TromboneChat

Kind of unrelated, but has anyone played a copy of a mouthpiece that was, well, an actual copy?

I’ve had a few reputable mouthpiece makers copy things for me, and while most of them have turned out to be good pieces, they were all far from exact replicas.

Used the MV at work. Yup, it's the one. Easy and the best sound. I'm sure there's something better out there, but this will work for a good while

Burgerbob wrote: ↑Sat Mar 30, 2019 1:55 am A few more days at work and some Caruso later, my beater 6 1/2AL is still going strong. Solid core to the sound, Loud!! and soft, flexible, all the articulations I want. The low register issue was me being too open (habit coming from the 5) in combination with the larger throat.

This 3B just keeps getting better...

This past weekend I went to a music store to try out some horns and mouthpieces. The only mouthpiece that worked for me on the king 3b was also an 6 1/2AL. I then tried an Bach 36 with the same mouthpiece and no luck, BUT when I tried the 5G on the Bach 36 it worked perfectly. So for some, yes matching the right mouthpiece with the right horn or bore size makes a huge difference. Hope the match is still working well for you.

A friend of mine came to visit this weekend. He brought his trombone and stuff, and I decided to give a Griego Alessi 1C a whirl, a mouthpiece which I tried at the ITF on my Edwards Alessi and absoutely hated. Now on my Shires, I actually REALLY liked it. It's pretty much the same as my Greg Black NY 1 or DE setup that I use, but the rim is narrower (than the GB at least) and I really like that. That, and maybe it just fits and works with my Shires better than my Edwards, but I'm not sure of that. I've also changed a LOT as a player from two summers ago when I tried it.

Yup, still really enjoying the 6.5. I have a 5GS that also works, but paints the 3B even more into a "legit" corner for me.

My 36B worked really well with the 6.5, but the 5GS was definitely the sweet spot.

My son digs the Conn 3 on a King 3b. He also has a Yamaha 48, a 6.5al, and, a 5GS, but the Conn 3 suited him best for that horn. Not the best for the low end, but then he seldom plays down there when using the 3b. He liked the 5GS on it too. On the whole mouthpiece fitting the horn and the player subject, he actually hated the Conn 3 on a Yamaha YSL-354. He found the 48 was the best of those four for that horn for him.

Burgerbob wrote: ↑Tue Mar 19, 2019 12:58 am Hey all. I play a 3B at work. It's a great horn and does it all, but I'm still trying to find something that really jives with it. I need to be able to play from low E to high C (yes, all those notes) and have it feel good throughout a whole day...

I am playing a 1975 King 3B Silver Sonic for the B'dway pit, and considering the vast number of styles you have to play in one show, I have found that the Marcinkiewicz 8H-S is FANTASTIC!
From the pedals–through the false tones–up to high Db, everything works.
I highly recommend it...highly!

Have no fear, everyone... I found a Doug Elliot setup that does it all.

For my silversonic I use an XT 103N.C+.D3

For my 3B/F I use the same thing with a D cup.

The C+ really lights up the silversonic and gives it good color and attacks, the D gives the F attachment horn a bit more depth and takes a tiny bit of edge off.

Burgerbob wrote: ↑Sun Nov 08, 2020 1:49 pm Have no fear, everyone... I found a Doug Elliot setup that does it all.

For my silversonic I use an XT 103N.C+.D3

For my 3B/F I use the same thing with a D cup.

The C+ really lights up the silversonic and gives it good color and attacks, the D gives the F attachment horn a bit more depth and takes a tiny bit of edge off.

But that XT106N tho

harrisonreed wrote: ↑Sun Nov 08, 2020 1:52 pm

But that XT106N tho

I actually use a 104N on my 36K, but using it on the 3B it felt much worse in every way. The 103N is still easy to play but corrected all those issues.