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Author Topic: AR Resonance Mouthpieces  (Read 9625 times)
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Chris Fidler

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« Reply #100 on: Jan 09, 2018, 03:16AM »

How does it work with the Inderbinen trombone? Evil Evil



That is so not funny....... I hope you are happy Herr Guttman  Yeah, RIGHT.
« Last Edit: Jan 09, 2018, 07:22AM by Chris Fidler » Logged

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Ellrod

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« Reply #101 on: Jan 09, 2018, 09:02AM »

Whatever happened to der Inderbinen? Seriously. I recall when the Inderbinen was Jesusís own trombone. What are you on now Chris?
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ntap
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« Reply #102 on: Jan 09, 2018, 09:32AM »

Luke had sent me one of these a few months back when they were just gaining a foothold here in the US.  I really liked the piece, but felt a bit constricted in terms of how I wanted to color the sound.  Sure the mouthpiece locked me into pitch and partial easily, but I'd rather do a bit of extra work to get there if it meant I had more control over how the sound was colored.  I feel that's an integral and unique role of trombone - being able to change colors to blend with saxes and high brass.

Anyway, yesterday I was sitting next to a colleague during a rehearsal, and he had an AR similar to the one I had tried from Luke (except with a V+ cup and different backbore).  I put it in my horn for a few tunes and WOW!  All of the positives I remembered about the piece were there, but everything felt loose - the slots were looser, and I was able to more or less make the sound I wanted without being as locked in.   

I still have a few variables I'd like to change, but I was really impressed! 

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sabutin

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« Reply #103 on: Jan 09, 2018, 09:39PM »

Luke had sent me one of these a few months back when they were just gaining a foothold here in the US.  I really liked the piece, but felt a bit constricted in terms of how I wanted to color the sound.  Sure the mouthpiece locked me into pitch and partial easily, but I'd rather do a bit of extra work to get there if it meant I had more control over how the sound was colored.  I feel that's an integral and unique role of trombone - being able to change colors to blend with saxes and high brass.

Anyway, yesterday I was sitting next to a colleague during a rehearsal, and he had an AR similar to the one I had tried from Luke (except with a V+ cup and different backbore).  I put it in my horn for a few tunes and WOW!  All of the positives I remembered about the piece were there, but everything felt loose - the slots were looser, and I was able to more or less make the sound I wanted without being as locked in.   

I still have a few variables I'd like to change, but I was really impressed! 

I was "the colleague." And I have been impressed by it as well. Still on the fence about it...not quite aggressive enough in terms of brilliance of attacks...but I went back to my Minick "11C/7C on steroids" tonight (about 15 years and counting as my big band lead/solo m'pce of choice) in performance with the same band as the one to which one ntap refers above, and it was just too...unreliable...compared to the AR I've been trying.
 
Too "picky/choosy"in the registers above G4. (  )

Is there an available compromise? Do I just need to keep playing the AR until I adjust to it?

I really don't know.

Stay tuned.

S.

P.S. When ntap played it, he sounded wonderful. But he sounds great on almost everything.

P.P.S. This AR m'pce is the first one I've tried that really tempts me to pay the dues to make the switch on my .500 bore Shires lead/solo horn.

Let us pray...
« Last Edit: Jan 10, 2018, 08:02AM by sabutin » Logged

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« Reply #104 on: Jan 10, 2018, 02:05AM »

I was "the colleague." And I have been impressed by it as well. Still on the fence about it...not quite aggressive enough in terms of brilliance of attacks...but I went back to my Minick "11C/7C on steroids" tonight (about 15 years and counting as my big band lead/solo m'pce of choice) in performance with the same band as the one to which one ntap refers above, and it was just too...unreliable...compared to the AR I've been trying.
 
Too "picky/choosy"in the registers above G4. ( )

Is there an available compromise? Do I just need to keep playing the AR until I adjust to it?

I really don't know.


Stay tuned.

S.

P.S. When ntap played it, he sounded wonderful. But he sounds great on almost everything.

P.P.S. This AR m'pce is the first one I've tried that really tempts me to pay the dues to make the switch on my .500 bore Shires lead/solo horn.

Let us pray...

Sam, what rim and backbore specs are you talking about here? Iíve tried a V+ cup with the 25.4mm rim and it wasnít quite right on my .525 Edwards, and didnít really feel like a lead piece on my .508 either. Iíve got the standard cup 24.8mm rim too which I like but it lacks a bit of fullness to the sound compared to my Reeves 11c. But perhaps I just need to spend some more time on it.

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« Reply #105 on: Jan 10, 2018, 06:36AM »

The beauty of the AR design is how much the backbore change will affect the blow/sound/feel of a piece. You can make it more stable or looser depending on what you use. Now with the addition of the V+ cup we have even more possibilities and should be able to fit most players needs. For me I find that with the AR pieces I donít think that I have to compromise to gain the benefits of the piece. Itís all about finding the right match for the player and instrument. Iím always happy to answer any questions and provide my opinion. Iíve now worked with enough players trying these out that I have a good idea about what will and what wonít work for someone. All the best!
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sabutin

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« Reply #106 on: Jan 10, 2018, 09:11AM »

Sam, what rim and backbore specs are you talking about here?

25.40 60 V+ cup, 60 43 10 5 shank.

Quote
Iíve tried a V+ cup with the 25.4mm rim and it wasnít quite right on my .525 Edwards, and didnít really feel like a lead piece on my .508 either. Iíve got the standard cup 24.8mm rim too which I like but it lacks a bit of fullness to the sound compared to my Reeves 11c. But perhaps I just need to spend some more time on it.

I tried that above V+ combo on my .525 and .508 for short time also. Initial results? It felt good on the .525, not so good on he .508. Go figure.

It's all a mystery as far as I am concerned. I just keep trying stuff and keep what works.

Later...

S.


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« Reply #107 on: Jan 11, 2018, 08:35PM »

I was "the colleague." And I have been impressed by it as well. Still on the fence about it...not quite aggressive enough in terms of brilliance of attacks...but I went back to my Minick "11C/7C on steroids" tonight (about 15 years and counting as my big band lead/solo m'pce of choice) in performance with the same band as the one to which one ntap refers above, and it was just too...unreliable...compared to the AR I've been trying.
 
Too "picky/choosy"in the registers above G4. (  )

Is there an available compromise? Do I just need to keep playing the AR until I adjust to it?

I really don't know.

Stay tuned.

S.

P.S. When ntap played it, he sounded wonderful. But he sounds great on almost everything.

You're kind Sam - anytime I can sit next to you I consider myself very lucky, and think the same of you. Whether you're on your 11C, Minick, or the AR I still feel that way!

It's always a question for me: comfort vs sound and response.  They aren't mutually exclusive; sometimes the more comfortable you are, the easier you can control and adapt.  But sometimes what's comfortable doesn't give you the best sound/response.  It's such a balancing act!  I played an 11C for over a year, because I found a piece that worked so well with my horn.  Ultimately, I've moved on to a Mt Vernon 6.5A - it's very similar to the 11C I was playing, but just a tad more comfortable. 

Anyway, that AR felt good, and sounded good too!
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« Reply #108 on: Jan 12, 2018, 02:41PM »

I was really happy with a 25.4 C top with the 43 bottom until I tried the V+ with the 46 bottom. My original plan was to try the V+ on my .525 bore horn but it was too restrictive. Just for fun, I put it into my .500 horn and bam, that was it.

It seemed nearly as easy in the high register as the C but with much better sound (for my ears) and the ability color the sound, as Sam mentioned. The main thing that I need to work with now is using much less effort than before. I used to wince at intervals that landed on a high ďgĒ but now it just pops out like never before, as long as I donít wince and struggle. Being that I mainly work as a Feldenkrais teacher, my effort levels are very important and this mouthpiece is helping me find much more ease than Iíve ever felt, even though I studied music.

Luke has been very helpful as well.

My next step is to order a V+ with the 65 bottom for the .525 horn.
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sabutin

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« Reply #109 on: Jan 13, 2018, 01:17AM »

You're kind Sam - anytime I can sit next to you I consider myself very lucky, and think the same of you. Whether you're on your 11C, Minick, or the AR I still feel that way!

It's always a question for me: comfort vs sound and response.  They aren't mutually exclusive; sometimes the more comfortable you are, the easier you can control and adapt.  But sometimes what's comfortable doesn't give you the best sound/response.  It's such a balancing act!  I played an 11C for over a year, because I found a piece that worked so well with my horn.  Ultimately, I've moved on to a Mt Vernon 6.5A - it's very similar to the 11C I was playing, but just a tad more comfortable. 

Anyway, that AR felt good, and sounded good too!

Not so much "kind" as truthful, Nick. And I sound quite different...at least to my ears...on those three m'pces you mention with my .500 Shires. Different shifts and different timbres through the ranges.

About the 11C/6.5-ish thing. I have always felt that 11Cs and 6.5s...especially 6.5As and even more especially with Mt.Vernon/NY examples...are just different sizes of the same m'pce. Ditto w/12Cs and 7Cs. It's just a matter of rim size/contour and where the shifts need to happen through say 3 octaves. The 12C/7C thing is brighter and more aggressive sounding; the 11C/6.5 thing is darker and fuller sounding. Less aggressive attacks, also. More flexible as well.

Anyway...

About the AR and chops in general. You may remember that I had a spring problem last week on my .500 spit valve, but I was too busy to get it fixed so I jury rigged a piece of cardboard and some rubber bands until I could get it to Terry Pierce. I dropped it off at Terry's a couple of days ago, but since I am still in the middle of trying to figure out how to play that AR m'pce and I had a few days off, I put the AR m'pce into my .508 horn...on which I usually play a Mt. Vernon 6.5A...and practiced extensively for a couple of days. It felt...and especially sounded...not so good (Sigh...), but I soldiered on. The first day it just wasn't working, but I continued playing it the second day. After several hours I was about to give up on that m'pce/horn combination. I put it down and did some other stuff for a few hours and then I picked it up again. Surprise!!! It suddenly sounded and felt really good!!!

The soft machine figured it out.

Duh.

It felt like another m'pce!!!

On a desert island with only one horn and one m'pce? Maybe even not so good? Robinson Crusoe style? We'd figure it out eventually.

Duh twice!!!

Later...

S.
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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.
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