Monette Mouthpieces? Best place to start?

Discussion in 'Mouthpieces / Mutes / Other' started by bobmiller1969, Oct 27, 2018.

  1. TrentAustin

    TrentAustin Fortissimo User

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    KC MO

    Call us anytime as we can either help you towards improving your experience with a stock piece or whip you up something custom as well!

    Regards,

    T
     
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  2. rowuk

    rowuk Moderator Staff Member

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    Actually, gold plated rims feel bigger. I believe this is because the gold is softer, gets microscratches that hold moisture.

    All respect to Trent that has built a great business up from scratch. I still feel that every serious brass player needs to try the Monette mouthpieces for an extended period. There is simply too much to learn and pitch center is not a gimmick. I have no commercial interests.
     
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  3. chiefgearhead

    chiefgearhead Pianissimo User

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    Santa Cruz Mountains, CA
    I switched to a Monette mouthpiece about a year in to my return to the trumpet. I’d been playing a Schilke 14A on my soprano bugle and tried several different “vintage” mouthpieces that were in my trumpet case, a couple different Benges (3c, 5c, CG) and even a Dennis Wick and Bach mouthpiece.

    After taking a lesson from a friend and very talented trumpet player who has played Monette mouthpieces for years I called BJ at Monette, told him about my ability level and goals, and at his suggestion ordered a B6S1 Classic Resonance. My lead trumpet player in the big band said he noticed an overall improvement in my playing immediately, and after playing my Monette ordered a lead piece for himself.

    That was about a year ago and I’ve happily settled in to my equipment. With my new Adams F2 flugelhorn I’m playing a Monette 375 Prana.

    It’s hard for me to imagine something more subjective than a mouthpiece, and there’s no real way to test drive a Monette. I’m also under no illusions that they’re the only solution out there, but I love mine.

    -tj
     
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  4. Bflatman

    Bflatman Forte User

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    Manchester, England
    I am of the opinion that we should not routinely change mouthpiece, it is of course ok to use more than one but to play a mouthpiece for just a short while and move on to another in an attempt to discover the very best mouthpiece is a folly.

    I know this is neither your intention nor your desire, I simply say it to put the expense on a quality mouthpiece in perspective.

    The mouthpiece is where we generate the tone that the instrument then modifies. As such in my opinion it is as important as the instrument itself, and yet we are happy to spend 1000 or 2000 or 3000 dollars or more on an instrument and yet we baulk at spending more than 100 dollars on a mouthpiece.

    A bad mouthpiece inhibits us from developing a good tone, an instrument no matter how much we spend on it is incapable of repairing the damage that a crappy mouthpiece does to our tone.

    A bad mouthpiece will not linger in our music cases for long, a great mouthpiece will outlive an instrument.

    Dont be scared of spending big on a mouthpiece if it solves your tone issues and improves your play.

    We seek perfection and to reject a mouthpiece simply on cost grounds may force us to throw the baby out with the bathwater.
     
  5. bobmiller1969

    bobmiller1969 Pianissimo User

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    Thank you all for your great advice and feedback. I am indeed trying to avoid the sometimes unavoidable mouthpiece safari, but at the same time, I'm a firm believer that the same mouthpiece doesn't necessarily work for every horn. I feel like I'm really close to getting each of my horns situated with a setup that works well for each of them, and I'm at the fine tuning stage.

    The horn that has been giving me the most trouble is the Martin. After a lot of thinking it's not the horn or the mouthpiece, I've pretty much narrowed it down to being a sympathetic vibration from a loose brace somewhere on the horn, so my next move is getting that straightened out.
     

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