AndrewWK

Yeah, i guess it is just pissing me off. For some reason he has deamed my new nickname "cheater" then I fight back with a racial slur(like "mexico") of some kind to shut him up. then agin i am stupid for listening to him. He is one of those bach dorks that believes that if it has bach on it it is like god himself forged that perticual piece himself.

What is ironic is that he is on third and he uses a 13A4a for marching. (THAT IS WRONG).

Anywho, thanks,
AndrewWK

__________________
Jon

The key to happiness is self-delusion -Dogbert

bigaggietrumpet

Well, while I certainly see your point, and definitely am sympathetic, I do believe that you are better than resorting to a name calling contest. Just ignore the jerk, focus on your playing, and know that you are playing to the best of your ability, while he's too thick to figure out 3rd part. You'll be much happier in the end.

__________________
Michael Smith
Hullabaloo: The official band of Texas A&M Basketball
Kanstul 1537/ Schilke 14
LA Olds Studio

bigaggietrumpet

Ok, seeing as I don't feel the need to start a new thread, I'll just revive this one.

I'm thinking about going up in mouthpiece sizes. I'm pretty sure that I'd like to go to a Bach 1 1/2 C, but I don't think that would work to well for jazz settings. I'm now trying to find a good lead mp that would have the same rim diameter. I've heard mixed reviews on the Marcinkiwicz (or however you spell that) Bobby Shew models, and I've investigated a few other brands as well. Can anyone give me some advice before I go on a mouthpiece safari that I really can't afford?

__________________
Michael Smith
Hullabaloo: The official band of Texas A&M Basketball
Kanstul 1537/ Schilke 14
LA Olds Studio

trickg

Some may call me crazy on this, but I have a Schilke 14A4a that seems to be "my" lead piece. It's the narrowest, shallowest mouthpiece that I can effectively use and it has been a standby for me when it comes to playing lead type music for years.

I also have a Scotty Holbert Custom that is a great crossover piece. I lose a bit of the endurance and range if I am using it strickly as a lead piece for a three set gig, (it just takes much more air than the 14A4a, due to the backbore being larger most likely) but I find it works very well in a legit setting where I am playing in my upper register and I'm only doing a few tunes. It's a little bright, but I find that if I practice with it, the brightness can be controlled.

Sometimes it just depends on the day. For those two mouthpieces, often, if one piece just isn't working, the other one will and it seems to be arbitrary which one will work best on which day.

btw, I cannot use the 14A4a for legit at all. The sound is just too bright and brittle.

__________________
Patrick Gleason
email me at: trickg1@hotmail.com

"What we do in life echoes in eternity"
"At my signal, unleash hell."
- Maximus Decimus Meridius

Mikey

Reeves 43N rim/ ES cup/30 throat/692s backbore/5 shank

Bear

Don't wanna beat a dead horse but man... A good all around piece for any setting is a good old Bach 3C. I can use it for lead, legit, solo, chamber, quintet, or misc gigs like weddings/funerals, etc... Remember that the music comes from your soul through your mouth by way of your head and heart. Don't get caught up on a mpc safari or "best" trumpet crap. If you know what you like right now, try goin' one or two sizes bigger/smaller.

CalicchioMan

Reeves 40M (standard backbore) ..I use this for everything

Scott Wiltfang
CalicchioMan@aol.com
|\_____ --- _____
|/ (__=||||=__) Tulsa 1s/2

AndrewWK

First of all, what mp did you play on for jazz before? I have found that a 1-1/2C i good for high c's and below and a Shew is good for the higher stuff.


A Shew 1 is the smallest shew model out there and is almost unplayable and sounds thin because there is no room for the lips. I like the 1-1/2 Shew because I can get a vibrant sound in the highs and the lows that I can not on a Shew 1. With this type of mp you must learn how to use the air and not the chops. If you push at all on these mps you will not sound good because of the small diameter of the rim and that it pushes the apacher. I would suggest going over to hornhaven.com or the store in dallas and trying the Shew mps, or the GR lead mp, or the Bob reeves.

The owner recently took a trip with my private lesson teacher to the place where GR's are made so that they could become offical GR mp retailers.
There is no way you could go wrong. Hornhave is the best Place becuase they sell the brand of mps that Mr. E's do not.

Hope that helped,
AndrewWk

__________________
Jon

The key to happiness is self-delusion -Dogbert

bigaggietrumpet

I have previously been using a 3C for everything, except recently when I acquired an Olds 3, which has now become my "lead" piece. My basic problem with the 3C is that it feels kinda small, and the cup just a bit deep for lead work to me. My endurance, if I stay above the staff for hardly any length of time at all, drops significantly. And just forget about playing a full gig above High C (yeah, not the official term, whatever). True, this could be more my technique than anything, but seeing as I'm probably going to go to the 1 1/2C regardless, I was just seeing what my options were, as I don't know how easy it would be to switch between a 3C and a 1 1/2C on a daily basis (which is a possible scenario for me).

Edit: BTW Andrew, could you give me the directions to HornHaven? I may go there Thanksgiving break and see what they got.

__________________
Michael Smith
Hullabaloo: The official band of Texas A&M Basketball
Kanstul 1537/ Schilke 14
LA Olds Studio

MUSICandCHARACTER

Always best to try some if you can. Today, you don't really need to go on a mouthpiece safari. Many etailers will let you try a piece for 10 to 45 days. You are out a few buck shipping if you don't like it.

If you like the 3C and want a deeper sound, you might consider the Fokus line.

From the sales blurbs:


The SYMPHONIC model is a bit deeper cup than the LEAD and the ARTIST. It also has a #26 (3.7mm) hole size and the length of the straightaway is not 1cm like the LEAD and ARTIST but only .5cm which makes it a bit more free blowing. This model is the closest to the sound of a Bach mouthpiece but since Bach’s were designed without a straightaway, this FoKus model has more projection.

The last two FoKus models are much darker in timbre than the LEAD, ARTIST or SYMPHONIC.

The ALL AROUND has a deeper cup than the SYMPHONIC, also a #26 (3.7mm) hole and the same hole length, but the back bore is a different shape which lends itself to the darker sound, but will get some edge if played to do so.

The PRINCIPAL has a different shaped cup than the ALL AROUND. It has a #22 (3.98mm) hole and the length of the hole is only .4cm long. The back bore is very large (similar to a Schmidt). The result is that you can play very loud on this piece and it has maximum spread to the sound.


You may know that you can get the Fokus mouthpieces in 1.5, 3, 7 and 10.5 in five different genres (lead, artist, symphonic, all around, principal). This is unique and makes some sense for some people.

For example, you could get a 3 in all around or a principal if your were looking for a darker sound. Or maybe get a 1.5 in the artist or symphonic. Very interesting combinations are possible.

Lowell is a TM sponsor. I am a TM sponsor and I sell Fokus mouthpieces (we help pay the bills to keep the lights on).

Something to think about. You can always return them. As for GR, they have a nearly endless selection of pieces and a great process for helping players find an appropriate piece. Many love them. Some don't get along with them -- but that would be the advantage of playing them. They are a little more expense too.

Jim

__________________
Dr. Jim Fox
Licensed Mental Health Therapist
Mouthpiece chart: www.ibowtie.com/tmptmpccharts.html