I'm going to be spending some time this week answering the questions that pilled up within last couple of months. Thanks for commenting and I will try to get back to as many of those questions as possible.
hello. I recently changed my tenorhorn, and it came with a 6 1/2 al E. this mouthpiece feels very uncomfortable, and I can't get the high notes as I used to do on my other mouthpiece. the other mouthpiece is a no-name, but it is a few mm smaller. what do you suggest?
@Matonizz oval shaped german tenorhorn. i now got a bruno tilz bar. 214-B 1 mouthpiece. i can say it suits me. the high notes are perfect, easy to hit, and the tone is full. thanks you!
I got a 12C mouthpiece small shank and use an adapter for my large shank euphonium. A couple years back I had a student baritone (Jupiter) and just kept using the 12C (not Bach) which I think is a Jupiter size also. My question is whether using the adapter with a small shank mouthpiece limiting the air flow through my Yamaha YEP 621? Or does it matter? My community band on occasion plays Second Suite in F and next time we play it, I really want to hit that solo part with a solid performance.
I use a wick size one,but struggle for anything above high Ab above the staff and my sound is too diffuse and thin above the staff and too dark and overpowering below the staff is it worth an upgrade to a size 3?
I found the right size r remember the week after I posted this. It was that the rim and walls were too thick. I got a 00AL heritage and it works beautifully.
Out of all of the chinese stencil horns, which do you recommend? I have been interested in the Mack brass, jp274, and the wessex dolce. How does the wessex dolce compared to the mack brass or schiller or any other jinbao horn?
Haoting Huang I'm not him and I've only played the Dolce, but compared to the school Yamaha 321 I had been using it's great. The finish is not durable, though - I've only had mine since July, and the gold accenting is flaking off and the silver plating is turning dark where my left hand rests near the 4th valve. The threadings on the valve caps are awful, but as long as you be patient for the first few months and don't force them too hard they smooth themselves out. The mouthpiece it comes with looks like and plays like shit. I got a DW SM3.5 to replace it and Denis Wick valve oil and everything's going great. The B4 (bass clef, high B with ledger lines) seems especially hard for me to hit, and I usually go too high or low no matter which valves I'm pressing, but I can play up to the double Eb consistently. Tuning just below the staff is iffy, but the low 4th valve notes are good, and pedal tones sound very satisfying. One last thing is that the second tuning slide's spit valve is almost useless - don't be lazy, just take the whole slide out and dump it lol
Hey Matonizz, I'm a sophomore in highschool and unfortunately my highschool doesn't have any professional euphoniums, so I'm looking into buying one next year, but I want it to be a euphonium that can do great as a soloist instrument, but still work well in symphonic setting, a besson prestige is way too much out of my price point, do you think a Jupiter xo would be good?
There are new options coming every single year so when you're about to buy the instrument, ask me then and I'll give you what I believe are the best options for your price range. That being said, XO would be one of the horns I would recommend
Wessex Dolce's working fine for me. I'm a senior rn, and I've played in Illinois' All-State band with it. Pulled my weight just as well as the rich kids next to me with their Prestiges and whatever the fancier Yamaha horns are called. The finish with my gold and silver choice looked cool at first but it's now flaking and discoloring and I've only had it 8 months. The horn plays well and that's the important part - just make sure you buy your own, larger mouthpiece, cuz the one that comes with it looks and plays like a joke
@@Turt3752 Yeah I agree the horn plays well but the finish is awful. I've been more careful than ever and there are microscratches everywhere and couple real scratches. I'm not complaining too much though because less than 2k is a good price
I switched to a Schilke 51D mouthpiece this year (on the first day of my marching band camp, so that was fun...), and it's a bit sketchy for me. Before, I had used the standard beginner 6 1/2 AL mouthpiece. I play both Euphonium and Trombone, and I'm not the best on Trombone. My range on trombone with the 51D is worse than my range of the euphonium with the same mouthpiece. The main reason I had switched to the 51D in the first place was so I could get used to a more professional-esque mouthpiece. The issue with the mouthpiece that myself and some others have, is that the upper registers become harder to play, due to the cup size and shape. For you, I don't think this would be much of an issue, considering the gold-rimmed mouthpiece (5G) you show first has an extremely similar shape to the 51D, but I'll let you try it for yourself.
Patrick V. I'm a doubler too, and I'm a senior nominated for All-State on jazz bone and band euph. I still use Bach mouthpieces for trombone, large (4G) and small bore (6 1/2 AL). It seems like they give a punchier, more edged tone, and I like that. For euph, I use a Denis Wick SM3.5, which I think corresponds with a Bach 4G and is a little bit smaller than a 51D. Really nice open, round sound to me. I've noticed that I totally mess up when I use the same mouthpiece for my different instruments. I used to use a small-shank Bach 5GS for my school Y 321 euph and my small bone, and I played really badly on my trombone since I was used to playing euph more. Once I made the mouthpieces different for each, the difference in feel on my mouth really helped me telegraph to myself that I needed to switch gears on how to play. This is also true between trombone sizes; I used to play a 6 1/2 AL on both and my large bore playing was awful and shrill because I was trying to play it like the peashooter I play for jazz band. So in general, I'd say get a different mouthpiece per instrument. Your issue may not be the mouthpiece size, but just your body and mind trying to play both instruments with the same technique since the mouthpiece feels the same.
Patrick V. | I just switched to a Schilke 51D for concert euphonium because a staff recommended it to me. Personally, I like it because it resonates better than my previous mouthpiece. It does have some resistance in the mouthpiece, but I’ve gotten used to that by now.
![ประสบการณ์ จ้าง Developer ที่ผมจะไม่มีวันลืม [ภาค1]](http://i.ytimg.com/vi/bzivN4KDg-k/mqdefault.jpg)
I'm going to be spending some time this week answering the questions that pilled up within last couple of months. Thanks for commenting and I will try to get back to as many of those questions as possible.
You seem sad, I'm sorry for whatever happend
Like the doug elliot setup 1.02 inch is 25.9 mm; so feels smaller than the ‘regular’ 26 mm !!
Thanks for this vid 😊
I use a Giddings DJNV mouthpiece on euphonium and a Griego CS5 on trombone
hello. I recently changed my tenorhorn, and it came with a 6 1/2 al E. this mouthpiece feels very uncomfortable, and I can't get the high notes as I used to do on my other mouthpiece. the other mouthpiece is a no-name, but it is a few mm smaller. what do you suggest?
when you say tenorhorn, do you mean an actual British style tenorhorn or German tenorhorn/baritone?
@Matonizz oval shaped german tenorhorn. i now got a bruno tilz bar. 214-B 1 mouthpiece. i can say it suits me. the high notes are perfect, easy to hit, and the tone is full. thanks you!
I got a 12C mouthpiece small shank and use an adapter for my large shank euphonium. A couple years back I had a student baritone (Jupiter) and just kept using the 12C (not Bach) which I think is a Jupiter size also. My question is whether using the adapter with a small shank mouthpiece limiting the air flow through my Yamaha YEP 621? Or does it matter?
My community band on occasion plays Second Suite in F and next time we play it, I really want to hit that solo part with a solid performance.
Do you believe that boosters/bach megatone mouthpieces do anything? They seem pretty intriguing.
Gives a damp sound. Gimmick.
Tha e tha e, lawmawm e, Beautiful
Is there any mouth piece recommendations to help with high register playing?
I use a wick size one,but struggle for anything above high Ab above the staff and my sound is too diffuse and thin above the staff and too dark and overpowering below the staff is it worth an upgrade to a size 3?
Size one is almost a tuba mouthpiece! Yes it is worth the upgrade to a 3
I found the right size r remember the week after I posted this. It was that the rim and walls were too thick. I got a 00AL heritage and it works beautifully.
What do you play?
I play euphonium mostly. Although I double on tuba.
Vintagegamer If you don’t play bass bone definitely switch to a smaller cup like a 4 or 5
Out of all of the chinese stencil horns, which do you recommend? I have been interested in the Mack brass, jp274, and the wessex dolce. How does the wessex dolce compared to the mack brass or schiller or any other jinbao horn?
Haoting Huang I'm not him and I've only played the Dolce, but compared to the school Yamaha 321 I had been using it's great.
The finish is not durable, though - I've only had mine since July, and the gold accenting is flaking off and the silver plating is turning dark where my left hand rests near the 4th valve. The threadings on the valve caps are awful, but as long as you be patient for the first few months and don't force them too hard they smooth themselves out.
The mouthpiece it comes with looks like and plays like shit. I got a DW SM3.5 to replace it and Denis Wick valve oil and everything's going great.
The B4 (bass clef, high B with ledger lines) seems especially hard for me to hit, and I usually go too high or low no matter which valves I'm pressing, but I can play up to the double Eb consistently. Tuning just below the staff is iffy, but the low 4th valve notes are good, and pedal tones sound very satisfying.
One last thing is that the second tuning slide's spit valve is almost useless - don't be lazy, just take the whole slide out and dump it lol
Hey Matonizz, I'm a sophomore in highschool and unfortunately my highschool doesn't have any professional euphoniums, so I'm looking into buying one next year, but I want it to be a euphonium that can do great as a soloist instrument, but still work well in symphonic setting, a besson prestige is way too much out of my price point, do you think a Jupiter xo would be good?
There are new options coming every single year so when you're about to buy the instrument, ask me then and I'll give you what I believe are the best options for your price range. That being said, XO would be one of the horns I would recommend
Fuentes I highly recommend the jp274
Wessex Dolce's working fine for me.
I'm a senior rn, and I've played in Illinois' All-State band with it. Pulled my weight just as well as the rich kids next to me with their Prestiges and whatever the fancier Yamaha horns are called. The finish with my gold and silver choice looked cool at first but it's now flaking and discoloring and I've only had it 8 months. The horn plays well and that's the important part - just make sure you buy your own, larger mouthpiece, cuz the one that comes with it looks and plays like a joke
I prefer the Yamaha custom 842s over a Besson Prestige
@@Turt3752 Yeah I agree the horn plays well but the finish is awful. I've been more careful than ever and there are microscratches everywhere and couple real scratches. I'm not complaining too much though because less than 2k is a good price
I switched to a Schilke 51D mouthpiece this year (on the first day of my marching band camp, so that was fun...), and it's a bit sketchy for me. Before, I had used the standard beginner 6 1/2 AL mouthpiece. I play both Euphonium and Trombone, and I'm not the best on Trombone. My range on trombone with the 51D is worse than my range of the euphonium with the same mouthpiece. The main reason I had switched to the 51D in the first place was so I could get used to a more professional-esque mouthpiece. The issue with the mouthpiece that myself and some others have, is that the upper registers become harder to play, due to the cup size and shape. For you, I don't think this would be much of an issue, considering the gold-rimmed mouthpiece (5G) you show first has an extremely similar shape to the 51D, but I'll let you try it for yourself.
Patrick V. I'm a doubler too, and I'm a senior nominated for All-State on jazz bone and band euph. I still use Bach mouthpieces for trombone, large (4G) and small bore (6 1/2 AL). It seems like they give a punchier, more edged tone, and I like that.
For euph, I use a Denis Wick SM3.5, which I think corresponds with a Bach 4G and is a little bit smaller than a 51D. Really nice open, round sound to me.
I've noticed that I totally mess up when I use the same mouthpiece for my different instruments. I used to use a small-shank Bach 5GS for my school Y 321 euph and my small bone, and I played really badly on my trombone since I was used to playing euph more. Once I made the mouthpieces different for each, the difference in feel on my mouth really helped me telegraph to myself that I needed to switch gears on how to play. This is also true between trombone sizes; I used to play a 6 1/2 AL on both and my large bore playing was awful and shrill because I was trying to play it like the peashooter I play for jazz band.
So in general, I'd say get a different mouthpiece per instrument. Your issue may not be the mouthpiece size, but just your body and mind trying to play both instruments with the same technique since the mouthpiece feels the same.
Patrick V. | I just switched to a Schilke 51D for concert euphonium because a staff recommended it to me. Personally, I like it because it resonates better than my previous mouthpiece. It does have some resistance in the mouthpiece, but I’ve gotten used to that by now.