TubeNet

I was in a similar situation as you. I played on a Conn Helleberg for 4 years as well and just this summer switched to a Shilke Helleberg II. I wanted someone with a bit more traction in the low range as well as something that could darken things up a bit. It's working out pretty good so far.

Just my 2 cents.

Cheers,
Kory

This is a never-ending search, and I will not recommend a particular mouthpiece. But since you describe yourself as a young grasshopper, I will recommend some principles to keep you from getting tangled up in your comparisons. I think those principles will be more valuable to you than specific recommendations.

1. The sound is produced by the buzzing of the lips. The buzzing noise is filtered and amplified by the mouthpiece and tuba. The mouthpiece provides the first level of filtering--that's why a buzz through the mouthpiece sounds more like a note than free buzzing--but not much amplification. So, the mouthpiece can affect the harmonic structure going into the instrument. The effect that the tuba has on that harmonic content varies by tuba, so there is no mouthpiece that works for all players on all tubas.

2. The fit of the mouthpiece on the face determines how the embouchure muscles are isolated, and therefore, the articulation of the note. I find that differences in articulation (or response if you prefer) plays a larger role in my mouthpiece selections than the tone.

3. Know what kind of sound you want to produce. Do you want a colorful sound, by which I mean it has lots of higher harmonic content? Do you want dark, darker, darkest? If the latter, avoiding a woofy attack will be the big challenge.

4. The embouchure adapts to the mouthpiece within the context of the player's embouchure strengths and weaknesses and other constraints. That means that, eventually, just about any mouthpiece will end up sounding like you.

5. It takes a long period of time to evaluate a mouthpiece. For me, it's several months at least. After trying a mouthpiece for that period of time, I go back to my prior mouthpiece for a couple of weeks. Much of the time, I end up going back. But I have also refined my understanding of what I like about the prior mouthpiece, and that aids in the next trial.

6. Judge a mouthpiece by how you sound using it, after adaptation, not by how it feels at first. First impressions are often right, but not with mouthpieces.

7. Always get the opinions of listeners you trust when evaluating mouthpieces.

8. There are very few generalities. What few there are go like this: More volume depresses the impedance slightly, lowering the pitch tendency. A smaller throat does the same. But bigger mouthpiece with larger throats provide less resistance, and generally require more embouchure strength and endurance to control. Cup-shaped mouthpieces tend to provide more resistance and more color, but may limit depth and volume (as opposed to loudness). Thus, don't fall into the bigger-is-better trap. There is a balance between size and tone for any instrument, and bigger instruments often favor smaller or more cup-shaped mouthpieces to maintain clarity and color.

9. For every rule, there are nearly as many exceptions as there are confirmations.

10. If you expect a mouthpiece to overcome a weakness in your playing, you will be spending a LOT of money on mouthpieces, and disappointment will haunt you.

Rick "start with 10 and work backwards" Denney

tubahead wrote:May I suggest that you settle on some specific issues that need addressing that may perhaps be solved by changing your mouthpiece, before going out and actually changing your mouthpiece.

To reinforce what you are saying, it may be that problems with a particular mouthpiece are pointing to a problem of fundamentals rather than a problem of equipment. For example, if one complains that a Conn Helleberg has too sharp a rim, it might be because they are using too much pressure. That statement may mean different things coming from a self-described Grasshopper than from, say, a pro. Only a good teacher would be able to provide guidance there.

The Conn Helleberg is one of several basic mouthpieces archetypes, and it should provide good basic service in nearly any playing situation. Problems with it seem to me more likely related to the player than to the mouthpiece itself. Experienced tuba players wander away from the Helleberg after having established basic (read: considerable from the perspective of most amateurs) competence with one of the archetypes. They do so for specific reasons and with specific objectives in mind. They know the trade-offs involved.

I'm reminded of the story about the college golf coach who recounts how his incoming freshmen always express concern and ask him not to change their swing. "Son, you don't even have a swing yet." It was much later in my playing experience that I could develop any real appreciation for the differences between mouthpieces, and even then, most of it is subtle to the point of insignificance.

Rick "not picking on our Grasshopper" Denney