Changing mouthpieces for the job.

Discussion in 'Trumpet Discussion' started by Stradbrother, Sep 9, 2015.

  1. Stradbrother

    Stradbrother Pianissimo User

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    Hello everyone.

    My professor at my university wants me to play on a different mouthpiece for playing lead jazz and solos in marching band. I've never been a fan of the idea of changing mouthpieces, especially to super shallow ones.

    I've been a 3C player for as long as I can remember. I've played lead for multiple summers in drum corps on a 3C, and I don't see why I have to switch. Shallower mouthpieces dont work with me. I cant get any tone out of them.

    What is your personal opinions when it comes with switching mouthpieces for certain styles?
     
  2. rowuk

    rowuk Moderator Staff Member

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    I think your professor is right. Just make sure that you don't need to perform on those mouthpieces for 2 or 3 months.

    The problem with players fixed on one mouthpiece is that their sound concept is too limited. They switch mouthpieces and try to get the same sound as before instead of embracing complementary tone color. Remember, the consummate trumpeter must be able to create everything from lightning bolts to earthquakes, fluffy clouds to jackhammers. Getting used to playing with color could be a great exercise before taking up the piccolo trumpet too.
     
  3. bumblebee

    bumblebee Fortissimo User

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    Interesting you say this -- although I have three or four mouthpieces I regard as "current" in reality I only use one (my B2S3 Prana) and the others only seldom. So on this one mouthpiece I think I'm able to go where I want to and sound like I think the tune needs to - and I don't feel it's overly difficult to sound warmer, or shriller, or "purer" on this. Do you think or suggest I might have a different (and possibly more rewarding) experience if I take a horses for courses or tool for the job approach and spend more time working with my #2 and #3 mouthpieces? (The other mouthpieces constantly in my case are a B2S3 standard and B2LS3 Prana.)

    --bumblebee
     
  4. feedback@stomvi-usa

    [email protected] Piano User

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    There are plenty of options out there in a 3 diameter (inside diameter) in the medium depth range. Look at a Reeves 43 M 692(s) Warburton 4M # 5 backbore or (shameless plug) Stomvi Flex 3 GVR VS.

    These are just a few of the mouthpieces available in the medium cup range. A lead piece for you probably is not a 14A4a or smaller it is in a medium cup depth that will give you a taste more edge or highs in the sound. It is the “sound” that is what your teacher is probably looking to get you to change.

    Good luck and enjoy the journey.

    Best,

    Jon
     
  5. fels

    fels Piano User

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    I am currently alternating between a Schilke 14A4A for symphonic band and quintet work and a 13A4A heavyweight for lead Jazz band. Just an experiment. Still evaluating.
     
  6. BernArt

    BernArt Pianissimo User

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    I personally find very helpful to keep the same cup inner diameter size for all my mouthpieces: for Bb trumpet and C trumpet, for Bb cornet and flugelhorn. Throats, cup depths, backbores and shanks change in order to help to produce different sound colours.... But ALWAYS keeping the same kind of rim shape and cup inner diameter size. This is only my own experience and, after talking about it with my trumpet teachers I decided to keep going in this direction. So far so good! Best regards.
    BernArt
     
  7. rowuk

    rowuk Moderator Staff Member

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    I find that one mouthpiece does not cover all bases for the variety of things that I play. I would not dream of using a Schilke XXA4A in any symphonic setting or a Bach 1C for lead in a big band. I find that my B2D/C2D Slap is great for big orchestra, but the B6 has its charm when I am playing commercial music. The picc is yet another case. My natural and baroque trumpets work best with completely different rims, cups and backbores.

    I am not suggesting anything for others other than I think that when you are in college, you need to have an especially open mind as later in life you may not have the choices. The thread owner is showing reservations that are not based on facts, rather superstition.

     
  8. larry newman

    larry newman Piano User

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    I like your explanation, especially where it concerns color of response and its relation to internal sound concept. I have a large collection of mp, and find myself changing as my musicianship changes. My previous trek towards larger mp for concert ensemble work has reversed itself of late and I'm finding the same larger tone while using a smaller diameter mp, saving the largest for special pieces needing broad low response, as when I bought a Wick Heritage 1XB for a Mahler piece.

    An interesting journey, to be sure!
     
  9. barliman2001

    barliman2001 Fortissimo User

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    Many styles can be played on the same mouthpiece - as long s the player is aware of the differences of the styles and can work the mpc accordingly. HOwever, there are limits to this concept. Keep the rim size, by all means - that is reasonable. But cup depth is something that HAS to vary. And that is what the Stomvi Mouthpiece System is for... one rim, two shanks, up to eight different cups. And I guarantee that that system will keep you playing in all styles.
    For me, it's the F cup for the picc, the E for the G picc, D for lead in Big Band, C in symphony orchestra 1st trp., B or A for symph 2nd, and the FL for jazz work on the flugel.
    Get one now. kinetic711 will agree!
     
  10. kinetic711

    kinetic711 Piano User

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    We have never met, and yet you know me so well. I do agree with barliman2001, the Stomvi Mpc System works incredible well and has taken the constant mouthpiece safari away from my life. I can simply change the cup depth, keep the same rim and shank, and change my sound, my colour. I am using this kit with 5 different trumpets and a flugelhorn, and it works beautifully with all of them. I'm surprised [email protected] didn't suggest it for you.

     
    barliman2001 likes this.

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