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Just troll around and see what works for you. Gotta try 'em all. Please report back!

So far, the best balanced, all-around piece I've used on my 191 is a Kelly 18. But, if by "soloistic" you mean something that whacks the fundamental and emphasizes the high ... well ... I don't do that with a 191. It ain't fittin'. It just ain't fittin'. It's like putting a lawn mower carbureter on a 426 hemi.

The Laskey 30G, Kellyberg, and Miraphone TU29 do pretty well too. The TU33 is if you want balls to the walls bass and have the chops to make it happen.

I tried some of the shallow-ish mouthpieces, but they just defiled the horn. Shameful it was. Purification rites were required afterwards.

I want something that provides cleaner articulation than the G&W Bayamo I'm on right now, and a less "balls to wall bass" sound . I have to do everything on a 191 right now-it's all I have to play on - not that I cant.

You could try the PT-65. Provides a clear sound for solo playing

Just troll around and see what works for you. Gotta try 'em all. Please report back!

I'd like to try all, but I live nowhere near a shop that would have any in stock; where's the closest place to deep south Texas with a wide selection of pieces?

I'd like to be of more help in regard to PT mouthpieces. I've tried at least 40 mouthpieces made by Miraphone, Yamaha, Schilke, Conn, Kelly, Faxx, Laskey, Bach, and unknown, but I haven't ventured into PT territory.

I can tell you that none of the MPs I've tried have eliminated the horn's tendency to be a little stubborn in some places; for example, in going from F below staff to 1st line G.

I just got Greg's PT42 and PT44 today. After some initial testing, I'll say they are both OK. It's too early to pronounce a definitive judgement. I'm a little inclined to favor the PT44 -- it has more spank and sparkle. But, again, they don't eliminate the horn's stubborn spots.

Here is something lame I saved for the last. The mouthpiece that comes with the Allora 186 appears to be a PT83 copy. Perhaps somebody who knows better could confirm this. Whatever it is, I've always thought the tone I get with it is a little on the lean and wimpy side.

I picked up a TU 23 and my high range extended to a C6.
BUY ONE NOW

After playing around with it some, I kinda like this PT44 on the 191. 32Hz C response is still reasonably good. The low bass might not be quite as wall to wall as some mouthpieces, but it still has meat and good harmonic content. It sits a little high in the receiver, but that doesn't seem to be an issue. I can tell by the tan lines on the shank that Greg has a genuine Euro receiver. I'd say the PT44 is worth a try.

The PT42 is OK, but not a top choice for me. As I get down into the low range, the tone isn't as crisp.

I still suggest giving the Kelly 18 and Kellyberg a try. They's cheap, and everybody needs a pink mouthpiece.

Thanks for the info on the Perantuccis!
I found a TU-33 lying around, but it didn't sound as full as the G&W Bayamo... It also started giving me a bit of a "whoofy" sound after I played an hour or so; notes came out with a little more ease than with the G&W though... hmmm....
The Mike Finn Pieces are pretty interesting ...

One quick question.

Do you also have to pull out a mile playing D2 1-2 (I know it tunes better 3). I usually hit C right on the spot, but Ds bother me on the 191.

I'm not a slide puller. I don't do it. Ain't gonna do it. If I can't tune it with my face or a different fingering, then it won't get tuned. My left hand is usually on my leg with the horn sitting on my hand.

On this horn, I set all the slides out about 1/2 to 3/4 inch, and that's where I play. Listening to recordings with me and the church band -- which includes the Aeolian-Skinner pipe organ, I'm usually pretty well in tune. I'm sure if you watch a tuning meter with me alone, the needle would probably vary quite a bit. But when there are other instruments playing, I think the little man in my subconscious tunes things up.

That TU33 is kind of a big bastard. But if you can make it work, it works good. I worked on it for a while and got it sounding good, but I decided it was more effort pumping air into the thing than I wanted to deliver. The director (a clarinet player) doesn't appreciate the work the goes into providing a big, fat sound to underpin the band, organ, big choir (with mics), a few hundred congregational singing. So he whines about some extended bass line not being legato because I have to breathe. I'd like to take him back into the organ chamber, point to the pedal pipes and air deliver system for those, then to point to the upper manual pipes, and say something like: Ok Buckwheat, now figure it out.

k001k47 wrote:I picked up a TU 23 and my high range extended to a C6.
BUY ONE NOW

I see your C6 and raise you a D15 and 1/4.
GO TU23!!!

I see your C6 and raise you a D15 and 1/4.

THAT'S UNPOSSIBEL