John Lynch Asymmetrics...

Discussion in 'Mouthpieces / Mutes / Other' started by NickD, May 12, 2005.

  1. NickD

    NickD Forte User

    I just posted this on another forum, and I am posting a copy here. I'll gladly follow up if anyone wishes.

    FWIIW, I play and endorse these (Asymmetrics) mouthpieces. I still play conventional mouthpieces, now and then (on flugelhorn and bass trumpet). On all trumpets, I use the asymmetrics exclusively. I simply use the different sizes (Lead, Opera, 3C) depending on the demands of the music at hand.

    I am fairly certain that I am the ONLY person playing these things in the Chicago area, fwiiw.

    Some folks might be scared of trying them. Some folks might be a bit in the dark as to how to use them. Some folks may feel, "forget it! Not for me!" That's all totally cool.

    However, if any of you wold like to give these a go, I'll gladly try to post some ideas about how I have adjusted to them.

    I first got mine a few years ago, a couple of days before NYE 2000. I played it and dismissed it as being completely playable but no real help (or hindrance). I could get the sound I wanted just fine, but with some very slight position adjustments. I was ready to just put it in my novelty drawer, but decided to try it on my NYE gig.

    I work with a busy party band in the Chicago area and it is extremely loud - playing lots of contemporary stuff. NYE was a 5 hour gig of brutal hard playing. Well I popped in the lead model and went to work. My sound was fine and I fit in just fine. No big impressions, right away. Again, no extra range for me, but I could play reasonably high already.

    Finally the leader called "Hot, Hot, Hot" and I am expected to spew a mess of high G's and beyond (to my taste). Again, all was fine, but nothing was impressing me until I looked at my watch and I realized that I had been playing flat out for 4.5 hours and felt totally fresh. I then took it up and out a bit on Hot Hot Hot and found that I could play as high and loud as I wanted totally at will. I then noticed that, when I backed off on ballads, I was able to make the mellow sound happen just as easily.

    I short, I found I had more endurance and flexibility than I would have normally had on a conventional mouthpiece at that point.

    FWIIW, I think it would be a worth while thing to try out.


    You can get them oline from John Lynch or at the New York Trumpet Company.

    I can post ideas about how to play them, if anyone wishes.

    Peace, all.

    Nick Drozdoff
    Nick Drozdoff
  2. FlugelFlyer

    FlugelFlyer Piano User

    Dec 15, 2003
    Palos Park, IL
    At one time I used the lead model and liked it quite a bit. Today, I don't use it anymore but I still like the concept. For whatever reason, I eventually found the lead model too bright and the 3C and Opera models too dark, and the rim on the 342 was incredibly sharp for my tastes. I think it would behoove Mr. Lynch to expand his product line, but he was definately on to something in this design. All I can say is, you'll never know unless you try.
  3. NickD

    NickD Forte User

    Good points

    Good points, Mike. I adjust to the different sizes by adjusting (VERY slighty) the position of the mouthpiece on my chops (a tiny bit lower for darker).

    The Opera model is REAL dark! I love it in my C trumpet for chamber music work. If I need to sparkle a bit more, I use the 3C model.

    The lead model is a little bright, but produces a very smooth and clear sound. Another adaptation I've made that has worked for me is with the trumpet. I now use a much darker sounding trumpet to compensate. I've gravitated towards much larger bore horns with rounder slides. This has helped a lot. When I first went over to the asymmetrics, I was using a Yamaha Z-horn - the Shew model. It was a great setup for screaming, but was just too bright for general playing. I've been much happier on the bigger horns.

    However, you can do a lot with your chops to adjust the tone.
  4. old geezer

    old geezer Pianissimo User

    Dec 26, 2004
    I was up at wwbw a couple of years ago when the mouthpiece came out. I asked to try one and the person behind the desk was very reluctant to bring one out and when I insisted he said "fine but your not going to like it". I think he slanted my thought to the product and after looking at it I didn't even try it. the more I go up there (wwbw) the less I like them, they used to be a great place but the last few years they have really turned me off [my wife refuses to go back after the way we were treated last fall]. old geezer Dave :cool:
  5. NickD

    NickD Forte User

    A few comebacks to posts...

    I'm sorry to hear WWBW has some folks who have adopted this sort of behavior towards customers. I haven't bought there for many years now. I can't believe that this sort of thing is condoned corporate wide, though. My guess is that you just caught someone on a bad day. They usually have a good rep.

    John Lynch sells these mouthpeices directly via his website and can be very accomodating. Also, NYTC sells them (I mentioned this in the original post). They have plenty of banners you can hit on this forum. Apparently these mouthpeices are quite popular in Europe. Ask Felix.

    Another post mentioned difficulty with the low register. The way I deal with that is to "bull-dog-it" a bit more on the very low register (below low C) - a bit more extreme upward pivot for low notes. This helps me a great deal. If I am going to be playing a fourth trumpet part or a second trumpet part in a brass quintet (in this very low range), I will sometimes use a compromise set, bringing the mouthpiece up a bit higher on my chops (a bit more upper lip) just for the low passages, and then I'll go back to the lower set (closer to 1/3 upper and 2/3 lower) for the normal range and higher work.

    The key to making these things work well is to adopt the slightly lower set. It took me a bit of time to get used to it, but I'm VERY glad I stuck it out. I'll never look back.

    Also, I have NO problem switching back to a conventional mouthpiece. However, since I've gotten used to the asymmetric, I find that I need a much larger conventional mouthpiece. I used to play a 1&1/4 C Bach. When I go back to a conventional I'm going to a 1C or even a Laskey 84C (both VERY big) these days.

    You see, the UPPER portion of the asymmetrics are actually at LEAST as wide as a 1C! The difference is the fat rim on the bottom (or wedge on the bottom, if you prefer). My upper lip is now very used to a much wider mouthpiece than it used to be.

    Just some more grist for the mill...

  6. Heavens2kadonka

    Heavens2kadonka Forte User

    Jun 17, 2004
    Lebanon, TN
    I have been planning on trying out an Assymetric when I had the chance.

    Our lead trumpeter plays that piece to work on her upstream playing.

  7. NYTC

    NYTC Forte User

    Nov 1, 2004
    Dave,I can send one to you to try,if you like.
    PM me,and I will take care of it.

  8. Vessehune

    Vessehune Pianissimo User

    Oct 31, 2003
    Sunnyside, WA
    Which one would you suggest a person start out on? I'm just looking for general overall playing. Not necessarily a screamer piece. I'm currently on a Bach 1 1/4 C . I was thinking of trying the opera, but I'm not sure if the 3C+544 would be better. A good recomendation from someone who has acutally used them would be great! :)
  9. Bear

    Bear Forte User

    Apr 30, 2004
    Girl lead player? Now folxs, that's damn sexy right there... GRrrrr, lol. :-P
  10. rjzeller

    rjzeller Forte User

    Mar 7, 2005
    Rochester, MN
    I dunno....a girl who screams....I can only begin to imagine the horror...

    (*The above may be taken a number of different ways, and is left intentionally vague for just that purpose...have fun suiting it to your preferences!)

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