Welcome, Guest. Please login or register.

Login with username, password and session length

 
Advanced search

1087340 Posts in 72018 Topics- by 19243 Members - Latest Member: CABurton159
Jump to:  
Pages: [1] 2 3  All   Go Down
Print
Author Topic: AR Resonance Mouthpieces  (Read 4725 times)
0 Members and 1 Guest are viewing this topic.
lmalewic
*
Offline Offline

Location: Chicago
Joined: Feb 13, 2008
Posts: 242
"Resonance"


View Profile WWW
« on: Jul 16, 2017, 05:12PM »

Hello fellow trombonists,
I recently began working with Antonio Rapacciuolo of AR Mouthpieces and I am excited to announce that we have come out with something special for small-bore trombones. Antonio does have a full range of classical, and bass trombone mouthpieces also that are fantastic. If you would like more information on the pieces check out www.arresonance.com, and  https://www.facebook.com/arresonancesrl/. There are already 40-50 of them floating around the midwest for trumpet and now the same is happening for trombones. Antonio has a very unique two-piece mouthpiece system which allows you to tailor the piece to play the way you are used to rather than having to adjust to the blow of the piece. From my few weeks of playing on my piece I have noticed improvements in intonation, articulation and sound that I was not getting before. If you would like more information please send me an email, I do not get to check this forum too often. Please email me at     

l m a l e w i c   AT
g m a i l   DOT
c o m   

Here are some pictures.

https://www.dropbox.com/s/skl3eoynanbgm58/_DSC0023.jpg?dl=0

https://www.dropbox.com/s/gft9g9r396ia5fh/_DSC0016.jpg?dl=0

https://www.dropbox.com/s/obtmp1coy3g81dc/_DSC0008.jpg?dl=0
Logged

Chicago Freelance Jazz Trombonist
www.LukeMalewicz.com
growlerbox
Just a clown with an axe

*
Offline Offline

Location: Wellington, New Zealand
Joined: Feb 1, 2012
Posts: 988

View Profile
« Reply #1 on: Jul 17, 2017, 03:07PM »

They definitely look the shiznit, and appear to be priced accordingly.  I guess the competition with Monette extends beyond the name.

The website doesn't yet have too many details regarding the trombone mouthpieces; what sort of sizes are being offered in the small bore range?
Logged

If it's not worth doing, it's not worth doing well.
lmalewic
*
Offline Offline

Location: Chicago
Joined: Feb 13, 2008
Posts: 242
"Resonance"


View Profile WWW
« Reply #2 on: Jul 18, 2017, 08:05AM »

As far as sizes we are currently making a full range of small and large shank pieces. Here are the various rim sizes available for each....

Small shank:
26.0mm
25.7mm
25.4mm
25.1mm
24.8mm
24.5mm

Symphonic:
XL   27.2mm
VL   26.8mm
L   26.4mm
ML   26.0mm
M   25.6mm
MS   25.2mm
S   24.8mm

Bass Trombone:
BL   28.4mm
BM   28.0mm
BS   27.6mm

Get in touch with Antonio Rapacciuolo (via facebook) or myself via email (check original post) if you have any specific questions.
Logged

Chicago Freelance Jazz Trombonist
www.LukeMalewicz.com
heinz gries

*
Offline Offline

Location: heidelberg/germany
Joined: Mar 15, 2004
Posts: 629

View Profile
« Reply #3 on: Jul 19, 2017, 07:11AM »

which cup deep, throat and backbore size are avaiable for the small shank version?
Logged

T.Mittag custom alto
Helmut Voigt alto with modified 36 Bach slide and brassark copper leadpipe
Conn 34H alto in D
Courtois alto
Bach LT6,gold plated,with Hoelle copper tuningslide.
Getzen Super deluxe silver plated and copper rim bell
Getzen 3508
lmalewic
*
Offline Offline

Location: Chicago
Joined: Feb 13, 2008
Posts: 242
"Resonance"


View Profile WWW
« Reply #4 on: Jul 19, 2017, 09:31AM »

All of the small shank pieces have the same cup which is a C cup but not too shallow, and slightly V-Shaped. The throat is 6mm. We will be trying out different throat sizes eventually but for now there is no need for it. I've currently had 4 guys in Chicago come out to my place and they all left with a mouthpiece so the design is working great. There are 5 different backbores that we narrowed down from 9. You would need to try 3 of them to get a sense of which one fits your playing the best but we can probably do a good estimate by talking to you.

If you have more questions please email me at  L M A L E W I C at G M A I L dot C O M
Logged

Chicago Freelance Jazz Trombonist
www.LukeMalewicz.com
RJMason
*
Offline Offline

Location:
Joined: Sep 19, 2012
Posts: 82

View Profile
« Reply #5 on: Aug 24, 2017, 11:21AM »

Hey Forum,

I wanted to offer a review of the AR mouthpiece I just purchased from Luke. He mailed it to me two weeks ago with three different backbones (shanks) to try. I was previously using a hammond 13M since 2010. Another great mouthpiece.

My cup and rim size are similar to the Bach 6.5 size. This mouthpiece gave me a lot more core in the sound. Everything felt more stable and consistent. I tend to play vintage horns or tinker with parts because I like unique characteristics in my horns, but was looking for a component that could give me a uniformity in sound and an ease of playing across all registers without adjusting my face too much, and this piece has done it.

It also isn't as unforgiving as a Monette piece is...I enjoyed a Prana piece briefly but in live situations where I was pushing and playing incredibly loud it would back up on me and punish me for playing it differently than the "Dave Monette approach". This piece encourages good habits without punishing you for bad ones. It feels comfortable on the lips and has a nice weight to it. Heavier than my old Hammond but I like the stability that provides.

Luke also sent me three different screw on backbore shanks to try. Labeled 40, 43, and 46. They definitely make a difference in how the overtones sound--40 makes them sound closer together and very punchy, and 46 the overtones are spread out and broaden up the sound, 43 was right in the middle. There are also different resistances levels. Mine is one of the most open.

It may sound confusing but Luke is a pro trombonist with a lot of knowledge of musical situations and gear, so if you describe which horns you play on, which size and type mouthpiece you currently play, and the styles of music you want to use this piece on, he will steer you in the right direction.

Out of the backbores he sent I picked the 46--I like a broader tone especially on my .500 horns since I play pretty loud and punchy already.

The mouthpiece is also satin silver and looks beautiful! For the first time ever on a show, an audience member pointed to me and yelled "I want your mouthpiece!!" Haha. So if you're looking for a statement piece this can be it.

I'm hoping to try the Symphonic pieces at some point since I feel these mouthpieces can provide the attributes Symphonic players strive for in their approach.

Feel free to ask me any other questions I'll keep you posted!

-Ray
Logged

Lawler .500 Bore
Conn 6H with Butler Carbon Fiber Slide
Bach LT36BG
NY Bach Model 30
B.A.C. Custom King 3BF w/ Williams rotor
Conn 72H
Olds Flugabone
The Sheriff
*
Offline Offline

Location: Chicago
Joined: Sep 10, 2006
Posts: 878

View Profile
« Reply #6 on: Sep 16, 2017, 12:45PM »

=====

I bought one from Luke today. In my 53 years as a trombonist it is the first mouthpiece that I have ever played that jumped out and grabbed me. For me, mouthpieces have always been a compromise. Compromise is not a word I would use to describe this AR Resonance piece.

It makes me sound like a better version of me. Wow. Mine is the small shank standard weight 24.8 mm, 6mm throat, 43 backbore, and a 10.5 shank. The shank number refers to how thin or thick the shank is. The 10.5 is quite thin, though there is a thinner one that Luke decided I should not even try because it wouldn't make a difference. I agreed, because it was so thin that you'd have to be extremely careful when inserting and removing the piece.

Anyway, this hep Italian cat that goes by the name of Antonio Rapacciuolo knows what he's doing! Ya dig?

-------
« Last Edit: Sep 17, 2017, 06:15AM by The Sheriff » Logged

Scott Bentall-Freelance
No pressure=No sound=No gigs
---------------------------------------------
Lawler .500 bore
Kanstul 1606 (prototype)
Williams 6 (Bob)
1935 Williams "L" Arrowhead
Conn 71H
sabutin

*
Offline Offline

Location: NYC
Joined: Sep 26, 2005
Posts: 5423
"A professional freelance NYC lower brass player."


View Profile WWW
« Reply #7 on: Sep 16, 2017, 01:24PM »

OK.I give up. How do I get ahold of one in NYC? Anybody? Do they ship on approval?

S.
Logged

Visit <http://samburtis.com/>. Lots of information on that site in the form of articles plus a link to my method book "Time, Balance & Connections-A Universal Theory Of Brass Relativity" which includes several chapters of the book.
ntap
*
Offline Offline

Location: New York, NY
Joined: Aug 14, 2007
Posts: 978

View Profile
« Reply #8 on: Sep 16, 2017, 01:33PM »

Sam, I  have one. I'll text you.
Logged

griffinben

*
Offline Offline

Location: The Wilds of the Northeast
Joined: Jan 28, 2003
Posts: 2537

View Profile
« Reply #9 on: Oct 18, 2017, 07:15AM »

I purchased one of these about two weeks ago, a 25.1/60 with a 60/43/10.5 backbore.  Luke sent me out a few to try, four tops and two backbores.  The tops had inner rim diameters of 24.8mm, 25.1mm, 25.4mm, and 25.7mm.  The other backbore had a slightly longer throat (which I assume is cylindrical section) named a 60/40/10.5.

I gravitated toward the 25.1 and 24.8 tops.  My lips touch the sides/bottom of the 25.4 and 25.7, which didn't work too well for me.  I have a Bach Corp. 11C with a 6 1/2 rim threaded on and I don't bottom out on that one.  Your mileage may vary (They're making me up a 25.4 with a C+ cup now).  My lips tend to protrude a bit farther into the cup on larger rim sizes. 

Overall impression: this is a very stable mouthpiece with punch and power.  Bright, crisp sound.  In recordings I'm surprised at how much cleaner this mouthpiece sounds than most others I'm using.  I'm using it as a lead/commercial and Dixieland piece.  It feels a lot like a Greg Black 11C that I have, but punchier and more flexible.  I can move easier between low and high registers.  The rim profile reminds me of a Greg Black Bonilla model.  It works best for me on a .500 and smaller horn.  I've used it on my dual bore .500/.508 but that leaves me wanting a little more room to fatten the tone in middle and low registers.  Again, YMMV.  (I'm looking forward to trying out a 25.4 with C+ cup on this horn.) 

While I have dozens (hundreds?) of mouthpieces at home, this is on the short list of ones that I use regularly.  As a dedicated lead piece this fits the bill with the sound of a small mouthpiece that links with trumpets (11C/12C) while giving me a little more room to move around into the middle and low register without compromising the sound on top.  It was a close call, but I opted for the 25.1 over the 24.8 for that reason.  I'd definitely look at the 24.8 as a killer 11C mouthpiece with even more support up top.  I might pick one up later to have as an option. 

Luke was very easy to work with, I would put it on a short list of things to try if you are looking for a lead piece.

Ben
Logged
sabutin

*
Offline Offline

Location: NYC
Joined: Sep 26, 2005
Posts: 5423
"A professional freelance NYC lower brass player."


View Profile WWW
« Reply #10 on: Oct 18, 2017, 09:17AM »

I purchased one of these about two weeks ago, a 25.1/60 with a 60/43/10.5 backbore.  Luke sent me out a few to try, four tops and two backbores.  The tops had inner rim diameters of 24.8mm, 25.1mm, 25.4mm, and 25.7mm.  The other backbore had a slightly longer throat (which I assume is cylindrical section) named a 60/40/10.5.

I gravitated toward the 25.1 and 24.8 tops.  My lips touch the sides/bottom of the 25.4 and 25.7, which didn't work too well for me.  I have a Bach Corp. 11C with a 6 1/2 rim threaded on and I don't bottom out on that one.  Your mileage may vary (They're making me up a 25.4 with a C+ cup now).  My lips tend to protrude a bit farther into the cup on larger rim sizes. 

Overall impression: this is a very stable mouthpiece with punch and power.  Bright, crisp sound.  In recordings I'm surprised at how much cleaner this mouthpiece sounds than most others I'm using.  I'm using it as a lead/commercial and Dixieland piece.  It feels a lot like a Greg Black 11C that I have, but punchier and more flexible.  I can move easier between low and high registers.  The rim profile reminds me of a Greg Black Bonilla model.  It works best for me on a .500 and smaller horn.  I've used it on my dual bore .500/.508 but that leaves me wanting a little more room to fatten the tone in middle and low registers.  Again, YMMV.  (I'm looking forward to trying out a 25.4 with C+ cup on this horn.) 

While I have dozens (hundreds?) of mouthpieces at home, this is on the short list of ones that I use regularly.  As a dedicated lead piece this fits the bill with the sound of a small mouthpiece that links with trumpets (11C/12C) while giving me a little more room to move around into the middle and low register without compromising the sound on top.  It was a close call, but I opted for the 25.1 over the 24.8 for that reason.  I'd definitely look at the 24.8 as a killer 11C mouthpiece with even more support up top.  I might pick one up later to have as an option. 

Luke was very easy to work with, I would put it on a short list of things to try if you are looking for a lead piece.

Ben

Ben...

I just got one in the mail. (Not familiar w/the nomenclature yet...2540 60 m'pce and I gravitated to the more open of two shanks ...60 43 10 5, whatever that means.) I only spent about 10 minutes on it so far...I don't want to confuse my chops too much before the Kyle Saulnier concert in Boston Sunday. (I'm playing the lead book and...as you know...it's a bear!!!) However, I succumbed early this morning after a good warm up. On first blow, I agree with everything that you said. The rim feels a little larger and "thinner"...maybe just more rounded...than a 6.5, the cup is a little shallower and more "cuppy" than the ones on my good Mt. Vernon 6.5A and the Minick I got from you (They're actually quite similar cups, those two m/pces.) and...surprisingly...the throat looks exactly like a 6.5AL and the backbore and taper match my 6.5A almost exactly. I say "surprisingly" because it doesn't play or sound anything like a 6.5-ish piece. A very even blow right on up through the 8th partial to the 12th. Dunno about it timbrally yet...gotta take into an ensemble in a good room to be sure...but it seems to be a bit brighter than my Minick on the .500 horn. Less room to color...loud or soft, it sounds much the same. Dunno about forceful attacks yet, either. We'll see.

But initial reaction?

A damned good design.

Later...

S.

P.S. Luke? Ben? Whomever? Where can I find a chart regarding the available sizes of cups, rims and shanks? What do the numbers mean?
Logged

Visit <http://samburtis.com/>. Lots of information on that site in the form of articles plus a link to my method book "Time, Balance & Connections-A Universal Theory Of Brass Relativity" which includes several chapters of the book.
Blackthorne

*
Offline Offline

Location: Omaha, NE
Joined: Dec 19, 2012
Posts: 103

View Profile
« Reply #11 on: Oct 20, 2017, 08:22AM »

Hey Forum,

I wanted to offer a review of the AR mouthpiece I just purchased from Luke. He mailed it to me two weeks ago with three different backbones (shanks) to try. I was previously using a hammond 13M since 2010. Another great mouthpiece.

My cup and rim size are similar to the Bach 6.5 size. This mouthpiece gave me a lot more core in the sound. Everything felt more stable and consistent. I tend to play vintage horns or tinker with parts because I like unique characteristics in my horns, but was looking for a component that could give me a uniformity in sound and an ease of playing across all registers without adjusting my face too much, and this piece has done it.

It also isn't as unforgiving as a Monette piece is...I enjoyed a Prana piece briefly but in live situations where I was pushing and playing incredibly loud it would back up on me and punish me for playing it differently than the "Dave Monette approach". This piece encourages good habits without punishing you for bad ones. It feels comfortable on the lips and has a nice weight to it. Heavier than my old Hammond but I like the stability that provides.

Luke also sent me three different screw on backbore shanks to try. Labeled 40, 43, and 46. They definitely make a difference in how the overtones sound--40 makes them sound closer together and very punchy, and 46 the overtones are spread out and broaden up the sound, 43 was right in the middle. There are also different resistances levels. Mine is one of the most open.

It may sound confusing but Luke is a pro trombonist with a lot of knowledge of musical situations and gear, so if you describe which horns you play on, which size and type mouthpiece you currently play, and the styles of music you want to use this piece on, he will steer you in the right direction.

Out of the backbores he sent I picked the 46--I like a broader tone especially on my .500 horns since I play pretty loud and punchy already.

The mouthpiece is also satin silver and looks beautiful! For the first time ever on a show, an audience member pointed to me and yelled "I want your mouthpiece!!" Haha. So if you're looking for a statement piece this can be it.

I'm hoping to try the Symphonic pieces at some point since I feel these mouthpieces can provide the attributes Symphonic players strive for in their approach.

Feel free to ask me any other questions I'll keep you posted!

-Ray

It's nice to hear a comparison to Monette here, since I like their mouthpieces.  Maybe this would work even better for me.  Certainly something to consider.
Logged

Getzen 3047AFR / Monette TT4L STC
King 607F (silver) with .508 slide / Monette TS11 S1
King Cleveland 606 / Besson 7C
Olds Super / Schilke 42B
King Cleveland 625 baritone/Schilke 51D
The Sheriff
*
Offline Offline

Location: Chicago
Joined: Sep 10, 2006
Posts: 878

View Profile
« Reply #12 on: Oct 21, 2017, 07:03AM »

I purchased one of these about two weeks ago, a 25.1/60 with a 60/43/10.5 backbore.  Luke sent me out a few to try, four tops and two backbores.  The tops had inner rim diameters of 24.8mm, 25.1mm, 25.4mm, and 25.7mm.  The other backbore had a slightly longer throat (which I assume is cylindrical section) named a 60/40/10.5.

I gravitated toward the 25.1 and 24.8 tops.  My lips touch the sides/bottom of the 25.4 and 25.7, which didn't work too well for me.  I have a Bach Corp. 11C with a 6 1/2 rim threaded on and I don't bottom out on that one.  Your mileage may vary (They're making me up a 25.4 with a C+ cup now).  My lips tend to protrude a bit farther into the cup on larger rim sizes. 

Overall impression: this is a very stable mouthpiece with punch and power.  Bright, crisp sound.  In recordings I'm surprised at how much cleaner this mouthpiece sounds than most others I'm using.  I'm using it as a lead/commercial and Dixieland piece.  It feels a lot like a Greg Black 11C that I have, but punchier and more flexible.  I can move easier between low and high registers.  The rim profile reminds me of a Greg Black Bonilla model.  It works best for me on a .500 and smaller horn.  I've used it on my dual bore .500/.508 but that leaves me wanting a little more room to fatten the tone in middle and low registers.  Again, YMMV.  (I'm looking forward to trying out a 25.4 with C+ cup on this horn.) 

While I have dozens (hundreds?) of mouthpieces at home, this is on the short list of ones that I use regularly.  As a dedicated lead piece this fits the bill with the sound of a small mouthpiece that links with trumpets (11C/12C) while giving me a little more room to move around into the middle and low register without compromising the sound on top.  It was a close call, but I opted for the 25.1 over the 24.8 for that reason.  I'd definitely look at the 24.8 as a killer 11C mouthpiece with even more support up top.  I might pick one up later to have as an option. 

Luke was very easy to work with, I would put it on a short list of things to try if you are looking for a lead piece.

Ben

Ben, your impressions are virtually the same as mine. I'm probably going to pick up a 25.1mm cup to have as an option to my current 24.8mm. The 60 throat (6mm)(.236") is standard, I believe, throughout the small shank designs. The middle number, 40, 43, or 46, has to do with how far down, or the length of the throat is, (I think). The last number, 10.5 refers to how thin the shank is. There are thinner and thicker versions but I'm not sure which direction those numbers go as it pertains to the thickness of the shank. It's my understanding that the 43 throat/backbore and 10.5 shank are the most popular.

Perhaps Luke will chime in to bring some clarity to all of this.

Sam, this piece has made everything easier for me. What ever is in my head seems to come out a whole lot easier than any of my other pieces. So much so, that I only use the AR.
Logged

Scott Bentall-Freelance
No pressure=No sound=No gigs
---------------------------------------------
Lawler .500 bore
Kanstul 1606 (prototype)
Williams 6 (Bob)
1935 Williams "L" Arrowhead
Conn 71H
BGuttman
Mad Chemist

*
*
Offline Offline

Location: Londonderry, NH, USA
Joined: Dec 12, 2000
Posts: 51144
"Almost Professional"


View Profile
« Reply #13 on: Oct 21, 2017, 08:48AM »

For those interested, Antonio has enrolled as a member so you can send him messages.  I hope he chimes in soon.  I'm also interested in what is coming.
Logged

Bruce Guttman
Solo Trombone, Hollis Town Band
Merrimack Valley Philharmonic Orch. President 2017-2018
wgwbassbone
*
Offline Offline

Location: West Hartford, CT
Joined: Jan 19, 2007
Posts: 1846

View Profile
« Reply #14 on: Oct 21, 2017, 10:33AM »

Anyone played the bass bone pieces?
Logged

Holton TR 180 MV 1 and 1/2G
AR Resonance
*
Offline Offline

Location:
Joined: Oct 19, 2017
Posts: 9

View Profile
« Reply #15 on: Oct 21, 2017, 10:40AM »

Hello guys, nice to meet you all!
First time here, quick story about me: I'm an Air Traffic Controller in Italy (Breslmair is a former ATCo too, in Austria, strange coincidence!), I've been playing trumpet professionally for many years as a second job, collected a few hundreds trumpets, countless mouthpieces, immensely in love with brass instruments and curious by nature.
Long story short, I needed a mouthpiece that performed as I wanted, I couldn't have any maker do what I wanted, I bought a CNC lathe, I learnt by myself, I made a few prototypes, people loved them, I sold some, I bought another lathe, sold more, another lathe...
Next Tuesday I'll receive my 5th one, a HUGE one, finally my life will be a little easier, hopefully. :)

I also own and run the www.italiantrumpetforum.it, the biggest trumpet community in Italy, I'm sorry this forum is having connectivity issues, I know what it means. BIG kudos to the guy/guys who own and run it, it's not an easy task.

Back to the topic: first of all thanks to all of the guys who are writing such nice reviews, sales are important but happy customers are even more important!
I'm very glad Sam Burtis is playing one of my pieces, I remember talking about his videos about Vocal Overtones a few years back in my forum!

Here's a quick explanation of all the weird numbers:
60 is the throat, 6.0mm (European, sorry!)
There are 60 and 65 options for small shank mouthpieces but 95% of the customers use 60 as it's a bit of a standard and because you can have a wide array of feelings just by changing the rest of the backbore, most won't need the 65 option.
40-43-46 express how long the cylindrical part of the throat is (40 being the longest), this impacts how stable harmonics will be, how hard it will be to "lip bend" a note, how easy it is to center it, how hard you have to work to make a high note speak, how clean the articulation is, how difficult an harmonic slur is and, in part, how far apart the harmonics are.
The final number says how "open" the backbore is (bigger number=thinner wall at the end): this GREATLY impacts the back pressure feeling, the harmonic spread, the brightness of the sound, the articulation and other "minor" things.

I also have a Symphonic trombone and Bass trombone series, more in the next message.

I'll be more specific once I'm back home, wife calls, it's Saturday night here, I've made some 50 mouthpieces today, fingers hurt, nails are black and chipped, I need a shower and some food!

(Luke, THANKS A LOT! You are doing a great job, most of my sales are happening because of you!)
Logged
lmalewic
*
Offline Offline

Location: Chicago
Joined: Feb 13, 2008
Posts: 242
"Resonance"


View Profile WWW
« Reply #16 on: Oct 21, 2017, 12:26PM »

Anyone played the bass bone pieces?

Not many bass trombone pieces yet in the US. I’ll have more of the pieces in about a week for a few interested guys to check out and hopefully they can post impressions and review on here about them. Stay tuned.
« Last Edit: Oct 22, 2017, 04:46AM by lmalewic » Logged

Chicago Freelance Jazz Trombonist
www.LukeMalewicz.com
AR Resonance
*
Offline Offline

Location:
Joined: Oct 19, 2017
Posts: 9

View Profile
« Reply #17 on: Oct 21, 2017, 12:49PM »

Not in the US but several in Europe and Australia, both for Symphonic and Big Band.
I'm proceeding with baby steps simply because trombone mouthpieces are relatively new and I'm struggling to make trumpet ones at the moment. My hope is that with the new lathe I will automate most of the steps freeing time to spend on trombone.

Here's a paper I've written with Luke regarding small shank mouthpieces, it's not in its final form but should give a rough idea of what to expect:

Resonance Trombone Mouthpieces
Small Shank Models

Rim Contour – The rim is slightly flat, a bit like a small shank Bach 3.

Cup – All the tops have a C style cup with a tendency to a V that is matched with a rather edgy entrance to the throat. This helps with stability and articulation. They work well in many jazz and commercial settings.

Throat – Each piece has a “60” designation meaning that it has a 6mm throat size. Throughout the testing phase this size has worked the best and you can adjust the overall performance of the piece with a different backbore. If you are used to playing small pieces with a larger throat a “65” or 6.5mm option is available.

Tops – Each top is named after its rim diameter in millimeters.
26.00 – Comparable to a Bach 4 size
25.70 – Comparable to a Bach 5 size.
25.40 – Comparable to a Bach 6.5 size.
25.10 – Comparable to a Bach 6.75 size.
24.80 – Comparable to a Bach 7 size.
24.50 – Comparable to a Bach 12 size.

Backbores – Below are the three of our most popular backbores.

60 40 10.5 – Close overtone spacing. Works well for players that use more compression.

60 43 10.5 – Middle of the road. Works the best for most players and is the backbore we usually suggest trying first.

60 46 10.5 – Widest overtone spacing. Works well for players that use open air and players looking for a more classical feel from the piece.

Other less popular sizes are 60 40 11, 60 43 11 and 60 46 11. These have a thinner shank than their counterparts so they offer a bigger/brighter sound with less slotting allowing the player to manipulate the pitch more. They are better suited for players who need to have more control over the instrument but they also require more precision by the performer. They are available upon request.
The remaining 3 sizes are 60 40 10, 60 43 10 and 60 46 10, noticeably tighter in feel with a much darker sound, specific for those who need a lot of air resistance. They also offer quite a compressed harmonic series.


What, I hope, sets my mouthpieces apart from most brands is the possibility to match any cup and rim to the kind of feeling, intonation, sound and articulation you like choosing among 9 (or more, if really needed) kinds of backbores.
This started when I was looking for "the perfect trumpet mouthpiece" years ago. Countless experiments lead me to the conclusion that what most players actually need is not a rim or a cup but rather the back pressure feeling that they expect from "the system". The system is a combination of factors: the receiver, the bell, the bore, the player, the mouthpiece, the room and so on. Once you find the right balance rims and cups are less and less important because the embouchure tends to relax more throughout the entire range and we players need to blow less air, push less against the teeth with obvious advantages in terms of ease, tone, intonation, sound and stamina.
In fact most (99% ?) of my customers don't even ask for different rims once they find the right backbore. The same happens with trumpet mouthpieces where, on average, players tend to push a lot more.
With most other brands, instead, you have very limited options for backbores and they generally are tied to specific cups and rims, so we tend to think that rims and cups are what define a mouthpiece.

Another region of the mouthpiece that I have experimented a lot on is the curve leading to the throat, that is a very important area because has a huge impact on articulation and stability without having to mess with the actual cup diameter, depth and shape. I have scanned countless mouthpieces and almost all have a similar design in that area. I've decided to go to a different route and I think/hope this is one of the reasons why the mouthpieces feel easy and focused.

Time for another break!
See you later!
Logged
cozzagiorgi
Schnδdδrδbδnz!
*
Offline Offline

Location: Matterhorn State
Joined: Aug 8, 2007
Posts: 1319

View Profile
« Reply #18 on: Oct 21, 2017, 02:51PM »

I live in switzerland and am interested in trying out your symphonic and bass trombone mouthpieces. How can i go about trying them out?

I am curious to try them in high level english style brass bands where volume and articulation demands are particular.
Logged

I'm to bad to be a pro...
The Sheriff
*
Offline Offline

Location: Chicago
Joined: Sep 10, 2006
Posts: 878

View Profile
« Reply #19 on: Oct 21, 2017, 04:05PM »

-----

Great stuff, Antonio. Thanks for all of the information you have provided. A little light went on in my head head when you mentioned that what most players need is not a rim or a cup but rather the back pressure feeling that they expect from "the system". BINGO!! That's it, and it is what makes your mouthpiece so efficient and easy to play.

I find that playing your mouthpiece allows me to steer in a very musically satisfying direction, and I am sure the reason is because of the beautifully balanced system which allows for efficiency and ease of playing.

-----
Logged

Scott Bentall-Freelance
No pressure=No sound=No gigs
---------------------------------------------
Lawler .500 bore
Kanstul 1606 (prototype)
Williams 6 (Bob)
1935 Williams "L" Arrowhead
Conn 71H
Pages: [1] 2 3  All   Go Up
Print
Jump to: