Doug Elliott wrote: ↑Thu Apr 21, 2022 3:03 pm
Skeletonizing was popular back in the '70s. It was taking off all the excess metal on the outside of the cup,.
Doug,
I gather you're not a fan of skeletonizing. Any further thoughts?
Very heavy mouthpieces seem to lock you into a certain stable tone, and are difficult to change timbre with. Not a bad thing, at all. Cue salesman voiceover:
"If you've ever felt that modern instruments are sort of "one note" and boring, imagine the fun of adding a super light "kooky mouthpiece" into the mix! Projection? More like introspection! Never again be certain of what will come out the other end of your horn, and discover colors that you can actually see with your ears -- it's the all new "kooky skeleton mouthpiece", from Matel!"
harrisonreed wrote: ↑Thu Apr 21, 2022 3:38 pm
Very heavy mouthpieces seem to lock you into a certain stable tone, and are difficult to change timbre with. Not a bad thing, at all. Cue salesman voiceover:
"If you've ever felt that modern instruments are sort of "one note" and boring, imagine the fun of adding a super light "kooky mouthpiece" into the mix! Projection? More like introspection! Never again be certain of what will come out the other end of your horn, and discover colors that you can actually see with your ears -- it's the all new "kooky skeleton mouthpiece", from Matel!"
That's my feeling as well. I played a 5G for years, and then remembered the "Megatone" version was there, so I got one. It definitely was VERY stable, and definitely would pump out loud without a distorted tone.
That said, eventually I decided I wanted more flexibility, and also a slightly bigger cup.
Now I wonder if anyone has really looked at whether where the mass is concentrated in the mouthpiece changes things.
David S. - daveyboy37 from TTF
Bach 39, LT36B, 42BOF & 42T, King 2103 / 3b, Kanstul 1570CR & 1588CR, Yamaha YBL-612 RII, YBL-822G & YBL-830, Sterling 1056GHS Euphonium,
Livingston Symphony Orchestra NJ - Trombone
harrisonreed wrote: ↑Thu Apr 21, 2022 3:38 pm
Very heavy mouthpieces seem to lock you into a certain stable tone, and are difficult to change timbre with. Not a bad thing, at all. Cue salesman voiceover:
"If you've ever felt that modern instruments are sort of "one note" and boring, imagine the fun of adding a super light "kooky mouthpiece" into the mix! Projection? More like introspection! Never again be certain of what will come out the other end of your horn, and discover colors that you can actually see with your ears -- it's the all new "kooky skeleton mouthpiece", from Matel!"
Operators are standing by! And if you act now, we will include a free Remington shank! Good 'un, Harrison! Shanks for the memories!
Hmm, I noticed a parallel effect this week in rehearsal after 'clocking' the mouthpiece (no not a former tpt player...)
I've usually left the mouthpiece orientation to chance on small bore, but I found a spot that felt more open/easy to blow.) At the end of rehearsal, I felt I should try another spot next time. I wanted to get some zing back in the sound, rather than being a little too pure.
I might an idea of Bob's further into the judgement realm and say, for myself, that a lot of pro sections are leaning into the less interesting realm of the sonic spectrum.
But I like old horns, and small mouthpieces, so feel free to apply blast's early comment to me.
(Now I have reservations about replacing the valves on my 180, after finding how much easier the low range on the 611 is. Re-plating might be the better option, as they leak like crazy.)
