Lead mouthpiece?

Discussion in 'Trumpet Discussion' started by jazzmetalrocknroll, Sep 11, 2012.

  1. tobylou8

    tobylou8 Utimate User

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    I did notice Maynard mentioning the bore of the Monette at .464 and the mpc drilled to 16. That seems to be consistent with the way he tried to balance the the size of the horn with the size of the mpc. Great video!
     
  2. TrumpetMD

    TrumpetMD Fortissimo User

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    Absolutely!

    We worry about everything ... the right lip balm, the right valve oil, wet lips vs dry lips, gold vs silver plate, heavy weight vs light weight, our N+1 demons, whether we should warm up, whether the Arban Method is still relevant, whether should be get a piccolo trumpet, and as evidenced by that case filled with shiny brass objects in our basements ... which mouthpiece. :-)

    I think Ed's an imposter. :-) Or maybe Ed's on to something.

    Mike
     
  3. Local 357

    Local 357 Banned

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    the 15 - 16 throat was part of the reason he got the bigger sound than Arturo. I've tried opening up my shallow pieces I use in the upper register to 16 or so but they are useful only in the middle register. So far anyway. At present the most open scream oiece I can work w/upstairs is a 22 - 24 throat. Anything bigger loses resonance.

    I have a plan to open up my total "bent dime" one but its so rare and expensive I dare wait until can afford a duplicate first...
     
  4. EdMann

    EdMann Mezzo Forte User

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    My man, Rex Merriweather who leads a band I'm in plays larger bored mpcs almost universally, some as large as 16 to 19 and on a 3 to 5 rim, about .650-.660. Large bore horn (Wild Thing) and tons of practice, and some, um, talent. He's got a regular, reliable double C and nailed some just last night in front of a record crowd (that included Jim Gandolfini I might add... no pressure there!). He's been known to go smaller, but only for salsa gigs where he's expected to play upstairs literally all night. He gets a huge sound, but even he doesn't recommend that config. unless you can play it, and then practice on it. Check him out on Youtube. That's all large bore mpcs.

    ed
     
  5. billybix76

    billybix76 New Friend

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    Many respects to all,

    When I was playing in college and Maynard was on the road playing his Holton "factory horns:, his Mpc's were mostly either Burt Herrick customs (he always had one to fall back on) or Ratzenberger Jet-tones. In the 50's with Kenton when he played Conn 38B's he used several, Rudy Muck 17C, many customs and found his v cup..

    The commonality for most of his career was a bite-less pure v cup design with a rounded rim in the +- 16mm range with a #19 throat. I actually Have one that he used in concert and actually measured it out. ...15.99mm near top of cup/rim (being a v cup hard to pick a a spot) and #19 tapered throat.

    FWIW..

    BillyB
     
  6. Mark_Kindy

    Mark_Kindy Mezzo Forte User

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    Depends on your lips, my opinion.
    I have fatter lips, and I can (once my high range developed) nail a pretty solid high E on a 3c, consistently.
    However, I know quite a few people with thinner lips that don't protrude into the cup (protrusion can reduce the volume of the cup) so they play on smaller equipment.
    A high D is usually able to be done on a 3c, if you change mpcs, I'd make sure the rim is right for you..that's all. The c cup should do just fine with practice.
     
  7. Flugellover

    Flugellover New Friend

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    I too am a sophomore with about your same range and I play something like a 17b4 yamaha mouthpiece (whatever it is, its equivalent to a 1.25 C) I once tried using a smaller mouthpiece for pep band and didn't have nearly as much endurance as I have on a 1.25C so I would suggest using your 3C. Something that helped me build range and endurance was doing kind of a lip exercise where you stick the eraser of a pencil in your mouth (Just enough eraser so that you can hold it fairly steadily between you lips without biting it) and doing that for about a minute (or longer if you can). It seems stupid and it may not work for you, but it seemed to help me.
     
  8. gmonady

    gmonady Utimate User

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    It really does... and there will be varience on the same mouthpiece at various points in time... especially the shallow ones. When your lips are in great shape... you'r gliding on water, but if you over play and you have even the minimal swelling.... You're sunk
     
  9. Local 357

    Local 357 Banned

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    At this point in life I just don't want to work any harder that necessary and it is necessary that I work hard. I could play much of my regular gig on a Bach 3C but it would take a lot off my game. Causing me to drop stuff down the octave. Would also have to blow louder in the middle register to get enough volume. It's an R & B gig often competing w/amplified P/A, guitar and bass. So it would serve no good purpose to play a large mouthpiece with the typical sharp inner rim bite found on most all Vincent Bach pieces. And it isn't just the sharp rim and overly deep cups either. I've played some Bach screamer/shallow pieces and hated the feel. Too flat of a rim*.

    Much of my game demands the avoidance of over trained chops. This is the real problem with sharp, overly deep cupped m/pieces. It was Bill Chase who told me in person

    "I once played the whole Woody Herman big band lead chair on a Bach 1C but afterwards I was finished for a week"

    This was his response to my question that maybe I should play a deep piece even on lead parts. I was young and stupid back then of course. Now I'm just older lol...




    *Just tonight I asked my second player why he was using his Bach instead of the Shew screamer piece he normally does. Said that the Shew piece was cutting his upper lip open. All despite the shallowness.

    What was happening to him is that even with the shallow cup and rounded inner rim "bite" of the Shew piece it still has a fairly flat rim contour. Lips do not like to bent at steep angles. When the inner rim edge approaches a 90 degree turn the chops can get bent and cut even if the inner rim edge is soft.

    The reason the Al Cass pieces were/are in so much demand. All his pieces had a continuous radius from outside to the very soft "bite". very comfortable. You can play all day long on that kind of piece.
     
    Last edited: Sep 14, 2012
  10. tobylou8

    tobylou8 Utimate User

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    Don't they mike your horn??
     

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