TromboneChat

Stork

I recently switched back to Doug Elliot. Same rim for my bass and tenor and a fantastic Contra mouthpiece.

I played a Stomvi Combi System 7B for years with my King 4BF...

Nowadays, more on Doug Elliott's, Bach's, and a Stork T2 wich is a great match to a Olds Super, playing loud in street parades...

The Yamaha Landgren is really nice too...

I tend to favor rounder rims... so YMMV...

Still other brands I came accross :

Benge ;
CKB (ConnKingBenge) ;
Jet-Tone ;
Titanovation ;
Ferguson...

PhilTrombone wrote: ↑Tue Jan 12, 2021 7:18 am

I'll have probably 150 mouthpiece.

You should open a Mouthpiece museum!

If I start a shop and run it for 50 years I will still have a lot of items in stick.

/Tom

Christian Lindberg!

MST STUDIO on all my American tenors, all altos and basses (and euphonium).
Klier (model Gösling) on my German tenors...

Bass trombone: Ferguson LS, Minick L. Tenor: Bach 4G with tenor shank.

Hello, I'm new here. I'm returning to trombone after a long hiatus. Presently liking a Giddings Sonny Ausman (stainlesssteel). Have a DW 5BL, a Hammond 12M and a Yamaha 51C4L and a Bach 1-1/2 to buzz on because I'm thinking of switching to or adding bass. I had a Schilke 47, 51, Bach 6-1/2A & AL, 5G and traded them in. I'm enjoying the forum, however, I'm learning that trombonists are like guitar players . So much equipment and so many choices .

I only have one bass bone. Conn 72H.
I find myself using a Marcinkowitz 1 1/2G for big band work. And a Denis Wick Heratige Edition 1AL for symphony and community band application.
Two very different sounds.

I've switched this year to DE on everything except large tenor, and on that I use mostly a Bob Reeves one off, but I do like the DE SYM series G/G8 combo a lot. Changed my vote

I would like to thank Brian Hinckley above for making me feel less guilty about my mouthpiece collection. I also want to concur with those who were discussing having several 6 1/2 AL's and 1 1/2G's that each play or sound a bit different..

I think part of the fun of having multiple same-size mouthpieces that are like separate individuals is being able to find one sometimes that can optimize a horn.. Out of a group of old 1 1/2G's one may work better with one horn and another may like a different one. Sometimes you can go through a half a dozen with a horn and one or two will be clearly better than the rest in how they work with that instrument, but still sound different from each other.

Marcinkiewicz ET4 Ulyate - finally found the perfect piece for my 3b! DE for my large bores.

Arvopart17 wrote: ↑Sun Aug 15, 2021 3:49 pm Marcinkiewicz ET4 Ulyate - finally found the perfect piece for my 3b!

Great combination!

I primarily use a Bach 1 1/4 GM or a Yamaha Doug Yeo Signature on my Bass trombone.
On my large bore tenor I use a GEWA 4G, cheap but perfect.
On my small tenor I use a Kühnl & Hoyer Bart van Lier 8E.

I still have some others, but I sold most of them as I don't like to keep things I will never use.

In 1965 I went to Burt Herrick's shop/garage in Burbank CA with my Holton 169. I explained to Burt what was lacking on the 1958 Bach Mt. Vernon 1½G I was currently playing, and he said that he had something in mind that had worked for "another bass trombonist" that was a friend of his...he called it a "modified V" or "constant taper cup".*

He pulled out a cylinder of brass, which he placed on the lathe, and I watched the complete birth of my first custom-made mouthpiece . After several fittings, playings and adjustments that afternoon ...Voila!
He said: "What would you like to name it?", and stamped my initials on the cup. I ask him what size it would be and he said: "Let's see, according to Bach...1½G...1G...0G...00G!"
So, I am the proud owner of an original 1965 Burt Herrick "double-ought" bass trombone mouthpiece, custom fit for a 1962 Holton 169 Bb/F bass trombone!

Might want to add Olds to the list and Benge

Symington 1-1/2G on bass (every time I try anything else, I come back to it)
MST Studio N and Marcinkiewicz 9B (Bob Stroup) on small tenor
Currently experimenting with various flavors of 5G on large tenor (Rath L5MD, Laskey 57MD, Marcinkiewicz ET1)

Here's my final lineup, all my designs made by Doug McVey, with just the bass piece made by Jim New:

(All pieces feature an identical 1.055" ID rim that is narrow and pretty round, except the bass piece which is the same shape but 1.065" ID)

L2 - Large bore 6.5 style cup, just a hair deeper. .307" throat, tight backbore. Heavy blank. Perfect for all around playing, especially when maximum dynamics are needed.

L1 - Large bore 6.5 style cup, .265" throat and open / linear backbore. Perfect for very long concerts, particularly lighter playing like wind band or marches.

O2 - Large bore medium cup. Shallower than a G style cup. .282" throat, open backbore. For orchestral/section playing.

A2 - Alto trombone mouthpiece with shallow cup and large "V" entrance to the throat. Feels like you're playing tenor, sounds like you're playing alto. Being able to throw air to get the altissimo notes helps endurance. Perfect for day to day work on alto, romantic works, and playing with a modern section.

A1 - Alto trombone mouthpiece with shallow cup and normal shoulder into a tight alto throat. Perfect for classical repertoire.

S1 - Shallow small tenor mouthpiece with large throat and open backbore. Also works on alto for aggressive modern solos or stolen rep. Very bright and punchy sound on my 3B, but very dark on alto.

B1 - Jim New made this one, a very deep mouthpiece with a .312" throat. Made in a "Lindberg" blank design I did in Fusion 360. Believe it or not, the Lindberg blank is perfect for playing bass in big band and a BQ. The 1.065" ID makes it easy for me to switch between even my alto and the bass. I use it to cover tuba parts in the BQ and it has a very deep but compact sound. I love it. I have a version that is identical on the inside but in a heavy blank called the B2. Projects better in large ensembles and large spaces, but the B1 has that special something -- I always reach for the B1.

Please add Henri Selmer, Paris to the list. I have 2 that I use a lot.

Cheers

Stewbones43

Ferguson (LS, Jeff Reynolds, 2A for contra/cimbasso), Minick (L, V), Sellmansberger (cimbasso)

Mine is in my signature.

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musicofnote wrote: ↑Mon Jun 24, 2024 12:18 pm Approximately 2% of the people here use a Wedge mouthpiece. But what is a Wedge mouthpiece, how does it work - from the horses mouth, Dr. Dave Harrison, a trumpet playing M.D. His anatomical explanations are very interesting.

I just spent some time on the Wedge Website (and I'll spend more). Fascinating story. I've tried a few Wedge mouthpieces, and Wedge Rims on Doug Elliott Cups. They work well - but mine are not the latest Wedge designs.

There are some wonderful comparisons here of the cup profiles of Wedge and competitive mouthpieces (Bach, Schilke, Yamaha, Wick), apparently based on very accurate laser scanning. Check them out. These profiles answer a lot of questions that continually arise on TromboneChat.

https://wedgemouthpiece.com/all-trombone-mouthpieces