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I switched to the idea of keeping your rim the same for all playing and just changing the cup and throat for bass or solo work versus large ensemble stuff. Works really well for me. I used to go from a 33mm diameter to a 32mm diameter for my bass tuba and I always had to adjust. Once I started using the same rim size for both a lot of issues instantly ironed themselves out for me personally. For me... switch mouthpieces... yes ... switch rim sizes ... no. A way easy way to do it is to get the baer mouthpieces ... since they use the same exact rim on both bass and contrabass model.

SHORT ANSWER

In my own "limited" tuba tootin' experiance, there are two ways of selecting a mouthpiece:

-Finding a rim shape you really like, then finding the mpc's with that rim that work well on the horn you're playing.

or

-Sticking every available mpc in your horn to get an idea of how it plays, regardless of the inner diameter/rim shape/etc, then going from there.




LONG ANSWER

I'll have to admit, the latter is probably a better way to go than the former, unless you have bit lips like myself, and play with my top lip on about %65 of the mpc, and bottom lip with the remaining %35 or so (so mpc selection is quite important to myself).

I have learned to use the mpc you can control the best. Most anyone listening (especially the guy next to your bell) would rather hear more accurate, controlled, musical playing, than 'look how loud I play' or an 'unnoficial' immature blatting contest during rehearsal. Lead by example.

Find a mpc (or horn) that you can make the most music on; for your playing needs at that particular time. It's not a destination/journey "thing", but a very slow "evolution". Is you face (chops) exactly the same as it was five/ten/etc. years ago? Is the horn you're playing the same? Is your playing situation the same? What have you learned about playing (in general) that may have influenced your playing (low register studies, buzzing, marching band, an instructor, time in the practice room, time away from the horn, etc)..?

What may have worked fine in the past, may not be the best/most profitable way to go now. I was doing set warmup for a number of years, with little overall deviation. One of the hardest things I did was to break that psychological barrier of me telling myself, "This is the only way to do things, bacause it's worked fine in the past." Once I learned to be more flexible (and get out of your comfort zone), it helped in ways I cannot describe.

You are either getting worse or better, depending on your choices as a musician; but most importantly as a person. I may not have the same drive/raw energy I did ten years ago, but a a person, I've become much more efficient with my practice time, learned to listen much more to those around me (both to their instrumental playing and advise), and developed much more control (discipline) over the general things "I just don't feel (ho hum) like doing"; on or off the horn.

Every person is different, which means every person's life/background/situation is also slightly different. Threre are almost too many variables to count, but keeping your eyes and ears open, learning from the mistakes of others; and making an effort to avoid the same pitfalls they fell into will save you so much wasted time and needless agony. As I look back I wish I had done this more, but hindsight is 20/20. Keep looking forward so you don't trip.

I change around alot during rehersals but I rarely change in a performance. I like a variety, and I like to know exactly which mouthpiece is my favorite at any given point. I also like finding the limits of my mouthpieces or the individual shortcomings. Or I just throw a monkey wrench in and go from a PT-88+ to a yamaha 67C4 with a goofy drilled out taper/throat just to see if I can manage the sound. I enjoy using strange combonations of mouthpieces just to mix it up but I generally come back to the PT-88(regular).
-TubaTom: Who is looking forward to playing with a 'blokepiece' pretty soon.

I have switched mouthpieces on everything I play. I went through a general experimentation phase when getting back into playing to determine what general characteristics matched my embouchure and came up with a moderate rim, 1.28 diameter cup.

I started out with a Wick 2 on the Besson, had problems with intonation and focus, went to a Wick 1, everything cleared up. Misplaced it, bought a new Wick 1 in the "new" "heritage" shape (even though it isn't technically called that by Mr. Wick), and got better response.

I started out with a Bach 18 on the Miraphone, which was too grainy for me (I think I got one with something wrong with the backbore), went to a Wick 1L that took too much air and probably lacked a little definition in the lowest register, and on Matt Walter's recommendation went to the Curry 128D with the rim modified by Vladimir to Mt Vernon 18 spec. The Curry functions very, very well for everything except for some high register playing, so it is supplemented on occasion to get a more solid higher range or a brighter overall tone with a PT34 (wider throat and slightly shallower cup -- same reason a lead trumpet player uses a "screamer" mouthpiece - cup geometry matches the range better, and the wider throat and backbore let me push more air when necessary). When playing a concert or gig with varied repertoire, I do keep both on the music stand, using mostly the Curry and switching to the PT34 as befits the particular selection. Sometimes if I'm in a small to moderate sized group as the only tuba, I'll use the PT34 to get more overtones to knit better with the other low brass.

I started out with a Kelly 18 on the 38K, and after playing a PT82 on a PT605 (GR51) and consulting with Jeff Rideout bought one and it is a great match for all playing on the 38K.

Along the way I have also tried a Schilke 67 & HII, LOUD 7, Mike Finn 4 (more to see if I wanted to expand into getting an eefer), Wick 2L & 3L (same reason), Blessing 18, DEG delrin, an old Herco rhodium plate, Conn 2 (new style), 120S & 7B, and last summer got to spend an afternoon with Jeff Rideout trying out the entire line of PT mouthpieces in my preferred cup diameter.

Fortunately, most of what I tried were either used in good shape I could turn around and sell, or loaner mouthpieces from friends, or demo samples, so I have very little, relatively speaking, invested. Each mouthpiece matches the horn, the embouchure, and the repertoire. Except for using the Kelly on the 186 or the Besson when I play outdoors, no single mouthpiece sounds good on any of the other horns.

The Curry 128D is too stuffy on anything else. The Wick 1 doesn't fit anything else. The PT34 is too "loose" on the 38K. The PT82 is stuffy on the 186. Nothing else, of course, fits the Besson, although I make do with the Kelly outdoors at Christmas for a kettle. None of the others really worked for one reason or another on any of the horns for me. The smaller throat PT's, more designed for F tubas, intonated flat in the upper register.

At this point, I do not forsee any mouthpiece changes in the near or intermediate future. I will not say "never," because as a player, we all change, and over time horns will be sold or otherwise parted with, and others take their place. But these combinations of horns and mouthpieces suit me, my playing, and the people I play both for and with, for the time being.

I take a middle approach to mouthpiece selection. I did a lot of experimentation initially a few years ago when getting back into playing to see what was out there. After settling into a main mouthpiece on each instrument, that was supplemented as I encountered playing situations needing a different solution or approach. At this point, if something isn't coming out of the bell correctly, I know it's me, not the equipment, that needs work. I will not chase the mouthpiece du jour, or the tuba du jour, as that is an exercise in vanity. Out of curiosity, I may try other mouthpieces and tubas just to have a perspective on them, but at this point not if I have to purchase them.

I'm sure you're going to get a lot of different answers.

I use two mouthpieces with my F tuba (for solo; for ensemble). I use one mouthpiece with my CC tuba. I am considering possibly another mouthpiece for the CC. Or, possibly not.

Cheers,
Allen

I only use one horn, but this last week I started experimenting with different mouthpeices. The conclusion I arrived at:

My PT-88, the biggest one could play the highest and lowest, and with pretty decent tone.
My TU23 and Bach 18 allowed notes at the top of the staff to come out more easily, but I lost good tome below the staff, and the upper extremes sounded the same.
Stainless steel mouthpeices are amazing and I wish I owned one.

So for now, until I can afford a stainless steel peice, I use mt PT-88 for everything, and just blow more air when I want to play high.

I also apply the same concept to trombone; I've started using a Marcinkowitz 1.5G for everything from symphony orchestra to lead in jazz band.

I am in the "mouthpiece de jour" school. I fool around with about 12 or so mpc's ranging from a Mike Finn MF3B upto an old custom made King 28 which is outlandishly large - 36 mm diam and ~ 2'' deep bowl cup. This includes a Dr. Young (Reynolds version) which I just used in a Trad Jazz gig with my old Rudy 5/4 BBb.

Zottola and Stark both made mpc's for me based on the large King. From these I had Ivan and Houser make a titanium and stainless steel version respectively.

I also play with an old Holton bored out to 9mm throat (which I would gladly send to Elephant - gratis - if he wants it), a PT 88+, a Bach 7 and a Klier T1 AA. I also have a titanium Bayamo, a Loud LM3 and Loud LM 12. All of the brass mpc's are gold plated except for the Bach. I also have some older ones that I just don't use anymore - Marcinkewiez N4S and N2 and various tinier Bachs and others from my earlier (1960's) days.

It is very interesting to play the Dr, Young and then put in the LM-12. Despite their completely different morphology their sound in both my Rudy and 186 is surprisingly similar - very much "in your face".

My range and tone is fairly consistent among all of these. I think the switching around helps strengthen different parts of my embochure. It cetainly keeps me from getting bored. I usually take about 5 or 6 to a gig and may use them all at one point or another - keeping my options open.

bubbacox wrote:I heard that this one guy, "Arnold Jacobs", used pretty much one tuba for his whole career and changed mouthpieces depending on what he was playing.

...I think I might have heard of him, I believe he might have played a York tuba? Sounds like quite the nice guy

tubatom91 wrote:

bubbacox wrote:I heard that this one guy, "Arnold Jacobs", used pretty much one tuba for his whole career and changed mouthpieces depending on what he was playing.

...I think I might have heard of him, I believe he might have played a York tuba? Sounds like quite the nice guy

Or was. He did play a note or two now and then.