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That's a custom job from Pickett. It's more or less a copy of a mouthpiece Jim Manley played for a while (the closest commercially available mouthpiece to Manley's is the JimFlex model that Stomvi sells, but the one in question was some iterative model Jim was on at the time) that I had modified to be slightly deeper. I'm still playing on the same mouthpiece, but a few years after this I got a new one with a 30 throat. The backbore is a Pickett copy of a Stomvi M4. It's a very niche/exotic piece of gear that works very well for me but probably is not for the majority of players. You can do it on any mouthpiece. I used to do this every day several times a day, and each time I'd roll dice to pick my mouthpiece. I'd play it on everything from a Cat Anderson piece to a Schilke 20d2d. Getting the knack for the upper register on one mouthpiece translates to getting it on others. Sometimes the big mouthpiece teaches you things the small one doesn't, or vice versa. High notes not in mouthpiece, high notes in you. That said, just because you CAN do it on any mouthpiece doesn't mean you should. I have the same range on a 3c as I do on my shallow lead gear, but my sound and my endurance and the ease with which I can access that range is not the same. I use the piece that gives me the easiest time sounding like what I want to sound like. And there's a knack to playing on the small gear. Small gear doesn't have to mean small sound. I definitely think you should TRY other things though. I first got the knack for the upper register after trying a small piece, and once I had figured it out on the small piece, I found I could do it on the big piece, too. I think it makes you a more adaptable player, too. But some people probably take it a bit too far. I switch between 4 mouthpieces, depending on what I'm doing and what I want to sound like. It's been the same 4 mouthpieces for like 10 years. That B2S3 is a big mouthpiece. With a big throat, too. For most players, this is not a mouthpiece that's making your job easier in the upper register. If you want a lyrical a mellow classical sound up high, then that's a good pick. If you want a broad dark soloistic sound up high, then that's a good pick. If you're playing lead in a big band? Well it's all a matter of preference, but I can tell you that I prefer a bright sound on lead, both as a player and as a listener. So it's all situational. But lots and lots of trumpet players use mouthpieces that are too big for them and that gets in their way when it comes to learning to play up high. People will say things to me like "Arturo does everything on a 3c." And it's like, neither of us are Arturo. Arturo plays like a thousand times as much trumpet as I do. Which, like, if you're looking to do something because Arturo does it, better to copy his practice habits than his gear. So like, in general you shouldn't let someone who hasn't actually heard and seen you play tell you what kind of mouthpiece you should be using, but in my opinion that's not a mouthpiece that's going to make playing in the upper register any easier for most people if that's what you're going for. I don't know where you're at, but if you haven't tried smaller gear before I'd recommend getting a few cheap used mouthpieces to try out. The Yamaha Shew Lead, the Marcinkiewicz Shew pieces (go with the smallest one first), Schilke 13a4a/14a4a/6a4a can all be found really cheap used, and will probably sell for close to what you buy them for if you don't like them. There are a few different concepts for shallow/lead pieces so just because you don't like one doesn't mean you don't like small.

@@DHCZack thanks so much for that detailed explanation and so quickly. I really appreciate it . When I started playing with the band 40 years ago and without any knowledge of gear I played on a Jet-tone AlHirt A. It had almost no cup. I could do the high notes well but while listening to people like Freddie Hubbard I realised I could replicate the fatness of that sound on the JetTone. Today i have rejoined my band and we are playing all the 70s dance numbers and I must say I'm struggling a bit😁

I'll raise you a 5th. Check this recording. open.spotify.com/track/6xyrCy8lQp4hSAEGMZo9Qh?si=bf7a9d50538b4cac

😯

I think it's the Reinhart book that says "There is no exercise written anywhere that will fix an embouchure problem." (It might be Stevens-Costello don't quote me; either way both of those books are super good conceptually). The reason the triad works well is that it's easy to hear the pitches in your head, not particularly technical, and slow-and-steady enough to allow you to be aware of what your chops are doing. Basically any exercise that allows you to control your independent variables so you can try to isolate and understand what's going on with your playing. So any kind of triad or scalar pattern is good. Any melody. Basically the whole Claude Gordon book is filled with exercises that more or less fit the bill. I don't know a lot about what Cat did other than the Whisper-G exercise. I haven't done a lot of it because it loses my attention quickly because it's boring. I'm sure it has its merits. My brain requires constant stimulation.

He was playing directly into the mic, so it was soft, but it sounded louder than it actually was (Ik I'm a year late)

I hate to take issue with what I'm sure you intend is a compliment. I'm not gifted, I just practice(d) a lot. I used to not be able to even play a high c. No magic here. Just hard work.

Use a free tuner app. I'm not in the business of video editing.