Besides the lipless studies that you mentioned there was an article in the Instrumentalist and a study included in Dr. Nobel's book "The Psychology of cornet and trumpet playing"  They gave specifics in regards to the way that lip "tension" affects the need for air pressure. More "tension" meant more air pressure. However there were places that jumped (where the amount of air pressure increased at a much higher rate than the lip tension did.)

And all of this means?
Very little because NOBODY said to add "tension" to the lips.

The anti buzzing group is assuming that a close lip setting automatically means more tension. This is NOT true. Lips that are touching can be very relaxed. They are just touching. It is the non touching group that ends up with tension and mouthpiece pressure problems.

I've read a half a dozen non buzzers talk about how they don't buzz like they play.
And herein lies the problem. Buzzing a different embouchure than you play cancels out 90% of the benefits.  It is no wonder that you have never gotten any benefits from buzzing the "wrong way".

It is possible to buzz like you play. It is possible to sing a note, then buzz and while buzzing place the horn to your lips and produce a
great tone. While holding that tone remove the horn from your lips and still be buzzing.

Mendez did this , I saw Gordon  do this and I saw Jake do it , Stevens did it too.  My first teacher had mentioned that Clarke could do it also.
<<<
And of course as Carlton said these men had weak thin sounds
( I only wish I knew who he was comparing them to).
>>>
<<< And the other comment that they couldn't hold down a symphony chair ...
Well.....
>>>

I would like to add that I can do this as can my kids. And Rebekka is only 9. I know that there are tpin members that can also do this but they can identify themselves.

This kind of Lip buzzing only fell out of practice because it is difficult. It can take months to learn to do this. Most students would not have the patience to work on it . And most teachers would be afraid of losing students over this.

Whenever I mention lip buzzing I mean in the same way (embouchure) that you play. And the main benefit (playing with a close lip aperture setting) can be accomplished with a very small amount of buzzing.

As for mouthpiece buzzing, leadpipe buzzing,  ect those also have a place. However those are concerned mainly with airflow. It is a very important part of playing but it does not teach a close lip aperture setting. That means that mouthpiece or leadpipe buzzing is NOT a substitute for free lip buzzing.

BTW you might not want to have the same tone as a lipless machine.

'Pops'

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