Bob Reeves Brass
Founded in Hollywood in 1968 by a Navy-trained machinist. The screw-rim modular system — one rim, infinite underpart combinations — remains the most sophisticated customization platform in brass mouthpiece manufacturing.
One Rim. Every Context.
The core problem: switching mouthpieces for different contexts meant changing rim diameter, contour, and bite simultaneously — causing embouchure instability and fatigue. The Reeves solution decouples the rim from the underpart (cup + throat + backbore) via a precision-threaded screw-rim assembly. Manufacturing tolerances ensure an airtight seal and perfect inner diameter alignment at the junction, eliminating acoustic turbulence. The system covers Bb trumpet, C trumpet, piccolo trumpet, cornet, flugelhorn, and trombone.
"One Foundation" philosophy: a player settles on a single rim — say, the 42. That rim never changes. What changes is the underpart underneath it.
Broad, teutonic. Maximum fundamental depth for orchestral pit work. Identical lip sensation on the 42 rim.
Compression and brilliance for high-register lead work in amplified settings. Still the same 42 rim. Embouchure arrives fresh.
The Rim Numbers: 64ths of an Inch
Bob Reeves rims are numbered by inner diameter in 64ths of an inch — the most precise rim designation in the industry. The 40–44 range covers the full professional trumpet spectrum. Medium-sharp bite (40, 41) gives a clear reference point for lip vibration, improving accuracy and slotting. Soft bite (42, 43) is preferred by players who move the mouthpiece frequently or find sharper rims restrictive.
| Cup # | Inner Rim mm | Rim in | Bach Equivalent | Rim Character |
|---|---|---|---|---|
| 40 | 15.875 | 40/64" (.625") | Bach 10-1/2C Mt. Vernon | Small; semi-flat, medium-sharp bite; ideal for efficiency |
| 41 | 16.272 | 41/64" (.640") | Bach 7C Mt. Vernon | Very popular; semi-flat, medium-sharp bite; similar to Schilke 13 |
| 42 | 16.669 | 42/64" (.656") | Bach 3C & 6C Elkhart | Medium-round; soft bite; the "workhorse" for modern players |
| 43 | 17.066 | 43/64" (.672") | Bach 2-3/4C Elkhart | Larger; semi-round, soft bite; comparable to Schilke 16 |
| 43N | 17.066 | 43/64" (.672") | Bach 6C Mt. Vernon | Same diameter as 43, narrower semi-flat contour for more grip |
| 43W | 17.066 | 43/64" (.672") | Bach 3CW | Wide cushion rim; maximum endurance and support |
| 43.5 | 17.264 | 43.5/64" (.680") | Bach 1-1/2C / 5C | Large; medium-round, medium-sharp bite; popular orchestral |
| 44 | 17.46 | 44/64" (.687") | Bach 1C | Extra large; for high air volume and large embouchures |
Rim measurements are inner diameter at playing surface. Bach equivalents are approximate — rim contour and bite differ from Bach originals.
The Backbores: From Symphonic to Screamer
The backbore is the primary regulator of resistance and harmonic content. Too tight for a player's air volume — the sound chokes and goes sharp. Too open — overblowing, fatigue, poor intonation. Reeves backbores span a precise continuum from the very tight 692sL to the broad symphonic X.
| Backbore | Character | Best For | Tightness |
|---|---|---|---|
| 692sL | Full and focused; enhanced slotting in extreme high register | Extreme lead / double-high register | Very tight |
| 692s | Projects with ease; helps open tight instruments | Lead / commercial | Tighter than standard |
| 69 | Bright, focused; records well; developed 1969 | Big band / studio | Slightly tighter |
| 692 | Darker and broader than 69; combination of #69 and #2 tapers | Power lead / commercial | Slightly more open than 69 |
| 2 | Standard versatile; centered tone color and intonation | All-around / general | STANDARD baseline |
| 3 | Flexible, big sound; free-flowing | Jazz solo / large ensemble | More open |
| s | Symphonic "Schmidt" style; teutonic, opulent sound | Orchestral / classical | Broad and open |
| X | Physically largest taper | Rotary trumpet / extremely dark | Most open |
Proven Combinations by Context
After decades of consultation with world-class performers, these cup + backbore pairings have become the standard recommendations.
| Role | Cup | Backbore | Why |
|---|---|---|---|
| All-around Orchestral | C | 2 or s | C cup = standard medium-deep bowl. #2 = reliable intonation. s = broader symphonic sound |
| Lead / Commercial | ES or SV | 692s or 69 | Shallow cups increase compression for high-register efficiency; tight backbores project in amplified settings |
| Jazz Soloist | M or D | 3 | M/D cups provide warmth; #3 allows note bending and tonal manipulation |
| Studio Section | S | 69 | Balance of comfort and brilliance; 69 backbore records with focused core |
| High Register Specialty | ES | 692sL | Maximum efficiency at top of range; 692sL maintains slotting in double-high register |
| Flugelhorn Crossover | B or V | X | Dark flugel-like sound from Bb/C trumpet; used for offstage orchestral solos |
Reeves Sleeves: The Gap Adapter
When a mouthpiece inserts into a trumpet receiver, it rarely seats perfectly flush against the leadpipe. The resulting space — the "annulus" or gap — creates an impedance mismatch: stuffy notes, poor intonation, loose slotting. Because trumpet receivers are not standardized across manufacturers, a fixed gap is always a compromise. Reeves Sleeves are removable brass rings that change how deeply the mouthpiece seats, giving the player precise gap control without modifying the backbore or overall length.
The mouthpiece must be "cut for sleeves" — the shop machines away the standard shank and threads the underpart to accept removable brass sleeves. Sleeves vary in thickness, which changes how deeply the mouthpiece seats in the receiver. One mouthpiece works on multiple instruments (Bach Bb + Yamaha C) with a different sleeve for each.
#1 = largest sleeve = largest gap (mouthpiece furthest out). #7 = smallest sleeve = smallest gap. Most players find their ideal gap within the #3 to #5 range. Half and quarter sizes are available for extreme fine-tuning.
Before committing to a sleeve conversion, the Reeves shop places a small strip of paper on the shank to increase the gap. The player hears and feels the difference in slotting and intonation without permanent modification — a diagnostic first, machining second.
Individual sleeve: approximately $25–$35. The shank conversion is a one-time machining cost at the Reeves factory, making the mouthpiece future-proof for any new instrument acquired. Common applications: Bach (often large factory gap), Yamaha, Schilke — all benefit from gap adjustment.
Trombone
Developed in collaboration with Brass Ark. The screw-rim system applies to many signature and orchestral trombone models — same rim feel across tenor and bass.
| Model | Rim mm | Cup | Character |
|---|---|---|---|
| 11C | 24.80 | Medium-Shallow | Alto trombone / small-bore tenor; Mercury blank |
| Clarke 6.5AL | 25.35 | Medium | Based on 1930s design; .508"–.525" bore all-around |
| 5G | 25.55 | Medium-Deep | Standard symphonic tenor; 1- or 2-piece available |
| 5G "Gladstone" | 25.55 | Medium-Deep | J throat for more resistance; special backbore |
| 4G | 26.00 | Deep | Large orchestral cup; broad powerful sound |
| 1-1/2G "Mr. Bass" | 27.15 | GR Cup | Commercial bass trombone; punchy low + singing middle |
| Orchestral Bass | 28.15 | Deep | Broad; modern orchestral demands |
| CV Bass | 29.50 | Deep | Charlie Vernon signature; thin rim, efficient throat |
Mercury blank: lighter, more resonant — commercial and solo agility. Standard blank: heavier, darker tonal core — orchestral stability.
Small shank (11C, Clarke 6.5AL) for small-bore tenor and alto trombone. Large shank (4G, 5G, all bass models) for modern symphonic large-bore instruments. Remington shank available for select custom Conn-style taper models.
French Horn, Flugelhorn & More
French Horn — Dylan Hart Signature
Designed for LA film scoring. Size 12 bore, available in American/Morse AND Euro shanks.
DH1 — The Mandalorian and major film scores
Flugelhorn
4 primary flugel cups: F (standard), DF (deep), FE (efficient), HF (hybrid).
Cornet & Piccolo
Cornet uses the same rim numbering as trumpet. Cups ES through B available; C cup is the standard all-around cornet choice. A player moves between trumpet and cornet with zero rim change — the entire embouchure reference stays constant.
Piccolo trumpet available in both cornet and trumpet shanks. Trumpet-shank versions are physically shorter to optimize the higher pitch.
Euphonium & Tuba
Los Angeles Euphonium — 25.55mm rim, designed for orchestral euphonium work. Smooth slotting and full color spectrum.
Tuba: custom work only. Shop capacity exists but no standard catalog item — consultation required.
Who Plays Reeves
| Artist | Instrument | Context | Known Setup |
|---|---|---|---|
| Chuck Findley | Trumpet | Studio / Jazz (LA) | CF Model: 43W rim, hybrid ES+S cup, 28 bore, 69 backbore, #5 sleeve |
| Dan Rosenboom | Trumpet | Contemporary Jazz | BOOM★ Model: Classical Series 6C rim, medium-deep conical cup |
| Bobby Burns Jr. | Trumpet | Earth, Wind & Fire | EWF Model: 3C rim (16.3mm), flat cup, 28 bore |
| Charlie Vernon | Bass Trombone | Chicago Symphony | CV Model: 29.5mm inner diameter, thin rim, deep cup |
| Jay Friedman | Trombone | Chicago Symphony | "Jay Friedman Signature" and "L.A. Solo" models |
| Dylan Hart | French Horn | Studio Film/TV | DH1 model (17.5mm) — used on The Mandalorian and major film scores |
| Martin Schippers | Bass Trombone | Concertgebouw | Signature Series bass trombone |