouthpiece performance.
Every mouthpiece has an alpha angle. GR is the first to actually define the alpha angle mathematically.

We describe alpha angle as either high, or low.

To best way to describe alpha angle and how it impacts on your chops is to compare it to a swinging door. The
bite radius Rb is the hinge, the lip is the door, and the Alpha Angle is the doorstop. The less the door opens, the
higher the Alpha Angle.
The Alpha Angle is player and embouchure specific. You must find the correct Alpha Angle for you!
Alpha Angle is red.
High alpha angle to the left, low alpha angle to the right.

A High Alpha Angle may impinge on the chops. It can hold the chops and support them. It can assist in
keeping the buzzing area small. If two mouthpieces are the exact same diameter, the one with the higher alpha
angle may feel smaller.
All of this can be good for you if you do not have much lip engagement into the cup. If you do, or if the alpha angle
is just too high for you, you could experience lack of control, high blow resistance because the chops are being
held too closed, poor articulations, intonation may suffer, thin sound, your chops could feel like they are "thinning
out", and you could actually "bottom out" stopping vibrations completely.
A Low Alpha Angle will give you more chop room at the top of the cup. The lower the Alpha Angle, the
greater the lip room will be in the first cup. If it is too low, it may feel like you have no support or lack of
compression, articulation will suffer and you may experience what we call an "air biscuit". An Air Biscuit occurs
when your lips are pinned open, the air keeps flowing, but the vibration stops. If the Alpha angle is too low,
intonation, endurance, attacks, flexibilities, brilliance, and upper register may suffer.
Finding the correct alpha angle for you is very important!
Alpha angle is very player specific.
Some mouthpiece manufacturers refer to alpha angle as "relief" or "undercut". This tells you nothing because it
has no "physical quantity" that is defined mathematically. For instance, you know you can play on a GR
Mouthpiece with an alpha angle of 15 degrees. What happens when you try one with a 17 degree alpha angle?
Let's say that you bottom out on it. Now we have defined parameters and if you wish to have a smaller volume
cup, we know that 15 degrees works for you, and there is no guesswork when it comes to your next mouthpiece. If
you just play another mouthpiece with an "undercut", how do you know if the next piece you try with a different
"undercut" or "relief" will work? This is one reason why GR Technologies has defined the Parameters of the
Mouthpiece.
Standard GR Mouthpieces have alpha angles that drop as the cups get larger in volume. The alpha angle is
lower on the MS cup than on the S cup. The reason for this is that players who are used to the larger volume cups,
are also used to lower alpha angles. Also, this is an excellent system for finding out which alpha angle works for
you.
Let's say your chops can not tolerate the higher alpha angle of the S cup. You feel great on the M cup but you
want less volume for your lead playing. GR can custom build you a smaller volume piece yet keep the alpha angle
of the M cup to give you the feel you are after!
Backbore
The Backbore is the expanding, tapered, interior section of the mouthpiece that begins after the cylindrical throat
or bore, and extends until it exits the mouthpiece. It can be made up of one, or many small tapers.

The total length of the Backbore has a taper. The length and the distance that it expands generates a number
called the average taper. If the Backbore begins at a diameter of .144" and ends at a diameter of .344" the change
is .200" . If the Backbore is 2.5" long we can calculate the average taper. Take .200" and divide it by 2.5, we find an
average taper of .080" per inch. This would be a straight or linear line shown above with the heavy Black line.
The Backbore can have an initial taper that is greater or less than the average taper.
If the initial taper is greater (Shown in Blue) the Backbore will have a greater volume, less blow resistance, and
less upper partials in the sound than the linear taper, although, the average taper will be the same.
A Backbore with a smaller initial taper (Shown in Red) will have less volume, more blow resistance, and more
upper partial in the sound than the linear taper, although, the average taper will be the same.
In general terms, a tighter Backbore may be more resistant, aid projection, and produce a sound that emphasizes
the upper partials of the harmonic series. A more open Backbore may be less resistant, produces a sound that
emphasizes the lower partials of the harmonic series, as well as, spreading the sound throughout the room.
The Backbore can have a great effect on intonation.
This can vary between players. A Backbore that is too large will cause the pitch to go sharp in the upper register. A
Backbore that is too tight will cause the pitch to go flat in the upper register. A balanced mouthpiece with proper
cup, throat, and Backbore that matches the player and equipment will always play best.
The Backbore can have a detrimental effect on sound and resistance.
Unfortunately, manufacturers and players alike often overlook the importance of the Backbore.
At GR Technologies, we incorporate our own backbore designs into every mouthpiece.
As with all components of a GR Mouthpiece, mathematics plays a major role in the Backbore design. Blow
resistance and tapers are scientifically manipulated to produce the desired sound and blow resistance.
Our Backbore designs are free from discontinuities and are critically balanced and blended with all other aspects of
the mouthpiece. The result is a beautifully centered sound, rich in overtones, with incredible response, intonation,
and projection.
Beta Angle
A Lower Beta Angle and increased cup depth will cause a mouthpiece to have more cup volume and enhance the
lower partials in the sound. Lower beta angles are usually found in the design of flugelhorn mouthpieces. This
angle of course must match all other aspects of the design to achieve desired results. In the past a cup with a lower
Beta Angle was referred to as being more "V" shaped.
A Higher Beta Angle and less cup depth will cause the mouthpiece to have less cup volume and may cause the
mouthpiece to speak more quickly due to the sound wave reflection back to the chops. Once again, this must
match other design aspects. Old school definition would be a more "C shaped cup".
High Beta Angle Left, Low Beta Angle Right

Bite
The rim Bite is the radius between parameter r1 and r2. Note on the drawing Rb. This is the bite radius.

A smaller radius will give the rim a sharper feel. This will aid attacks, but too sharp a bite may be uncomfortable. A
larger radius will have a softer bite. This may feel very comfortable to some players, but may make clean attacks
more of a challenge. A softer bite may also make the cup feel slightly wider.
Blank
The Blank is the brass slug after it has been cut to shape on our lathe. The Blank generally refers to the outside
shape and measurements of the mouthpiece itself. See also, "Mass".
Blow Resistance
Blow resistance is the acoustical resistance created by the mouthpiece when playing the instrument. Such
resistance depends on the specific design of the cylindrical bore and the backbore. The blow resistance number
that we use is a ratio, which is a multiple of the trumpet bore velocity head. The mouthpiece blow resistance affects
the acoustical impedance of the resonating air column. We use this when analyzing mouthpieces and matching the
player to the mouthpiece.
The bore size alone doesn't provide enough information to accurately make a match of the mouthpiece, horn, and
player. Blow resistance is a function of diameter and length. We also calculate the volume of each mouthpiece.
This includes the cup, bore and backbore.
The Bore
The Bore, (circled), sometimes referred to as the throat, is the cylindrical section between the cup and the
backbore.

The bore can have a very dramatic affect on compression, sound, and resistance. The dimensions of the bore to
consider are diameter and length. Many players only talk about the diameter of the throat. The blow resistance is
calculated using the length and diameter.
At clinics we often ask the question, "What is more resistant a #22 Bore or a #28 Bore?" It is not possible to
answer this question unless you have the lengths as well. Yes, given the same length the #28 Bore would be more
resistant. What if the #22 Bore was .250" long and the #28 Bore was .150" long? Believe it or not, the resistance is
about the same! You get the picture. Both length and diameter are needed to calculate blow resistance.
The diameter is usually measured in the industry with a drill size. The #27 Bore is standard with many
manufacturers.
The larger the number, the smaller the hole. Of more importance is the length of the bore. A longer bore length will
help slot notes, produce a rich sound core, and aid projection. A shorter length will produce a sound that is broad
and rich in lower partials, as well as, aiding flexibility. A bore can be too long or too short. Intonation will be affected
as follows, too long = flat up high, too short = sharp up high. Commercial players may benefit from longer bores
while symphonic players will enjoy bores that are slightly shorter, although, there are exceptions to this as well. Of

course, if the length and diameter are not balanced, intonation and slotting of the notes will greatly suffer. Our
Bores are matched to the cup and backbore, therefore, they are balanced for optimum results.
Throat Entrance and Exit
Other very important yet often overlooked aspects of the throat are the entrance and exit transitions. In many
manufacturers' mouthpieces, these are areas of many discontinuities.
GR Technologies has eliminated discontinuities in the throat entrance and exit transitions.
Blow resistance can also be manipulated in the entrance and exit transitions. By maintaining the same throat
diameter and length, a mouthpiece can be made to play more open, or tighter by changing the transition
parameters.
Never drill out the Bore of a GR Mouthpiece
Drilling the throat of a GR Mouthpiece will be destroying the balanced design and creating discontinuities. The blow
resistance actually does not change much when a mouthpiece is drilled out because if you enlarge the diameter,
you also lengthen the Bore. The lengthening of the Bore will negate the fact that the diameter is increased. If you
have a problem with resistance, GR Technologies can calculate the blow resistance and match it to you and your
equipment. Changing equipment can create a need for a mouthpiece with a different blow resistance.
If your mouthpiece feels and sounds stuffy, you may likely have a problem with your gap.
The Bore must be in perfect balance with all other aspects of the mouthpiece. Blow resistance values for each
mouthpiece component must be known to produce a perfectly balanced mouthpiece with an even blow, rich sound,
and incredible intonation.
Since GR Mouthpiece Technologies is the only mouthpiece manufacturer that calculates blow resistance, you
can trust us to provide you with a Bore that is correct for you.
Cup
Mouthpiece Cups
GR Technologies measures the Cup Diameter at r2. Cup Diameter plays a very important function in the fit
between man and metal. The Cup Diameter, Rim, and Alpha angle features work together with the players physical
features to create a bond. All of these parameters are important in determining proper mouthpiece fit.

Cup Diameter
The diameter of the cup is a very important parameter and must match the player precisely for optimum results. A
cup diameter that is too large for a particular player may cause endurance to suffer, articulations to be sluggish,
sound to be dull, poor intonation between upper and lower registers, and range may be severely hindered.
A cup diameter that is too small for a particular player may cause sound to be strained and thin, range to suffer,
attacks may split, and the blow resistance will feel very high, almost like the player can not get air through the
horn. Intonation may suffer as well.
When the cup diameter matches the player, flexibilities may be more fluid, attacks improved, blow resistance more
comfortable, improved endurance and range. The main improvements to look for are accuracy, articulation, and
intonation.
Mouthpiece Cup Volume vs. Depth
How do we measure cup depth, volume, and shape? Cup Volume is measured in cubic inches and it represents
the area from the rim plane to the throat bore including depth and shape. Cup Depth is measured from the rim
plane to the point where the throat bore begins. When using the term Cup Depth we are not taking into
consideration the cup shape. Cup Volume is the only way to describe the cup in 3 dimensions.
Cup Volume is the amount of area inside the cup (GR measures this in cubic inches) minus the amount of lip
engagement into the cup. For instance, if a player has a good amount of chop engagement into the cup and uses
a Medium volume, the actual volume left over may be similar to a player that has less chop engagement and uses
a small volume cup.
Keeping that in mind, in general terms, larger volume cups have a lower First Natural Harmonic of the
mouthpiece and may produce more lower partials in the sound, therefore, play with less "edge" than smaller
volume cups.
Note * The First Natural Harmonic will rise with added lip engagement into the cup. Example, a given
mouthpiece has a First Natural Harmonic of 655 Hz with no lip engagement.

Now add .100" of lip engagement and the First Natural Harmonic will raise to about 730 Hz creating stronger
resonances in the upper partials.
Too large a cup volume for a particular player may cause the sound to be "woofy" not focused, not brilliant,
endurance to suffer, and range to be limited.
Smaller volume cups on the most part are used where more edge is needed in the sound, with emphasis on the
upper partials. These are generally used for commercial Bb trumpet playing and for use with piccolo trumpets.
A cup volume that is too small for a particular player may not offer enough room for efficient lip vibration. Attacks
may suffer, sound may be thin, and bottoming out may occur.
Articulation and soft breath attacks are keys to determine if the cup volume is too large or too small .
Cup Shape is defined by our parameters. We do not need terms like "C" or "V" when describing the cup. Lines,
arcs, and angles define the shapes. We control these parameters with our Design Program to give the best
possible design. Without these parameters terms like "C" and "V" shaped are very ambiguous and open to
interpretation. If you take a moment to check out the Parameters Drawing below, you will see that by lowering the
Beta Angle, a more "V" shaped cup is achieved. See "Beta Angle".
Engagement
Generally when we talk about engagement, we are referring to the distance a mouthpiece goes into the receiver of
a horn. We also often discuss to "chop engagement" which refers to the amount of lip that enters the mouthpiece
when we play, and how far it penetrates into the cup.
Mouthpiece engagement is important to insure proper fit in the case of flugelhorns, or proper gap in the case of
trumpets.
Chop engagement is important because the amount of lip which enters the cup for particular players can affect
intonation and general playability.
Below is an example of how different flugelhorn shanks will engage into different flugel receivers.

Exit Diameter
Exit diameter refers to the actual diameter of the mouthpiece shank at the very end of the mouthpiece which enters
the horn. This is an important measurement as it will affect gap. GR can "dial in" the perfect gap by designing
mouthpieces with specific exit diameters for use in specific horns.
Gap
The Gap is a very critical area of the match between player, mouthpiece and instrument.
Variation in this system due to the taper in the receiver, age of the instrument, size of mouthpiece shank, and poor
tolerances by manufactures can be an area for trouble.

At GR Technologies we have defined the Gap components and their working relationship.

These components are the Mouthpiece Shank, Receiver, and Leadpipe.

Measurements:

1. Distance from the end of the receiver to the leadpipe venturi.

2. Engagement of the mouthpiece shank into the leadpipe.
3. Exit diameter of the mouthpiece shank.
4. Leadpipe venturi.
5. Exit wall thickness or the mouthpiece shank.
6. Internal diameter of the receiver.
We use a formula to set gap. A change of .001" on the diameter of the shank will cause a difference of about
.020" in the gap distance. You may need to take your horn and have a professional measure it. If you do it at
home make sure you do it several timesand your numbers repeat. If these numbers are set exact to this formula
you will have the optimum or Zero Gap.
If the gap is greater it is a positive (+) gap measurement and the result will be a bit more resistance, although, the
horn will slot and speak well. If the gap is less it is a minus (-) gap measurement and the result will cause less
resistance, as well as, difficulty slotting. Some players like this condition and prefer the gap to the minus side.

If your gap is measured correctly and you find it within

.030" of the Zero positions you should be fine.
Formula: Exit wall of mouthpiece (#5) multiplied times 5.
Example, exit wall of mouthpiece = .025" X 5=. 125" .
Next take Venturi (#4) and subtract it from the Receiver ID (#6). You will need to divide this number by 2 to find
the effective wall thickness of the leadpipe, and finally multiply the effective wall thickness by 1.5.
Example, Venturi is .345" and Receiver ID is .385. Subtract .345 from .385 and divide it by 2, you get an effective
leadpipe wall of .020, multiply it by 1.5 =.030" . Now add the .125 and .030 and you get a Zero Gap of .155.
We find this formula to work very well. If you are getting good results there is no need for change. If you make a
change measure the gap and calculate the change. It is not expensive to have the Gap adjusted. We recommend
you set your gap and leave it alone. Constant change in this area will cause your playing to be insecure.

Inside Diameter
Inside Diameter refers to the measurement across the top of the mouthpiece cup.
In the past, this measurement was displayed on mouthpiece comparison charts but the problem was that
manufacturers generally never indicated where exactly that measurement was taken. Measuring a few thousandths
of an inch into the cup can change that measurement drastically.
That is why you will see two precise points at which GR measures Inside Diameter;
r2 - end point of the bite radius
r4 - .032" down from the high point of the rim

The diameter of the cup is a very important parameter and must match the player precisely for optimum results. A
cup diameter that is too large for a particular player may cause endurance to suffer, articulations to be sluggish,
sound to be dull, poor intonation between upper and lower registers, and range may be severely hindered.
A cup diameter that is too small for a particular player may cause sound to be strained and thin, range to suffer,
attacks may split, and the blow resistance will feel very high, almost like the player can not get air through the
horn. Intonation may suffer as well.
When the cup diameter matches the player, flexibilities may be more fluid, attacks improved, blow resistance more
comfortable, improved endurance and range. The main improvements to look for are accuracy, articulation, and
intonation.
Mass
The Mass of the mouthpiece refers to its overall weight. The weight is determined by the outside shape and type of
materials used in the construction.

The internal dimensions of the trumpet air column (including the mouthpiece) set up the resonance
characteristics or Harmonic Series of the trumpet.
The trumpet wall to include the material, weight, thickness, heat-treating, stress relieving, or annealing
will not affect the Harmonic Series of the trumpet but it can effect how those overtones are amplified.
These properties will have an impact on the amplification of the partials created by the trumpet air column . The
bright (upper partials) or dark (lower partials) description is a result of the way these partials are amplified.
Some players feel the added mass helps balance the horn.
That being said, a heavier mouthpiece may help some players slot notes, while other players benefit from lighter
blanks. Heavy model mouthpieces in the past have been used to help poorly designed mouthpieces slot slightly
better. Some players may find increased projection as well. Remember that every mouthpiece is a compromise
and there will be a trade off with heavier mouthpieces. Some players may experience a decrease in overtones with
heavy mouthpiece blanks while others will benefit from a more solid feel to the note center. Remember the
Trumpet, Mouthpiece, and Player must match. If one is changed the others must be able to accommodate the
change or be changed as well. Mouthpiece mass is a personal choice.
Most players prefer the standard GR Classic Blank.
Outside Diameter
This is the diameter measurement from the outside of the rim on one side of the mouthpiece to the outside of the
rim on the opposite side of the mouthpiece. Parameter r02.

Mouthpiece Rims
The rim is the part of the mouthpiece that comes in contact with your chops. It will determine how your mouthpiece
feels and to some extent, how it responds. Therefore, it is imperative that you get it right.

This area has been one of debate and mystery. We measure our rims and cups using the Mouthpiece Design
Parameters unique to GR Technologies.
We have defined the entire mouthpiece mathematically, therefore we have an advantage when it comes to
measuring. Every parameter is important and will effect the feel of the mouthpiece on the face.
We use r2 and r4 to measure the rim.
When using r4 the diameter is measured at a distance of .032" from the rim plane. When using r2 the diameter is
measured as the point the bite radius (Rb) ends. See the Cup Measurement for comparisons.
Rim Contour = Rc, Rb, and Ro are the radii that make up the rim. Other important parameters are r0 and r02 as
these represent the highpoint and outside diameter. These parameters are used when defining the rim.
Rims are usually classified into four very general categories:
1) Wide
May feel very comfortable and aid endurance, but may make flexibilities a challenge. Wider rims have an anchoring
effect and may aid in distribution of mouthpiece pressure in the upper register. Usually if a rim is too flat or too
wide it will impinge lip vibration and cause a thin sound.
2) Narrow
May aid flexibilities and attacks, but may be uncomfortable to some players. Too narrow a rim could have a "cookie
cutter" feel if a player uses too much mouthpiece pressure, but to some, will give great flexibility and precise
attacks. If a rim is too narrow or to sharp is will hurt endurance or cutting could occur.
3) Flat
The larger rim area of the flat rim will aid endurance and have an "anchoring" effect, perhaps at the expense of lip
flexibility. Some players will greatly benefit from the comfortable feel and anchor of a flatter rim. Usually if a rim is
too flat or too wide it will impinge lip vibration and cause a thin sound.
4) Round
Round rims have a very secure feel and may aid flexibilities, but may hinder endurance. The reason for this is that
with a rounder rim, there is less effective rim area contacting the chops. This is a similar situation to the narrower
rim, however, some will excel with a rounder rim.
The rim contour is made up of small arcs or radiuses. The three that make the most impact are:
1) Inside or Bite Radius-Rb
A smaller radius will give the rim a sharper feel. This will aid attacks, but too sharp a bite may be uncomfortable. A
larger radius will have a softer bite. This may feel very comfortable to some players, but may make clean attacks
more of a challenge. A softer bite may also make the cup feel slightly wider.
2) Crown Radius-Rc
This radius determines the roundness or flatness of the rim. This may also be referred to as the "high point" of the
rim. The high point (r0) will also determine the feel of the diameter of the cup. If two cup diameters are the same,
the mouthpiece with the high point closer to the outside may feel larger.
3) Outside Radius-Ro
This will determine how wide the rim feels on your chops. A smaller outside radius will make a narrow rim feel
wider, especially in the upper register, where more mouthpiece pressure is experienced. This will give you more
rim area on your chops if you add mouthpiece pressure.

Rim contour is a very personal choice. Careful experimentation is the key. Try to change only one aspect of the rim
at a time. Remember what works for you and keep notes. You must know what has worked for you in the past to
move to the next level.

Rim Contour

The blending of the radii around the rim makes up the rim contour. See below. The Rim Contour starts at r02 on
the outside of the mouthpiece and ends at r2 at the start of the cup.

Shank
The exterior portion of the mouthpiece which starts under the cup and ends at the exit diameter.

Throat Exponent
The throat exponent is the math used by GR to design the radius that enters the bore of the mouthpiece from the
cup. In the past, manufacturers have used terms like "shoulder" or "second cup" to describe this area of the
mouthpiece. By using defined mathematics, GR can design specific rates of change to this area of the mouthpiece,
and he knows the playing result before the mouthpiece is play tested.

Furthermore, different exponents match certain trumpets or certain cups.

Cup Volume
Cup volume is the actual volume of the mouthpiece cup. Perhaps described as the amount of water the cup itself
will hold.
How do we measure cup depth, volume, and shape? Cup Volume is measured in cubic inches and it represents
the area from the rim plane to the throat bore including depth and shape. Cup Depth is measured from the rim
plane to the point where the throat bore begins. When using the term Cup Depth we are not taking into
consideration the cup shape. Cup Volume is the only way to describe the cup in 3 dimensions.
Residual Cup Volume is the amount of area inside the cup (GR measures this in cubic inches) minus the amount
of lip engagement into the cup. For instance, if a player has a good amount of chop engagement into the cup and
uses a Medium volume, the actual volume left over may be similar to a player that has less chop engagement and
uses a small volume cup.
Keeping that in mind, in general terms, larger volume cups have a lower First Natural Harmonic of the
mouthpiece and may produce more lower partials in the sound, therefore, play with less "edge" than smaller
volume cups.
Note * The First Natural Harmonic will raise with added lip engagement into the cup. Example, a given
mouthpiece has a First Natural Harmonic of 655 Hz with no lip engagement.
Now add .100" of lip engagement and the First Natural Harmonic will raise to about 730 Hz creating stronger
resonances in the upper partials.
Too large a cup volume for a particular player may cause the sound to be "woofy" not focused, not brilliant,
endurance to suffer, and range to be limited.
Smaller volume cups on the most part are used where more edge is needed in the sound, with emphasis on the
upper partials. These are generally used for commercial Bb trumpet playing and for use with piccolo trumpets.
A cup volume that is too small for a particular player may not offer enough room for efficient lip vibration. Attacks
may suffer, sound may be thin, and bottoming out may occur.
Articulation and soft breath attacks are keys to determine if the cup volume is too large or too small .