Well, Jerome, it is three weeks since my SIMA arrived, and I haven't picked up my Jazz since. A clean and precise sound; technical tonguing is a breeze; and the range from bottom F# to super C and above requires no effort...really.
There are "secrets" to playing this horn. One has to relax and let the air "drift through" the horn, otherwise the back pressure when using a Superchops 2, for instance, will tire one in short order. On the other hand, whether one is playing first or fourth, the clarity of this horn ensures an overall increase in the clarity of the entire section. The only "drawback" is that because it is in tune throughout the entire range, players not monitoring their intonation continuously can drive one to distraction.

Tom Robins, Canada



Thank you Jerome for such a fascinating day! As a Winston Churchill Fellow I had the opportunity to learn from your vast experience and in particular found your knowledge of the history of baroque trumpets inspirational as well as learning about your hugely successful SIMA trumpet.
Following my time in New York I spent 3 weeks teaching and researching music in Venezuela on "El Sistema" and have now returned to Britain with invaluable experience and insight in to music making and music teaching from other parts of the world. Thank you for all your positive support and I look forward to staying in touch.
Jerry Clack, UK


This years’ Trumpet Festival at Western Carolina University was the seventh and last one to be held there. Going forward, this event will become known as the Southeastern Trumpet Festival and will take place at various universities in the Southeast. The Festival next year will be in Alabama and the following year in Kentucky. Due to Jerome’s schedule being booked, I had the privilege of representing him and Callet Trumpets this year. This was my first experience as his representative and it was all positive. One thing that made this such a good experience was having the SIMA there for players to test. As I thought Jerome would do, I tried to limit all the technical mumbo-jumbo and just get people to play it. Of course, the results varied as one might expect. The weaker players weren’t sure what the difference was but the more experienced players definitely did. Different comments were made by various players but the most common observations were about ease of play, responsiveness, and intonation.
A couple of really interesting things happened in the exhibitor room I was in (I’m going to withhold names for the sake of confidentiality). One of the best players I heard all weekend, truly a phenomenal player, finally picked up the SIMA to try. I decided it would be in poor taste to tell him he sounded better on my SIMA than on his own very good horn. As it happened, another player in the room told him just that. In fact, he was playing several different horns and sounded best on the SIMA. I received an e-mail from him in the following days and he remarked that he had liked the SIMA very much and wished he had played it more.
Another exhibitor, representing a well-known professional line of trumpets, started coming over to try the SIMA. I noticed he would play the SIMA and then go back over to his own area and try one of his models. He did this several times, each time trying to see which one of his models would match the SIMA. He finally found one that was the best match but still, in my opinion, was not quite there. Of course, he was in no position to comment but I could tell the wheels were spinning.
Finally, I should say a word about the Superchops 2 mouthpieces. As one might expect, many players came in with their own mouthpieces in their pocket. Often, this was something along the lines of a Bach 1 ½ C. I sold several Superchops 2 mouthpieces as the result of their trying it on the SIMA. In some cases, the player would look at the SC 2 and comment that they couldn’t play that but then, when they actually tried it, they found that they could not only play it but it sounded great and was easier to play. These kinds of experiences, with the SIMA and SC 2, made this festival so enjoyable for me. I would welcome the opportunity to do it all over again.
Ken Barnes


*Special message from Jerry for COMEBACK PLAYERS*
A comeback player is presented with the perfect opportunity to do it right. Harness your renewed enthusiasm to the increase in perspective that comes with added maturity and there is no reason you cannot quickly regain and actually surpass your previous abilities. Now is the perfect time to do it right!
Remember the two old axioms, “Blow harder”, and “Blow more air”? Well, these two rules were always wrong. If you are now ready to do things correctly, remember this: NEVER forcefully BLOW air into your horn! All that does is break down the new embouchure you are working to build up. If you feel like you are blowing forcefully then stop and start again.
Good sound, along with range, power, and endurance, comes from a small amount of air firmly compressed in the mouth BEFORE it hits your lips. Here is the only proper way to project air into a brass instrument:
You must “spit-buzz” the air into your mouthpiece. Set both lips together with the bottom lip slightly inside and under your top lip. Curl the front of your tongue over moderately and place the tip of your tongue against the top of your raised bottom lip. Next, moderately increase the pressure of your tongue against the bottom lip until the top of your tongue curves up and contacts the lower inside of your top lip. From this position, spit a firm puff of air into the mouthpiece. The action is much like trying to spit a hair or small seed off the top of your tongue. Make this spit buzz firm enough so that your imaginary hair goes a long way! Practice this exercise away from your horn too. Ten minutes of spit buzzing per day will improve your performance far more than hours a day of “blowing more air” into your horn. As a comeback player, it’s about getting better. Use your time wisely.
After every spit buzz carefully check to make certain you NEVER remove the tip of your tongue from your bottom lip. The tip must always stay forward in full contact with your lower lip. In order to make room for your forward tongue, keep your teeth well separated in all registers.
Follow the above rules religiously and you will lay the proper foundation for a powerful embouchure, one that will allow you to play any repertoire of your choosing – orchestra, church, big band, community band, etc.
Here is another valuable tip: use only a small diameter mouthpiece. You want one with a brilliant, centered sound so you can carefully control the pitch. Once your spit buzz is working effectively then pitch guides the next steps of your development.
For those of you who wish to maximize your comeback efforts, I offer ½ hour telephone lessons for $30.00. From the convenience of your own home, you can learn to play in the manner of the finest pros. For nearly 50 years, I’ve taught brass students from ages 12 to 90 the secrets to mastering this wonderful instrument. As a comeback player, now is the time to do it right!
Please feel free to call me. Let me know that you are a comeback player and I’ll give you your first telephone lesson free of charge. It will be my pleasure to help you.
*Text editing: Kyle Schmeer


"I especially enjoyed this show. The atmosphere was very positive. And, I’m getting more secure all the time as I represent the product. Plus, I learn so much with each show. " – Kyle Schmeer
Jerry with long time friend, Frank Kaderabek


I finally made it home to the UK. I had an amazing trip that started with your lesson, then Herb Smith and then 3 weeks teaching in poor areas in Venezuela.
However, during this time I put the hours in on private study and watched your DVD. It wasn't always easy bu, zz you said, after 3 weeks the superchops method began to feel natural. 4 weeks after my lesson with you I now feel at home using your method and will never go back to a Bach 1C or large bore trumpet. I am playing everything on the SIMA trumpet and in Venezuela received many compliments on how beautiful my tone was on this fantastic trumpet.
Thank you for all your hard work and dedication to the trumpet and for a life changing and inspirational day with you.
Jerry Clack, UK


Please keep visiting:
http://www.callettrumpets.com/feedback.htm for new
endorsements from the SIMA players.


When Jerry sent the Superchops 3 mouthpiece to me I was really skeptical about it because I had a good thing going with the Superchops 2 and everyone in the orchestra was happy with my sound on the SC2 and the SIMA horn. The week I got the SC3 I decided to just play it in the rehearsal the next day and see if anyone noticed, or if I noticed a big difference. We were playing Mahler 6. Well we noticed a difference alright. To my surprise my sound was bigger and more centered. But the biggest surprise was low notes. My low notes were bigger, louder and more center than with the bigger throated SC2. I couldn't believe it. The other guys in the section didn't know that I changed mouthpieces, and they still don't know. They just thought I was playing better, and louder on the low notes. And being third trumpet in a major symphony orchestra, low notes are my business.
Herb Smith
Third Trumpet Rochester Philharmonic Orchestra
Trumpet Instructor, Eastman School of Music


Just wanted to let you know that the SC3 mouthpiece is working out wonderfully. I'm very excited about it, and will be ordering a SIMA trumpet as soon as the dust clears after Tax Day.
I've heard that there is a Super Chops flugel mouthpiece. I'd like to order one. I play an old French Besson that requires a French/Couesnon taper/shank. Could you make one, or do you have one in stock?
Mark Prather, CA


The SC3 plays incredibly well. But with which mouthpiece do I have to play on my flugelhorn? Do you have the same size as the Superchops for flugelhorn? For me it’s important that I play the same size on trumpet and flugelhorn because I have to switch both instruments many times during one performance.
Jos Loffens, Belgium

We have Superchops 2 mouthpieces for flugelhorn and cornet in stock. SC2 has exact same cup and rim as SC3. Only difference is the throat size (SC2: #27 drill, SC3: #29 drill) which does not effect much on flugelhorn and cornet playing. Please contact me for more information.


First of all I want to thank you for such a fantastic, insightful, and inspiring lesson on Friday afternoon. The amount of improvement I have experienced in such a short amount of time is truly remarkable. As Alex Holton told me over the phone - once I started working with you, my range and endurance issues would be a chapter in my life that I could finally close. Of course I am nowhere near where I eventually want to be as a player, but I know that your method is what will get me there. Already my range, sound, and endurance have all dramatically changed for the better!
I had a very demanding weekend of Easter services and I felt stronger than I have ever felt in my life. Your physical concepts as well as musical/sound concepts proved invaluable and it really paid off. I received two phone calls today from different music directors from gigs this weekend, telling me how much they loved my playing, and thanked me, hoping I would come back and play for them soon. I have never received so many compliments for my playing and I know the reason is this new approach to playing.
One question regarding strengthen the tongue: I know you said that this is very important - is articulating the way we worked on in my lesson the best way to strengthen in tongue? And as it gets stronger will I start to feel like it stays in between the lips?
Peter Ajemian, NY

Start playing etudes with long staccato passages. As your tongue becomes more used to it's new forward position all of your playing will improve.


I have only had about 1 hour on it and I find it very comfortable and very similar to my old Varicup 570. I have just now got to get used to using far less air with the SC3 and I should soon find a good improvement.
Alan Bray, UK


The SC3 arrived yesterday, and I just got a chance to give it a quick try. Wow! More responsive, more secure slots, a really good core but with a little ring in the sound, and some higher notes like F, F#, and G above high C seem to lock in for me instead of sounding squealy like they did for me with the SC2. I’m going to have fun with this…Thanks!
Dirk Stubbings, Canada


My Superchops 3 mouthpiece arrived about an hour after I spoke to you on the phone today. The difference was immediately apparent to me and very noticeable. So I just now placed an order for a second Superchops 3 as a backup mouthpiece. I don't want you to think that this was a duplicate order that had been placed by mistake - I definitely do want a second S-3 mouthpiece. For some reason the tone is much richer and fuller - especially in the lower register where I have been having difficulty producing a good full sound - I don't know why it should be but it is. I will be looking forward to the lesson this coming Saturday.
Tom Rodberg, OH


I have had the SIMA for a little over 6 months. Been playing the SC2 for about 1 year. The two are a good match. But, the SC3 is a great match for the SIMA. This mouthpiece with the 29 drill requires me to keep my chops and air stream more focused. The SC2 with the 27 drill gave me a little "wiggle room" to open my chops. As you know, I have been playing your horns and mouthpieces for over 10 years. This combination of SIMA with SC3 is the best yet!
Yesterday was a pretty heavy playing day. Big band with pit orchestra for patriotic pops concert. 3.5 hour rehearsal, followed by 1.5 hour show. I split the lead book in both set-ups. There is a lead line with repeated high F's that the band echoes me on the opening number. The held F at the end cut right through the band to the back of the room. My other horns put out a big round sound; where as, the SIMA with SC3 is a very focused projection. Played in this band for more than a decade, so they know my playing. At the end of the number, the lead sax just turned around and smiled. Other trumpeters from the band and audience wrote to me today to comment on how nice that sounded. It has taken me a little longer than some others to adapt to the SIMA. For me, the SC3 was the key.
Mike Wittkopp, MI


There is no place like an ITG conference to renew old friendships and make lots of new ones. The organization was outstanding, fine music was endless, and the smiles were continuous. Granted, the noise level make it difficult to audition fine trumpets. But interest in the SIMA helped generate our best week of sales ever in the following days. Players just needed a few days to let the blisters in the ears subside! The SC3 mouthpiece was a big hit as they rolled out the door. The following pictures will give you a taste of the big event and elicit some fond memories from everyone that attended.
http://www.callettrumpets.com/itg_2009.htm   - Kyle Schmeer


I purchased your SIMA trumpet, Superchops #3 mouthpiece and Master Super Chops DVD about a month ago. I believe they are the wisest purchases I have ever made. I've sold my other trumpets. I absolutely love the sound and intonation of the SIMA, and have found acclimation to the SC3 mouthpiece much easier than I thought it would be. Even though it is much smaller and shallower than the Bach 3C that I was playing, I am able to get a more beautiful, darker sound on the SC3, but with much more comfort and endurance. I've been working hard on the Superchops embouchure for about a week now, and am seeing some results and having some frustration. I believe I'm about to the point that I would most benefit from the free lesson that comes with the purchase of the DVD.
Mark Prather, CA


The clinic was very successful. Everyone got a chance to work with Jerome and hear the difference. It was extremely helpful to see and hear others go through the process.
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Canadian trumpet virtuoso, John Liddle, has just released his newest CD. Performed exclusively on his Callet SIMA trumpet, John displays astonishing technique on 8 of the most frequently requested and difficult selections from the trumpet's most advanced repertoire. Includes 3 Rafael Mendez arrangements as well "A Trumpeter's Lullaby" and more. Listen to the real SIMA sound on the opening page, also visit http://www.callettrumpets.com/sima_cd.asp for more detail.
“I have been a student of Jerome Callet for over 10 years and this CD is both a testament to his teaching method (Superchops) and his enthusiasm for the trumpet. Without his support and encouragement, I never could have finished this project.
The trumpet I exclusively use is Jerome Callet's SIMA along with his Superchops 3 mouthpiece. This is the finest trumpet in the world today. The ease of sound, constant center in all registers as well as pure power make it my horn of choice. Besides, it is just a blast to play! Thanks Jerome for everything and I hope that you like the results.”
- John Edward Liddle

Click to enjoy 'La Virgen de la Macarena (by Rafael Mendez)'