Congaskinn Remo Nuskyn Symmetry M2-1225-N6-D1, Low Color D1, 12,25

Conga Head Remo Nuskyn Symmetry M2-1225-N6-D1, Low Color D1, 12,25
Produsent: Remo
Tilgjengelighet: Bestillingsvare
Varenummer: M2-1225-N6-D1
2 085 kr
1 893 kr
decrease increase
Produktspesifikasjoner
Fabrikat-ForlagRemo
ProduktConga Heads
SerieRemo Nuskyn Symmetry Series
Størrelse Omfang12 1/4
Størrelse Bredde12,25
FargeBrown
MaterialeMylar Plastic Head
MaterialeAluminum Hoop
Alt. 4Low Color
Alt. 31-Ply Head

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A.P.E. Anti-Pressure Exerciser Delrin for Cornet

A.P.E. - Anti-Pressure Exerciser    Trumpet players know this story all too well.... To get those screaming high notes, there is a natural tendency to push the mouthpiece HARD against the chops. Often times too hard - to the point where you regret it later. Players know that more mouthpiece pressure can help to support weak or tired chops in order to continue playing. The downside is that too much pressure against the lips prevents proper blood flow, and you wear out even faster - and finally it's game over until you've had plenty of time to rest. The Warburton A.P.E. helps you learn how to maintain a high quality full-range buzz without applying excessive pressure. Now available for Trumpet, Cornet, French Horn, and Tenor Trombone!  Key Benefits:By learning how to reduce mouthpiece pressure against the lips you will gain endurance.Sound quality will improve because you're also learning how to maintain the best quality buzz.Without the trumpet "in the way", you can focus strictly on learning what mouthpiece angle and embouchure/aperture/lip set works best for you - just by listening to the quality of the buzz. How does it work?It's easy to use - just plug your mouthpiece into it and start buzzing in the lower range. Then increase the pitch of your buzz as if playing a scale. As you ascend higher up the scale you will naturally start to press the mouthpiece harder against your lips. The harder you press, the more you will compress the spring - which in turn will cause the air outlet to begin closing. If you're pressing too hard, the air outlet closes and the buzz stops because the air cannot escape.With practice you will learn to ascend higher and higher up the scale without closing off the air escape.In order to keep the the A.P.E. working as smoothly, you may find it helpful to occasionally clean any debris that might accumulate (pocket lint, etc) between the sliding pieces. A weak detergent solution followed by rinsing with water and drying with a lint free cloth will work fine for this cleaning.One final tip: be sure to push on the A.P.E. evenly from both sides and in a straight line to ensure smooth sliding operation of the parts.   ________________________________________(For clarity, the spring and finger rings shown in the photos above are removed from these illustrations) Bilde 2: Here you can see the air outlet hole and end of the mouthpiece inserted into the A.P.E.:Bilde 3: Spring not compressed and the air outlet is wide open. No problem buzzing in this position.Bilde 4: Spring slightly compressed and the air outlet is staring to close. You will start feeling more back pressure in this position.Bilde 5: Spring is compressed even further by more mouthpiece pressure and the air outlet is almost closed. Buzzing is starting to get very difficult because of the back pressure.  Too much mouthpiece pressure has compressed the spring enough that the air outlet is closed. Buzzing cannot continue until you reduce the mouthpiece pressure enough to open the air outlet hole.Here you can see the air outlet hole and end of the mouthpiece inserted into the A.P.E.:Spring not compressed and the air outlet is wide open. No problem buzzing in this position.Spring slightly compressed and the air outlet is staring to close. You will start feeling more back pressure in this position.Spring is compressed even further by more mouthpiece pressure and the air outlet is almost closed. Buzzing is starting to get very difficult because of the back pressure.Too much mouthpiece pressure has compressed the spring enough that the air outlet is closed. Buzzing cannot continue until you reduce the mouthpiece pressure enough to open the air outlet hole. 
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A.P.E. Anti-Pressure Exerciser Delrin for Trombone

A.P.E. - Anti-Pressure Exerciser    Trumpet players know this story all too well.... To get those screaming high notes, there is a natural tendency to push the mouthpiece HARD against the chops. Often times too hard - to the point where you regret it later. Players know that more mouthpiece pressure can help to support weak or tired chops in order to continue playing. The downside is that too much pressure against the lips prevents proper blood flow, and you wear out even faster - and finally it's game over until you've had plenty of time to rest. The Warburton A.P.E. helps you learn how to maintain a high quality full-range buzz without applying excessive pressure. Now available for Trumpet, Cornet, French Horn, and Tenor Trombone!  Key Benefits:By learning how to reduce mouthpiece pressure against the lips you will gain endurance.Sound quality will improve because you're also learning how to maintain the best quality buzz.Without the trumpet "in the way", you can focus strictly on learning what mouthpiece angle and embouchure/aperture/lip set works best for you - just by listening to the quality of the buzz. How does it work?It's easy to use - just plug your mouthpiece into it and start buzzing in the lower range. Then increase the pitch of your buzz as if playing a scale. As you ascend higher up the scale you will naturally start to press the mouthpiece harder against your lips. The harder you press, the more you will compress the spring - which in turn will cause the air outlet to begin closing. If you're pressing too hard, the air outlet closes and the buzz stops because the air cannot escape.With practice you will learn to ascend higher and higher up the scale without closing off the air escape.In order to keep the the A.P.E. working as smoothly, you may find it helpful to occasionally clean any debris that might accumulate (pocket lint, etc) between the sliding pieces. A weak detergent solution followed by rinsing with water and drying with a lint free cloth will work fine for this cleaning.One final tip: be sure to push on the A.P.E. evenly from both sides and in a straight line to ensure smooth sliding operation of the parts.   ________________________________________(For clarity, the spring and finger rings shown in the photos above are removed from these illustrations) Bilde 2: Here you can see the air outlet hole and end of the mouthpiece inserted into the A.P.E.:Bilde 3: Spring not compressed and the air outlet is wide open. No problem buzzing in this position.Bilde 4: Spring slightly compressed and the air outlet is staring to close. You will start feeling more back pressure in this position.Bilde 5: Spring is compressed even further by more mouthpiece pressure and the air outlet is almost closed. Buzzing is starting to get very difficult because of the back pressure.  Too much mouthpiece pressure has compressed the spring enough that the air outlet is closed. Buzzing cannot continue until you reduce the mouthpiece pressure enough to open the air outlet hole.Here you can see the air outlet hole and end of the mouthpiece inserted into the A.P.E.:Spring not compressed and the air outlet is wide open. No problem buzzing in this position.Spring slightly compressed and the air outlet is staring to close. You will start feeling more back pressure in this position.Spring is compressed even further by more mouthpiece pressure and the air outlet is almost closed. Buzzing is starting to get very difficult because of the back pressure.Too much mouthpiece pressure has compressed the spring enough that the air outlet is closed. Buzzing cannot continue until you reduce the mouthpiece pressure enough to open the air outlet hole.
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Berp 1 Waldhorn

B.E.R.P. Embouchure trainer for Brass instrument playersbirth of the BerpOne of the leading proponents of buzzing the mouthpiece was James Stamp. I had the great honor of studying with Jimmy while I was a member of the Los Angeles Philharmonic, and his teachings influence the exercises and practice suggestions that make up the berp concept. He had students add resistance to the mouthpiece when buzzing by either placing their little finger over the end or adding a rubber electrical extension called an alligator clip. By learning to blow into resistance, you become more aware of undesirable resistance in your body, and learn how to avoid it by using proper breath support. Jimmy also asked us to finger the valves of our instruments while buzzing the mouthpiece, to make us aware of the connection between the fingers and the brains perception of pitch. I put the two ideas together, buzzing and fingering (or moving the slide) to the corresponding pitch, to maximize the benefits for my students and myself.- mario guarneri, inventor of the berphow to berpTHE CLAMP The Berp clamp fits firmly onto the open end of the instruments receiver, with the mouthpiece removed. Its designed to tighten around a round, hex, or convex-shaped opening. If a receiver has an oversized ring at the opening, it may be necessary to push the clamp past that before tightening down. For some receivers, you may also need to add black electrical tape to the inside of the clamp to help prevent slippage and ensure a secure fit. Most people prefer to line The Berp up parallel to the receiver at the three oclock position. You may want to experiment with other positions to determine whats best for you. Once The Berp is firmly attached, you can easily alternate between buzzing and playing your instrument by switching the mouthpiece.THE RESISTENCE DIAL.The dial for the trumpet, horn, and cornet Berp should be positioned below the holes and pushed up to partially cover them to create the desired resistance. The dial on The Berp for trombones, euphoniums, and tubas should be positioned above the holes and lowered to create the desired resistance. Beginners usually have a better chance of getting a good buzz with slightly more resistance. Once a good buzz is achieved, resistance on The Berp should be dialed similarly to that of the instrument.time to Berp (Check picture 4)This exercise can be started on either open partials up and/or down. Practice with the same routine.Clamp The Berp onto the receiver. Play the starting pitch on your instrument, then place the mouthpiece in The Berp and buzz the exercise like a siren or glissando.Buzz the exercise again, but this time center each pitch and press your instruments valves down or move the slide to the notes that you are playing. When you play The Berp, practice making the beginning and ending pitch sound (resonate) the same. Correct sound production will result when the air leads the way, whether ascending or descending.Finally, play the exercise on your instrument with the same energy you used to make a consistent buzz. The embouchure should feel more relaxed than when buzzing in order to get a free, resonating sound. Always alternate between the berp and playing your instrument, to gain ear training benefits and strengthen your embouchure.  
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Berp 6 Tuba

B.E.R.P. Embouchure trainer for Brass instrument playersbirth of the BerpOne of the leading proponents of buzzing the mouthpiece was James Stamp. I had the great honor of studying with Jimmy while I was a member of the Los Angeles Philharmonic, and his teachings influence the exercises and practice suggestions that make up the berp concept. He had students add resistance to the mouthpiece when buzzing by either placing their little finger over the end or adding a rubber electrical extension called an alligator clip. By learning to blow into resistance, you become more aware of undesirable resistance in your body, and learn how to avoid it by using proper breath support. Jimmy also asked us to finger the valves of our instruments while buzzing the mouthpiece, to make us aware of the connection between the fingers and the brains perception of pitch. I put the two ideas together, buzzing and fingering (or moving the slide) to the corresponding pitch, to maximize the benefits for my students and myself.- mario guarneri, inventor of the berphow to berpTHE CLAMP The Berp clamp fits firmly onto the open end of the instruments receiver, with the mouthpiece removed. Its designed to tighten around a round, hex, or convex-shaped opening. If a receiver has an oversized ring at the opening, it may be necessary to push the clamp past that before tightening down. For some receivers, you may also need to add black electrical tape to the inside of the clamp to help prevent slippage and ensure a secure fit. Most people prefer to line The Berp up parallel to the receiver at the three oclock position. You may want to experiment with other positions to determine whats best for you. Once The Berp is firmly attached, you can easily alternate between buzzing and playing your instrument by switching the mouthpiece.THE RESISTENCE DIAL.The dial for the trumpet, horn, and cornet Berp should be positioned below the holes and pushed up to partially cover them to create the desired resistance. The dial on The Berp for trombones, euphoniums, and tubas should be positioned above the holes and lowered to create the desired resistance. Beginners usually have a better chance of getting a good buzz with slightly more resistance. Once a good buzz is achieved, resistance on The Berp should be dialed similarly to that of the instrument.time to Berp (Check picture 4)This exercise can be started on either open partials up and/or down. Practice with the same routine.Clamp The Berp onto the receiver. Play the starting pitch on your instrument, then place the mouthpiece in The Berp and buzz the exercise like a siren or glissando.Buzz the exercise again, but this time center each pitch and press your instruments valves down or move the slide to the notes that you are playing. When you play The Berp, practice making the beginning and ending pitch sound (resonate) the same. Correct sound production will result when the air leads the way, whether ascending or descending.Finally, play the exercise on your instrument with the same energy you used to make a consistent buzz. The embouchure should feel more relaxed than when buzzing in order to get a free, resonating sound. Always alternate between the berp and playing your instrument, to gain ear training benefits and strengthen your embouchure.  
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Berp 3 Trompet (Althorn)

B.E.R.P. Embouchure trainer for Brass instrument playersbirth of the BerpOne of the leading proponents of buzzing the mouthpiece was James Stamp. I had the great honor of studying with Jimmy while I was a member of the Los Angeles Philharmonic, and his teachings influence the exercises and practice suggestions that make up the berp concept. He had students add resistance to the mouthpiece when buzzing by either placing their little finger over the end or adding a rubber electrical extension called an alligator clip. By learning to blow into resistance, you become more aware of undesirable resistance in your body, and learn how to avoid it by using proper breath support. Jimmy also asked us to finger the valves of our instruments while buzzing the mouthpiece, to make us aware of the connection between the fingers and the brains perception of pitch. I put the two ideas together, buzzing and fingering (or moving the slide) to the corresponding pitch, to maximize the benefits for my students and myself.- mario guarneri, inventor of the berphow to berpTHE CLAMP The Berp clamp fits firmly onto the open end of the instruments receiver, with the mouthpiece removed. Its designed to tighten around a round, hex, or convex-shaped opening. If a receiver has an oversized ring at the opening, it may be necessary to push the clamp past that before tightening down. For some receivers, you may also need to add black electrical tape to the inside of the clamp to help prevent slippage and ensure a secure fit. Most people prefer to line The Berp up parallel to the receiver at the three oclock position. You may want to experiment with other positions to determine whats best for you. Once The Berp is firmly attached, you can easily alternate between buzzing and playing your instrument by switching the mouthpiece.THE RESISTENCE DIAL.The dial for the trumpet, horn, and cornet Berp should be positioned below the holes and pushed up to partially cover them to create the desired resistance. The dial on The Berp for trombones, euphoniums, and tubas should be positioned above the holes and lowered to create the desired resistance. Beginners usually have a better chance of getting a good buzz with slightly more resistance. Once a good buzz is achieved, resistance on The Berp should be dialed similarly to that of the instrument.time to Berp (Check picture 4)This exercise can be started on either open partials up and/or down. Practice with the same routine.Clamp The Berp onto the receiver. Play the starting pitch on your instrument, then place the mouthpiece in The Berp and buzz the exercise like a siren or glissando.Buzz the exercise again, but this time center each pitch and press your instruments valves down or move the slide to the notes that you are playing. When you play The Berp, practice making the beginning and ending pitch sound (resonate) the same. Correct sound production will result when the air leads the way, whether ascending or descending.Finally, play the exercise on your instrument with the same energy you used to make a consistent buzz. The embouchure should feel more relaxed than when buzzing in order to get a free, resonating sound. Always alternate between the berp and playing your instrument, to gain ear training benefits and strengthen your embouchure.  
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BUZZARD for Tuba

The unique combination of internal shapes controls the airflow to achieve balanced resistanceThe internal taper through the throat section plus the reverse bell flair expands and focuses the buzzPromotes the natural position of the embouchure as if playing the instrumentProvides resistance similar to your instrument for a natural, relaxed feelPortable - take along everywhere you can't bring your hornIndestructible - made from tough Delrin plastic - great for students!Lightweight and easily Portable - keep one in your pocketConvenient for a quick and effective warm-upDesigned and Manufactured in USA at the Warburton FactoryTerry Warburton has successfully developed THE BUZZARD to achieve the maximum buzzing potential at a very affordable pric
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Berp 5 Trombone Large (Euphonium)

B.E.R.P. Embouchure trainer for Brass instrument playersbirth of the BerpOne of the leading proponents of buzzing the mouthpiece was James Stamp. I had the great honor of studying with Jimmy while I was a member of the Los Angeles Philharmonic, and his teachings influence the exercises and practice suggestions that make up the berp concept. He had students add resistance to the mouthpiece when buzzing by either placing their little finger over the end or adding a rubber electrical extension called an alligator clip. By learning to blow into resistance, you become more aware of undesirable resistance in your body, and learn how to avoid it by using proper breath support. Jimmy also asked us to finger the valves of our instruments while buzzing the mouthpiece, to make us aware of the connection between the fingers and the brains perception of pitch. I put the two ideas together, buzzing and fingering (or moving the slide) to the corresponding pitch, to maximize the benefits for my students and myself.- mario guarneri, inventor of the berphow to berpTHE CLAMP The Berp clamp fits firmly onto the open end of the instruments receiver, with the mouthpiece removed. Its designed to tighten around a round, hex, or convex-shaped opening. If a receiver has an oversized ring at the opening, it may be necessary to push the clamp past that before tightening down. For some receivers, you may also need to add black electrical tape to the inside of the clamp to help prevent slippage and ensure a secure fit. Most people prefer to line The Berp up parallel to the receiver at the three oclock position. You may want to experiment with other positions to determine whats best for you. Once The Berp is firmly attached, you can easily alternate between buzzing and playing your instrument by switching the mouthpiece.THE RESISTENCE DIAL.The dial for the trumpet, horn, and cornet Berp should be positioned below the holes and pushed up to partially cover them to create the desired resistance. The dial on The Berp for trombones, euphoniums, and tubas should be positioned above the holes and lowered to create the desired resistance. Beginners usually have a better chance of getting a good buzz with slightly more resistance. Once a good buzz is achieved, resistance on The Berp should be dialed similarly to that of the instrument.time to Berp (Check picture 4)This exercise can be started on either open partials up and/or down. Practice with the same routine.Clamp The Berp onto the receiver. Play the starting pitch on your instrument, then place the mouthpiece in The Berp and buzz the exercise like a siren or glissando.Buzz the exercise again, but this time center each pitch and press your instruments valves down or move the slide to the notes that you are playing. When you play The Berp, practice making the beginning and ending pitch sound (resonate) the same. Correct sound production will result when the air leads the way, whether ascending or descending.Finally, play the exercise on your instrument with the same energy you used to make a consistent buzz. The embouchure should feel more relaxed than when buzzing in order to get a free, resonating sound. Always alternate between the berp and playing your instrument, to gain ear training benefits and strengthen your embouchure.  
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