ヴォラーレマウスピース開発秘話｜

Roger Bobo's Volare

What is the Volare mouthpiece?

Volare mouthpieces are not only for players,
It is the culmination of teamwork with Japan's finest engineers.
Once you try it you will definitely notice the difference.
The new standard "Volare Type" is born!

Volare was created by gathering opinions from maestros and players and entrusting them to skilled craftsmen. Volare was born from the strong desire of its godfather, maestro Roger Bobo, to develop a new generation of mouthpieces. The thoughts that the maestro put into this mouthpiece are very simple. There are three points: "It should resonate well, have no unevenness in sound quality, and resonate well from ultra-low to ultra-high tones."
There are still many skilled craftsmen in Japan who value the traditional "feelings of the hand" and "sense of experience". We made no compromises and completed a masterpiece through repeated trial and error. We redesigned the mouthpiece while respecting the ideas of the popular mouthpieces (Helberg type, Gabe type, etc.) and U-cup and V-cup. We are now able to produce and provide mouthpieces that give joy and new ideas to all players and allow them to express themselves as they wish, while maintaining the quality of each and every one. The birth of a completely new standard, the "Volare type"!
When the maestro saw the prototype, he exclaimed, "Volare!", which means "to fly" in Italian. He said that this was because it was exhilarating to fly and easy to control.

The Development of Volare JOGO

About the development of Volare

This new Volare has slight differences from the previous production. At the strong request of the maestro, in order to maintain the original design as per the design drawings, polishing is kept to a minimum and the plating is made in three stages to increase its strength.
As a result, there may be hairlines or uneven plating, but this is to preserve the original shape of the original prototype and will not interfere with playing.

Carefully Selected Ingredients
In order to select the optimal material, we conducted joint research with Okayama University. As a result of the research, we discovered that the pitch balance is affected by the mass of the mouthpiece. We sought out the material with the best resonance and the optimum weight. This enabled us to achieve an optimal balance with a moderate weight for the playing feel. In order to minimize metal fatigue of these materials, we use laser printing instead of stamping with a press.
Use of ultra-precise 3D measuring equipment
We used ultra-precise 3D shape measuring equipment from ZEISS, owned by the Okayama Prefectural Industrial Technology Center, in the design. We drew design lines in micro units, at the 0.00mm level. This allowed us to successfully create a highly accurate design.
Aerodynamics
We conducted wind tunnel experiments at Tottori University. As a result, we discovered the most efficient inner diameter size from the cup to the shank. To our surprise, we found that the shape of the outer diameter also had a significant effect. This enabled us to design the optimum air flow for each range and volume.
Metal processing techniques by skilled craftsmen
The mouthpiece is designed with extremely precise numbers, but the skilled craftsman who creates it says he pursued a rounded feel that is "gentle to the human senses." He replaced the numbers with human senses, turned human senses into numbers, and had the machine read them.
The cutting process for the cup, throat, and backbore, which have a significant effect on sound, is an internal structure that cannot be seen with the naked eye, so processing to eliminate any wobble in the center core required meticulous, skilled techniques.
We have also achieved the goal of minimizing the commonly mentioned "variation in sound and response between individual units, even those with the same model number."
Embouchure Study
We researched the stress and load that each range and dynamics places on the lips. Then, by using the flat and triple edge construction method, we optimized the cutting size of the inner rim diameter to create a shape that feels good in the mouth and is hard to get tired of.
Thorough production management in Japan
We strive to maintain the quality of each and every product, ensuring the same performance. This is the result of the techniques and production management methods used by our skilled craftsmen, and we are proud of our products being made in Japan.
商品のBrand Nameについて
Volare！
イタリア語で “飛ぶ”
完成したプロトタイプを吹いた瞬間、ボボ氏は思わず “Volare！” と叫びました。音の伸びやかさ、そして奏者の意志のままに飛んでいくような響き——その感動を表した一言が、そのままブランド名の由来となっています。
社名のバスクレフについて
バスクレフは音楽用語でヘ音記号を表し、主に低音を演奏するときに使います。
我々はそんな低音を愛する集団でもあり、縁の下の力持ちとして、皆様の力になるように日々精進しております。
現在はマウスピースの開発と製造をメインに、録音録画、編集、各種イベント等の事業も行っております。
銀メッキアレルギーに対する配慮
奏者の口に直接触れるマウスピースだからこそ、VOLAREは「音」だけでなく、「素材の安全性」と「口当たりの心地よさ」も大切にしています。
コラム：銀メッキアレルギーを見る
試奏について
あなたの演奏を変えるのは、小さなパーツかもしれません。ロジャー・ボボが認め、日本の熟練工が一本一本仕上げるヴォラーレは、量産品にはない特別な一本です。

まずは試奏から。
吹いた瞬間に「これだ」と感じたら――
それが、あなたの音楽が次のステージへ進む合図です。

良い道具は、練習の質を変え、演奏の喜びを変える。
迷っている時間も、あなたの演奏人生の一部です。
ヴォラーレとともに、次のステージへ。
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