Asymmetric Mouthpiece

[MiniSopGuy]

Now I find I like and get the best results from a Schilke 6A4a on the G bugle in terms of comfort, range, endurance, and sound.

I started playing on a 6A4a when I was in 7th grade. Played it till I was a junior in HS when I got a hold of a Giardinelli 17s set up with 3 different rims. Loved that piece and would prbably still be playing on it if it hadn't been stolen late in my senior year. I went back to the 6A4a and continued with that through college. That really ticked off my private instructors in college. They ended up hating me and I them, so I switched to French Horn. I was a Music Ed not performance major so I didn't care what I played. That actually gave me more opportunities.

Anyway, I only played FH for college stuff but still played trumpet every where else and I continued to play the 6A4a. I finally decided to try and find another 17s set up like I had. The local music store contacted Giardinelli to get a sizing chart and specifically ask them about the 17s. They ended up getting a chart and a 17s in the mail for free so I got it for $10. It wasn't the same as the old 17s. I played on it for a while but still played the 6A4a then I got a Marcinkiewicz E12.4 Ingram about 15 years ago. Nice piece. Shortly after that, I started playing a lot of orchestral and wind ensemble gigs, so I decided I would fall to the pressure of "bigger is better" and try to play a bigger mouthpiece. After so many years on the small pieces, I couldn't do it. Then came John Lynch's Asymmetric. I love the flat wide rim.

Well as I said previously it didn't work for the bugle. I looked for something that would give me a little more power and easily maintain my upper range. I tried to go back to a 6A4a but it just didnt feel right after the Lynch. I looked to the internet and found one to try. It is a Marcinkiewicz E16 Pete Candoli. The rim is the best combination of comfort and bite I have ever played on. It has slightly smaller inside diameter than a 6A4a but has a big wide rim. Now I pretty much play on that and 2 other pieces, a Stork LD10 for legit work, and a custom little piece for those occasional long dance gigs on lead.

I am always trying mouthpieces in search of the "perfect" mouthpiece and probably have 20 or so in a drawer I liked but found something better; which probably proves there is no perfect piece. I would really like to try a GR "Groovin' High 2*", but I just haven't felt like laying out the money for it. Till I do, the Candoli will be just fine.

Probably way too much info, but I just felt like sharing my mouthpiece history. Everybody's is different.

[tomgolf8]

I have all three and played the Lead for 3 years in Gulf Coast Sound. Last year, I stepped back and went to a 1 1/2 C and found I had a much more full tone in all ranges (once I retrained my bottom lip). I still like to play on the opera when doing small combo stuff. Will make a soprano sound like a Flugle, but range is very difficult.

I also agree with the stamina comments. I could play for days on the Lynch.

[Martybucs]

I started playing on a 6A4a when I was in 7th grade. Played it till I was a junior in HS when I got a hold of a Giardinelli 17s set up with 3 different rims. Loved that piece and would prbably still be playing on it if it hadn't been stolen late in my senior year. I went back to the 6A4a and continued with that through college. That really ticked off my private instructors in college. They ended up hating me and I them, so I switched to French Horn. I was a Music Ed not performance major so I didn't care what I played. That actually gave me more opportunities.

Anyway, I only played FH for college stuff but still played trumpet every where else and I continued to play the 6A4a. I finally decided to try and find another 17s set up like I had. The local music store contacted Giardinelli to get a sizing chart and specifically ask them about the 17s. They ended up getting a chart and a 17s in the mail for free so I got it for $10. It wasn't the same as the old 17s. I played on it for a while but still played the 6A4a then I got a Marcinkiewicz E12.4 Ingram about 15 years ago. Nice piece. Shortly after that, I started playing a lot of orchestral and wind ensemble gigs, so I decided I would fall to the pressure of "bigger is better" and try to play a bigger mouthpiece. After so many years on the small pieces, I couldn't do it. Then came John Lynch's Asymmetric. I love the flat wide rim.

Well as I said previously it didn't work for the bugle. I looked for something that would give me a little more power and easily maintain my upper range. I tried to go back to a 6A4a but it just didnt feel right after the Lynch. I looked to the internet and found one to try. It is a Marcinkiewicz E16 Pete Candoli. The rim is the best combination of comfort and bite I have ever played on. It has slightly smaller inside diameter than a 6A4a but has a big wide rim. Now I pretty much play on that and 2 other pieces, a Stork LD10 for legit work, and a custom little piece for those occasional long dance gigs on lead.

I am always trying mouthpieces in search of the "perfect" mouthpiece and probably have 20 or so in a drawer I liked but found something better; which probably proves there is no perfect piece. I would really like to try a GR "Groovin' High 2*", but I just haven't felt like laying out the money for it. Till I do, the Candoli will be just fine.

Probably way too much info, but I just felt like sharing my mouthpiece history. Everybody's is different.

Nah, not too much information. I think it's fun trying out mouthpieces and I've found some gems along the way that have given instant improvement, that I've kept along the way.

We seem to have some similar tendencies and I found the GR mouthpieces to be a little too open, in terms of resistance.

Alan Vizutti points out in his clinics that it's the people playing the large mouthpieces that are using the cheaters. Anyone can usually sound good on a large mouthpiece and almost every type of "legit" playing is easier on a big mouthpiece.

It's the person that learns how to sound good on a small mouthpiece that is an expert. I find it's true, playing a small mouthpiece gives you a much broader palette to color your sound. You can learn to play with a full dark sound on a small mouthpiece and then you also have the opportunity to open up and play bright and lively.

Timofei Dokshizer of the Bolshoi ballet was a virtuoso trumpet player his whole career. He played on a Bach 7E.

[Martybucs]

Just to belabor a point...

I like the Curry because it has sort of a modified double cup design. The second cup is much smaller than the Parduba or Bakur double cups, but probably more similar to the Bakur double cup.

I didn't even notice the double cup at first, that's how subtle it is. I had to call Curry, Mark I think is his first name, to confirm this. Bet he was annoyed, it's on his web site, but he was nice about it.

If you're a mouthpiece junkie or collector, like me, they're worth a look see and much cheaper than a lot of pieces. I think it was about $40.00.

Might be a nice experiment for someone that currently plays on a double cup.

Hard to type, my neglected cat insists on laying on my arms.

I had to check on the Bakur double cup. It's actually the Callet Vari Cup mpc I tried and it's based on the old Bakur. Has kind of a Schilke rim, very comfortable, but I got the raspies on it after playing high and loud. It was expensive too, but Jerome took it back no questions, well a few questions, but no hassle.

Edited February 5, 2009 by Martybucs

[MiniSopGuy]

So our visual cap was talking at rehearsal about horn carrying position and how making sure the valves are verticle, etc. etc. He made a comment saying to look at your mouthpiece, what do you see? Don't tell me that you can't rotate the horn and play it more verticle. The mouthpiece is round, it doesn't matter how you rotate your horn. The mouthpiece will still make the same contact with your chops.

Well at break I walked up to him and said "Your theory about mouthpieces doesn't hold water." He said "How so?". All I did was hold up the Assymetric. He looked like he walked into glass sliding door and was stopped dead in his tracks. He had never seen or heard of the Assymetric. The look on his face was priceless. Same reaction from our brass cap and another tech. Pretty funny.

[84BDsop]

So our visual cap was talking at rehearsal about horn carrying position and how making sure the valves are verticle, etc. etc. He made a comment saying to look at your mouthpiece, what do you see? Don't tell me that you can't rotate the horn and play it more verticle. The mouthpiece is round, it doesn't matter how you rotate your horn. The mouthpiece will still make the same contact with your chops.

Well at break I walked up to him and said "Your theory about mouthpieces doesn't hold water." He said "How so?". All I did was hold up the Assymetric. He looked like he walked into glass sliding door and was stopped dead in his tracks. He had never seen or heard of the Assymetric. The look on his face was priceless. Same reaction from our brass cap and another tech. Pretty funny.

Heh....wish that had been on film!

I would also argue the point, even on a traditional piece, because over time if nicks and imperfections develop on the piece, a differing placement of those things COULD possibly have an effect....that's why I've always set my piece so the size indicator is centered in front of me.

[idontwan2know]

Heh....wish that had been on film!

I would also argue the point, even on a traditional piece, because over time if nicks and imperfections develop on the piece, a differing placement of those things COULD possibly have an effect....that's why I've always set my piece so the size indicator is centered in front of me.

It's still round, Sam. If you need the mouthpiece in a certain position on your face, you can put it in the horn at a different position to bring the valves vertical.

[HornsUp]

I play trombone in a bigband and sit in front of Nick Drozdoff. So I can testify that the Assymetrical piece works well when he plays it.

He'll also play the Wedge, a symmetrical piece which has the rim somewhat matching the curvature of the teeth in the jaw. I tried buzzing on one, and it felt quite logical --- although my trumpet-playing days are deep history.

If you don't know of Nick Drozdoff, look him up. He has some wonderful material on the physics of brass instruments.

[84BDsop]

It's still round, Sam. If you need the mouthpiece in a certain position on your face, you can put it in the horn at a different position to bring the valves vertical.

You ever see Allen Vizzutti play "Carnivan of Venice"?? He actually rotates the horn around whileplaying a fast double-tonguing section...my GOD it's mind blowing!

[Martybucs]

I play trombone in a bigband and sit in front of Nick Drozdoff. So I can testify that the Assymetrical piece works well when he plays it.

He'll also play the Wedge, a symmetrical piece which has the rim somewhat matching the curvature of the teeth in the jaw. I tried buzzing on one, and it felt quite logical --- although my trumpet-playing days are deep history.

If you don't know of Nick Drozdoff, look him up. He has some wonderful material on the physics of brass instruments.

He's a great guy, too.

I think he could probably play on just about anything and be phenomenal.