An intriguing mouthpiece question

Discussion in 'Trumpet Discussion' started by Clarkvinmazz, Dec 1, 2013.

  1. Comeback

    Comeback Forte User

    Jun 22, 2011
    Fort Wayne, IN
    You and I are pretty much in the same camp, Clarkvinmazz. Presently I consider the mouthpiece and trumpet to be a system that must be created with care so trumpeter, mouthpiece and instrument work well together. This is especially the case with my old Super Artist. My experience with this horn suggests that its receiver was never designed for modern off-the-shelf mouthpieces with conventional tapers; it really did not play very well with these. However, when I started using vintage Blessing mouthpieces the horn really sang. I must note, however, that my newer instruments do not seem to be quite so mouthpiece sensitive. By way of example, my 2013 Eterna Classic plays pretty well for me with either a Bach or Blessing 3C, but it plays very well with a Curry 3C..

  2. motteatoj

    motteatoj Mezzo Forte User

    Feb 23, 2013
    Tuckahoe, NY
    I have just started journeying into the wonderful world of mouthpieces...
    I normally play a Yamaha 14B4, and am a recreational player only.
    I have been tinkering with the same mouthpiece but the gold plated, heavier model.

    I think I am noticing the following....
    On my Yamaha 8310Z, I dislike the heavier mouthpiece with this lighter horn. I feel like they are mismatched and although the tone is nicer on the lower end of the range, the upper end is not as bright.
    I also notice the heavier mouthpiece "locks in" slotting much tighter on all the horns I have tried it on. On the Yamaha Z, the slots are pretty tight already, and I find myself missing and slipping past/under the target slots.

    On my Committee, which the slotting is very loose, the heavier mouthpiece seems to lock them in a bit better, which I actually like, and improves tonal character.

    On the Blessing SA, the heavier mouthpiece seems to make the tone much nicer and rounder, and seems much better suited than on the Yamaha Z.

    Am I imagining this all or is that in line with what a heavier mouthpiece would do?

    The other thing i notice with the gold plating, is that less crap builds up on it while playing than on the traditional silver plating, which is nice because that buildup is annoying while playing.
    I have some super 'grit forming' saliva and i find lots of bits of saliva forming very small bits on the silver ones (its not food, etc, I always make sure my mouth is super clean before playing).
  3. motteatoj

    motteatoj Mezzo Forte User

    Feb 23, 2013
    Tuckahoe, NY
    One other thing that came to mind....
    On my Conn 80A, it came with the original MPC, and without a doubt sounds much better than my Yamaha 14B4 cornet MPC.
    So I agree that MPC, trumpet and player are indeed a system.
  4. dangeorges

    dangeorges Pianissimo User

    Oct 20, 2010
    Interesting conversation going on here...I've not ever considered the pairing of the trumpet and MPC...

    What would you all recommend for a large-bore trumpet?
  5. Comeback

    Comeback Forte User

    Jun 22, 2011
    Fort Wayne, IN
    This question has more to do with you as a player than the bore size of your trumpet. Some of us believe that, given a trumpet of reasonable quality, the mouthpiece is more important than the instrument; it is, after all, that critical interface between you and your trumpet. Mouthpiece physical characteristics such as gap, shank taper, drill size, and others can make a lot of difference. This link might be helpful: Getzen Gazette » Blog Archive » Dimensional Characteristics of the Trumpet Mouthpieces. There are lots of other resources on the web too.

  6. Clarkvinmazz

    Clarkvinmazz Forte User

    May 11, 2013
    Oberlin, Ohio
    As said above, it's a matter of preference. However, I believe the general path of thinking is a large bore trumpet will work better with a slightly smaller backbore/mouthpiece, while a smaller bore trumpet will agree more with a larger one. I guess to balance it out, one might say. Personally, I agree, but again it's all a matter of finding the right fit for you. Just my two cents.
  7. Igotsoul4u

    Igotsoul4u New Friend

    Nov 15, 2013
    Princeton, NJ
    I use one mouthpiece for Bflat, C, and Eb. My go to is a GR 66xxx. I also have a bobby shew lead for jazz/pop/latin gigs with lots of high notes. I also use a different mouthpiece for pic. Overall I try to stay away from mouthpiece insanity.
  8. trickg

    trickg Utimate User

    Oct 26, 2003
    It's an intriguing question. To me it makes sense that certain horn/mouthpiece combinations work better than using the same mouthpiece with every horn. Personally I wouldn't know - I don't tend to ever have more than a single Bb trumpet I'm using at any given time, and I tailor the mouthpiece to the task - I have a mouthpiece that works well for the party band, and a mouthpiece I use if the playing is legit in nature.

    I see it as kind of a comparison to snare drums. I know, this is a trumpet forum and not a drum forum, but I think that there are certain comparisons that can be drawn. I have several snare drums, and each drum has it's own character based on the material - metal vs wood, various types of metal and wood, and various differences in bearing edge and snare bed design. I have found that there is no single brand of head, or even type of head, that works well with all of my drums. For example, my main maple snare likes an Aquarian single ply texture coated batter, but my Pearl Bronze Sensitone Elite doesn't really care for that head - it seems to sound best with a Remo coated Ambassador single ply. My aluminum Ludwig Acrolite prefers Evans G1s, although I have used the Aquarian texture coated on that one too.

    Fundamentally those heads are all supposed to be "the same" - they are all single ply coated heads, and supposedly all roughly the same thickness, so why the difference? Well, there are minor things that come into play. Each has their own proprietary methods for coating, each likely has slightly different mylar film, and there are definitely differences with how the mylar is attached to the hoop, and it's those combintations that either work well, or in some cases don't work well, with my various snare drums.

    Bringing that back to trumpets and mouthpieces, every horn maker has slightly different ideas out leadpipe receivers and venturies, and each mouthpiece maker has slightly different ideas about shank leghts, tapers, backbore shapes and mouthpiece mass, and all of those factors play a part in how a mouthpiece responds with a horn. Or at least that's how I see it anyway.
  9. Sturmbill

    Sturmbill Pianissimo User

    Feb 11, 2004
    Hammond 5 Series in various flavors for trumpet (Bb and C, jazz, symphony and quintet), flugel and cornet...
  10. VetPsychWars

    VetPsychWars Fortissimo User

    Nov 8, 2006
    Greenfield WI
    When I discovered that, for me, the recently-discontinued Giardinelli 10C worked stunningly well on the Model 228 Lightweight 400, I cautiously tried it with other Buescher horns I own. Given an adjustment period, from the tight Model 240 Custom Built to the wide-open Model 217 Lightweight 400, this piece has a certain something that nothing I had tried before did for the horns... including the Buescher pieces they came with and a GR I was fitted to (that ended up too big).

    So my answer is a cautions yes, but no, but yes. I can make adjustments to make this piece work on my wide variety of Buescher horns (not sure yet about the Conn 12-B or Holton 48) and I am so happy I tripped over it.


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