TromboneChat

TCE is not "a method of tonguing.". It's "a method of playing" with the tongue tip in contact with the lower lip.

I was playing that way before I studied with Reinhardt. My playing and sound improved significantly when I stopped doing that. It's a crutch.

Benges and King large shank horns typically have a receiver taper that is neither Morse nor Conn, it's in between. A normal Morse taper will go in too far and wobble exactly as you noticed, and a Conn shank won't go in far enough and will wobble the other direction. Most of the mouthpieces that came...

New to me too. It doesn't get any better than that, what a lineup of players!

Yes I am biased, for very good reasons. I have read about TCE (and all the other methods) over the years and listened to recordings of Bahb Civiletti, and sorry but I'm not impressed. I have known plenty of players (like Jerome Callet) who could play very high using that technique (and other techniq...

Please everybody - note that I specifically asked the OP to provide some recorded evidence of his success, and he has not done so. I have not yet heard anyone use that style of embouchure, that I would WANT to listen to. Including the links of the trumpet players who advocate it. I certainly don't w...

If someone has no endurance or upper register on a big mouthpiece size (or any size), they're either a different embouchure type that has no business playing that size or they're doing something seriously wrong.

I never said wider

Yes it takes a lot of time to develop (and maintain) the elasticity necessary. BUT everybody is different, both in embouchure type and lip texture, both are major factors in what works. Some players don't naturally have the lip tissue elasticity that others do. And it can vary by temperature, humidi...

It's a slightly heavier cup, marked to distinguish it from previous ones. If I changed the design, it has a star - cups from F and deeper. I didn't feel like the shallower cups would benefit so they didn't change. I sometimes make small design changes if it makes an improvement in how my mouthpieces...

3. Stop trying the notes that don't work and spend more time on the ones just above them. 4. The mouthpiece is too small for you. Move to one that does allow those notes without shifting. 5. But keep working on it, eventually you may be able to downsize and then you may be able to play those notes w...

Please check the actual wording in the book.
I don't think it says to go as far as you can and then shift.
I think I remember it says to not shift, period.
But I don't have a copy handy to check.

Did anybody here actually study with him?

Perhaps you can post some videos or recordings of yourself playing that way.

I would bet that's not an actual Aida stand.

Yes, exactly.
Welcome back.

My XT 102, G, G8 would give you close to the same sound but with less air and a lot easier to play.
And yes, I ship to Spain.

Firm the area below the corners. On me that's pretty far back from the canine teeth. But everybody's mouth is different. Most people tend to put the tension too far forward. Except the ones who put it too far back. I like putting it down from where the corners are in resting position - not smiling o...

Make a list of the playing characteristics of each. NOT the physical characteristics, just all about how they play.

Absolutely. I follow a very careful setting procedure that keeps me totally consistent. This is what I do and teach: Wet the lips. Form the embouchure as if already playing, with the lips touching. Place the mouthpiece, with playing pressure (or more). Breathe through the corners while keeping theou...

This is a genre all its own, in case you've never heard it:
https://youtu.be/2c1icWxXrms

"united house of prayer shout bands "

Wycliffe's got nothing on some of these guys you never heard of.

I was going to mention that "other" French rim but I can't remember which one of my instruments has it. I always thought that flattened rim was what was called "French."

You gave it away with the name of the file. But that was my guess anyway.

I use an ultrasonic. The only possible problem is if there is defective plating like a bubble or blister where it's not adhering, it will make the defect more obvious. But I think it's completely safe otherwise.

If you clean regularly, ultrasonic would be unnecessary.

I know what works in my designs but I don't get into modifying others.

You're right, I don't know you or your background. I was replying to what you wrote, not who you are. Your original post with the phrases "killer pedal tones" and "aggressive, loud, edgy, sustained pedals" reminded me of entirely too many mostly college age bass trombonists who think the most import...

So many people point to George Roberts as a model. I can't even imagine him ever being "loud, edgy, and in your face." And the same goes for virtually every other great bass trombonist. In my experience it's mostly immature kids who think they need to USE that extra 5%. It's OK to have it, but don't...

Ease with which you can play "anything"... except loud. That's a big compromise.

Make them sound like an extension of the rest of your range, not something completely foreign. I have heard players with "killer pedal tones" and it sounds stupid when it's out of balance with what you sound like above. Burgerbob's advice 5 posts above this, and basbasun's next post, will help get y...

Given the things you've said, I'm not sure what you like about it except the rim.
And it's probably easy to go to from a small bore.

What mouthpiece is it?

It's impossible to recommend anything with absolutely no knowledge of your playing.

I obviously don't know your playing or your embouchure, that was just a guess based on "great high range and sub par low range." I suppose it could also be the opposite, too big for you. Or something you're doing or not doing. Not enough information here.

The chances are your mouthpiece is too small for you. That limits middle and low range volume, and makes you have to shift for low notes. Does that sound familiar?
What are you using?

Wrap the mouthpiece loosely in aluminum foil and put it in a mixture of very hot water and baking soda. The aluminum foil will turn black as the oxidation is transferred through electrolosis off of the silver and onto the aluminum. This works for anything silver. You may have to do it a few times. T...

I have 3 trips to Florida coming up for gigs, and I'm wondering if any of them might get cancelled at the last minute. So far nothing here has been cancelled but I'm not doing that much locally, maybe it's affecting others more.

Every time you polish it you are removing silver. Especially if you use toothpaste, which is more abrasive than it needs to be for silver polishing purposes. Keep it clean and use a silver polishing cloth if you must. Polishing too many times will eat through to brass and you don't want to do that.

Somebody probably did pretty well for writing 4 bars.

I have some 1 inch hex brass stock, far more than I will ever use. If anybody wants a small piece to work with, let me know.

I'll trade you a mouthpiece for a horn!

Wondering how "Bob's your uncle" translates to different languages...

A tiny bit of Locktite (blue) can also be a solution for loose threads.

Bill was capable of playing very loud - I heard him demonstrate that at a clinic in response to a question - but he chose to play soft with perfect control because it was more possible to sound the way he wanted and have endurance at the same time.

Larger diameter threads, so yes.

They are very similar but not the same. SYM is a hair smaller interface.

Pretend it's an early version of a trombone.

More open, bigger sound, more potential volume without getting too bright or out of control. But still easy to play as my stuff always is.

Bass blank, bass threads, overall a little bigger.

Developed in recent months for Aaron Lavere. He primarily uses a 103, H, H10 I'm using it myself right now (SYM mN104, G, G9), what little I play my .547, but I'm totally comfortable playing gigs on it even with no practice on that horn. The SYM series is intended for the 103 to 106 range of rim siz...

Lots of things can affect that, making a horn feel bigger or smaller than similar size horns. Different parts of the horn have tapers or other sizes that are choices the designer and manufacturer make. The leadpipe, slide crook size and shape (single radius or dual radius, or assymetrical), neckpipe...

The safest bet, especially for a new player, is to use a smooth legato D for everything. In time you can discover that some intervals don't need any tongue because of the natural break. But it takes a while to learn what works on the horn and what works best for you. I generally don't tongue for the...

You mean ST 95 and AA?

If you know other players with Shires horns, see if she can try their tuning slides. And other eadpipes.

Or just get used to it. Anybody who plays different brands and sizes has to learn the adjustments.

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