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On my Miraphone 188CC: PT-88
On the Meinl Weston 45 F: Miraphone C4

I play on a Vincent Bach 7. I use it for everything that I play, from Jazz to Solo work. It's got a custom backbore for my 186 and I'm completely in love with it!

contrabass tuba, sousaphone (own neither), and my 4 front valve Conn Giant Eb- PT48
small King Eb tuba- no name shallow 30mm dealie
Amati euphonium- Wick SM3M
tenor trombone (Benge 190F)- Bach 3G and Yamaha 60B, rarely no-name 6.5AL
bass trombone (Getzen 1062)- Yamaha 60B and JK KBP2C
contrabass trombone on the way!

Miraphone TU-26.

works very nicely with the 1292.

G&W Baer MMVI...CC and F versions.

CC: LM-3
F: PT-70
Sousa: PT-50

B&S 18 on the VMI 201. Kelly 18 on the sousaphone. Shilke 51D on the euph

In addition to my signature, which I have just updated, Kanstul has just made me a custom 18 that is working really, really well with my recording bell on my 186. When I got the recording bell up and running thanks to Dan Schultz, I didn't like the tonal or response characteristics of almost all of my other mouthpieces, with the exception of the Kelly 18. But, of course, the Kelly 18 being lexan, was prone to blat a little, even with the lead tape around the throat.

Kanstul makes a version of an 18 which in depth is about halfway between a Bach 18 and the Kelly 18, but in the traditional 1.26 cup diameter. I emailed Jim at Kanstul to see if he could do the same mouthpiece for a reasonable price in 1.28. Well, since everything they do is laser & CNC, he was able to send me a cross-section trace like they have on their "comparator" online for trumpet mouthpieces that compared their stock 18 to my desired modification. I pulled the trigger, and it is exactly what I need for that combination and application. The 1.28 diameter is what fits my embouchure best, the bowl cup gives me the overtones I need for projection and blend with the ensembles and occasions I use the recording bell, and the depth gives a tad more fundamental than a stock 18, but doesn't lose any response, and the more moderate throat and backbore help me with my breath support and control.

Now, it's not the easiest mouthpiece to play. I started trying "too hard" to get it going, and the throat and backbore, also being a tad smaller than current Bach production, "barked" or "cracked" on me with my slight overbite occasionally trying to use too much top lip. But once I relaxed into it, recentered myself and got my top/bottom lip back into correct proportion, the tone really blossomed.

If you have a mouthpiece that you like, but not completely, and are always asking yourself, "I like this mouthpiece, but if only [insert detail] was changed," then Jim at Kanstul can take care of you.

On my 188: TU-23 for most solo playing. PT-48 when I need a fatter, rounder sound. G&W Bayamo for extended, articulated low register playing.

blokepiece #1 in my Boosey Eb
Clear red Kellyburg in my Pan american helicon
1 1/2 G or 1 1/4 G in my Benge 290
Giardinelli 3D in my Benge 190
Bach 7c in my king 3B or Benge 175

Some of us are still searching......

viewtopic.php?f=2&t=18614&start=0&hilit" target="_blank

Willson 3200 & Cerveny 653 F: Giddings & Webster Caver
Willson 3050 & Boehm & Meinl 5520: Loud LM-3
Conn 86i Euph: Doug Elliott TU-2N-132 rim w/custom Warburton 5GT cup-shank
Shires Bass Trombone: Doug Elliott TU-2N-132 rim w/custom Warburton 1G cup-shank
Tenor trombone: Doug Elliott TU-2N-132 rim w/custom Warburton 5G cup-shank

MF3 really gets alot of air into my large bore St Pete and gives it a fatter , rounder sound . Goes great with the community band . The Wind Ensemble work gets a slightly lighter more focused sound with a PT 48 .I am anxious to try the new Bloke piece symphonic with his #1 rim .
The sousaphone gets treated to an RS Helleberg , the recently sold Besson , a Dennis Wick 1 . I havent figured out what will best suit the small antique horn - need to spend some time with it ...

I play a Sear helleberg I softened the edge of the rim and had it gold plated . It was my first mouthpiece. I cant play well enough to tell if somethings better. I just parctice and get the same result!

Olds O-99 4v - Yamaha Jim Self
King 2280 - Yamaha Bobo TT or Bach 4G
Besson 943R - Schilke 60 Wick shank custom backbore
Olds O-25 - Bach 4G
Olds Recording - Bach 6 1/2AL
Kanstul F Besson - Schilke 24

Dillon PS3 on the 983, along with a Monette 98 and a GW (can't remember the model) occasionally

LOUD LM20 on my Sovereign euphonium

Schilke 59 with the backbore bored out to a 60 (according to the Tubenetter I bought it from) on my Jupiter 740 bass bone

Still messing with mouthpieces on the 28K, but currently using a Wick 3L

mine's a PT24+, I occaisionally use a Schilke 66 but really prefer the Perantucci. As I have commented elsewhere, it has a big throat (9.00mm) so it doesn't respond well to overblowing. It seem to work for everything I do, from Malher and Frank with the orchestra to the brass band and small ensembles.

Tubaguyry wrote:On my 188: TU-23 for most solo playing. PT-48 when I need a fatter, rounder sound. G&W Bayamo for extended, articulated low register playing.

I use a Bayamo on my 188 for everything...

Sousaphone--Kelly 18
Courtois 3+1 Eb--Wick #4

1922 Holton Silverplated Mammoth BBb 3v - Bach 18 gold plated (excellent fit for over 30 years)
2006 B&S 3103 Anniversary Edition - PT-88 hand picked at Bob Tucci's shop (had a PT-88 with a VMI 3301 in 2001 and didn't like the tone or fit on my face)