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Ok, I got a situation somebody here could explain. I switch between two different mouthpieces with my Conn 3J. I use a Loud LM-7, which is very similar to a Schilke Helleberg II, and a LM-10, which is a copy of the Marcinkiewicz N4 (large diameter, shallow V-shape cup). When practicing alone, I prefer the sound of the LM-10; it's colorful, open, and has plenty of resonance (I grew up using the N4). In contrast, the LM-7 sounds more dull, muddled, and less resonant.

Yet, when I play with the 2 concert bands I'm in, I prefer the sound of the LM-7. My sound seems to "fit in" more with the ensemble. When playing the LM-10, my sound just seems to stick out from the ensemble.

Is this just purely because the LM-7's funnel shape reinforces the lower frequencies? Should I trust my ears and keep playing the LM-7 in ensemble or go with the sound I prefer in the practice room?

I think you answered your own question....playing in a group is different than being the " up front " guy. Ensemble play requires listening and blending . You can ask the players around you , you can ask your conductor but , just like in the sand box, you have to play nice with others ....jamsav

it may be more about whats going on between your ears...by that I mean your mental approach to different playing situations. That shoud have a bigger effect on your playing than a choice of mouthpiece.

It's not just the shape of the cup. The LOUD LM-7, for example, has a singular throat to backbore transition that is designed for more precise intonation (read: tighter slotting) and projection. When I tried one, it sounded edgy and small close up, and huge at a distance. The only reason I didn't keep it was because I like wider "slots" that I can lip into tune rather than riding throttle constantly. If I played a CC with an orchestra where I'd be riding throttle anyway, the LM-7 would be on my short list.

The human ear hears overtones more easily than tuba fundamentals. A shallower cup will tend to produce more overtones. So it is only natural that a person might actually prefer the tone of the shallower mouthpiece individually, but still recognize the positive effect of supporting the ensemble playing a deeper cup to get more fundamental has to offer.

Another point to consider is what kind of ensemble you are playing in.

- In a band, we supply the foundation for the entire ensemble, so a broad, dark sound is probably desirable there.

- If you are playing in an orchestra, a more "colorful", soloistic sound may be more appropriate.

- Certainly, if you are playing a solo, the LM-10 sounds like it would be the better choice.

Just my $0.02

Ok, I got a situation somebody here could explain. I switch between two different mouthpieces with my Conn 3J. I use a Loud LM-7, which is very similar to a Schilke Helleberg II, and a LM-10, which is a copy of the Marcinkiewicz N4 (large diameter, shallow V-shape cup). When practicing alone, I prefer the sound of the LM-10; it's colorful, open, and has plenty of resonance (I grew up using the N4). In contrast, the LM-7 sounds more dull, muddled, and less resonant.

Yet, when I play with the 2 concert bands I'm in, I prefer the sound of the LM-7. My sound seems to "fit in" more with the ensemble. When playing the LM-10, my sound just seems to stick out from the ensemble.

I really don't think you are alone in your approach. I play a King 1241UB. I usually prefer to use my Blessing 18 (medium depth bowl cup) in our brass quintet. As one of five "solo/exposed" voices, I like the brighter, more lively, overtones it provides. However, when I am playing in our 70+ community band, I have used, over the years, a Conn120S, LM7 and SS Kellyberg (all deep funnel mpcs) because of the darker, more fundamental sound they produce. FWIW, I recently purchased a MF2-B (a deep bowl cup) that seems to be a very good "all around" mouthpiece for my 1241.