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Re: Freak Jury Mouthpiece Blah-Blah

Postby PaulMaybery » Thu Jan 11, 2018 4:55 am

The Stofer Geib has been in and out of the Wyvern now for about a year. At first I gave it a straight shot for about 6 months. (I realize you mentioned the Monette - but I have to add it into the comparison) For a couple of simple reasons I did not end up with the S/G. That other (Prana 94) won my little comparison.
Accoustically I thought the S/D was sweet, capable of a huge warm sound, particularly on larger tubas.It was incredible on the Wessex York prototype.
I rather liked the smaller throat, and I really couldn't tell you beans about the length of the throat or back bore.
I felt the throat was balanced perfectly with the size of the cup to make it possible for it to accept a huge sound.
Volume was never an issue, nor was timbre or any aspect of the quality of sound.
My issue was with the rim. At first I found it extremely comfortable. It allowed for incredible sensitivity for the articulation/release of sound. I did not keep jumping back and forth for these first months. I wanted to know what this piece could do on its own. I believe when we swap back and forth after only a few minutes, what we experience for a large part is how the chops react to the previous MP.
To cut to the chase, for me the rim was a little narrow and sunk into the lip tissue a little too quickly when playing strenuous charts for extended periods. I also realize that the rim is one of the sweet features of this MP. Had I not had the Prana 94, I would still be playing the S/G. The S/G is a rather sophisticated piece, whatever that means.
I pulled it out last week for another go at it, and put it away after just 2 orchestra rehearsals.
It is strange that in the 1960s I had an original Conn Geib,($5,00) kept it for a few months and sold it back for $4.00.
Being a young player, I did not understand how to deal with the sharper rim and on graduation with a class of 500 (7 times throught Pomp and Circum...)worked myself a nice water blister on my upper lip. But that could have happened on the Conn 120.
On its own the S/G is a beautiful creation and a wonderful tool. I would recommend it, but it ain't cheap. $250 in gold.
Buy it and get used to it. Take the time without a bunch of yapping from others, and have it tell you what it needs.

On a sidebar, I am curious as to what the S/G might feel like in Lexan.
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Re: Freak Jury Mouthpiece Blah-Blah

Postby Three Valves » Thu Jan 11, 2018 8:59 am

tubajazzo wrote: Found the stainless to be brighter and with "less bottom", but that may be just me....


Nobody liked "less bottom!!" :shock:
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Re: Freak Jury Mouthpiece Blah-Blah

Postby Casca Grossa » Thu Jan 11, 2018 9:54 am

Three Valves wrote:
tubajazzo wrote: Found the stainless to be brighter and with "less bottom", but that may be just me....


Nobody liked "less bottom!!" :shock:


I prefer a lot on top, less in the middle, and lots of bottom.
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Re: Freak Jury Mouthpiece Blah-Blah

Postby bloke » Thu Jan 11, 2018 4:11 pm

Casca Grossa wrote:I prefer a lot on top, less in the middle, and lots of bottom.


pictures, please...or a video, if available( ...dancing to *La Cucaracha).

_____________________________________________________________________
*which, btw, is ALSO the name of a brand-new SQUARE-cup/SQUARE-rim mouthpiece fabricated entirely of unobtainium (not to be confused with upsidasium)...even though unobtainium seems to offer response problems on the 22nd - 28th partials (even #'s only)
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Re: Freak Jury Mouthpiece Blah-Blah

Postby Dan Tuba » Sat Jan 13, 2018 5:05 pm

I really like KELLY Mouthpieces. I have used the Kellyberg on my sousaphone for both marching band and NOLA brass band. I have also used the Kellyberg on my Conn 25J tuba and the Kellyberg works well. I recently purchased a KELLY KT-50 and I think it’s great! For me, the KT-50 offers a similar feel and similar playing characteristics as the PT-50 mouthpiece. For my JP 3 + 1 EEb Tuba, the Kelly 24AW works very well. The Kelly 24AW is not the same as a Bach 24AW. Completely different rim...much thinner.

Why Kelly lexan Mouthpieces?
Well, let’s just say that I have sensitive skin and an underlying medical condition that flairs up from time to time that makes playing on silver plated, gold plated, stainless steel, lexan rimmed, and titanium Mouthpieces very uncomfortable. Yes, I have tried them all. :shock: Multiple Times... :(

Lexan vs Brass vs Stainless Steel vs Titanium?
Yes, in my opinion they offer their own unique tonal qualities. However, they all offer the ability to produce a good sound. With that said, I really think that the biggest differences in timbre, articulation, intonation, and efficiency are a result of the internal dimensions of the cup, throat/backbore, the shank/receiver relationship, and the rim shape. Ultimately, it’s what feels comfortable and enables the player to produce the desired sound, clarity, and intonation “out front” that really matters. I highly recommend recording yourself both individually and in an ensemble before you decide what works best. It’s not how clear and awesome you sound at your seat that matters, it’s how clear and awesome you sound in the audience seats that matters.
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Re: Freak Jury Mouthpiece Blah-Blah

Postby Dubby » Sun Jan 14, 2018 6:40 am

I keep Kellybergs in my car, gig bag, in the tuba room, and at home. They’re cheap enough to have multiple of and I don’t mind lending them out if someone forgot a mouthpiece or for pep band when it’s the end of October in South Dakota and we have snow.

Plus they draw attention and as a tubist, I crave attention. :tuba:

(I think we all know that the Glow-in-the-Dark is the one you really want :D )
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Re: Freak Jury Mouthpiece Blah-Blah

Postby bloke » Sun Jan 14, 2018 11:57 am

Has anyone compared the glitter gold PT-24AW+ vs. the cerrobend PT-24AW+ ?
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Re: Freak Jury Mouthpiece Blah-Blah

Postby Dan Tuba » Sun Jan 14, 2018 1:10 pm

I haven’t tried the glitter gold 24AW. However, I have tried the Harvest Gold 24AW. The Harvest Gold 24AW enables the performer to exhibit a certain “earthiness” in their sound with a little “dirt” when the situation calls for such tonal qualities. Perhaps the Glitter Gold 24AW would enable the performer to produce a “pretty” sound with some “sparkles?”
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Re: Freak Jury Mouthpiece Blah-Blah

Postby bloke » Sun Jan 14, 2018 2:39 pm

...I'm wondering how a Lexan mouthpiece with a whole bunch of extra mass would respond...

Realize that - rather than 1.2 oz - these could end up weighing nearly 2 oz. :shock:
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Re: Freak Jury Mouthpiece Blah-Blah

Postby Bandmaster » Sat Jan 20, 2018 2:50 pm

I have been using the Stofer Geib with my Holton 345 for a couple years now and I love it. It gives me the upper overtones I was missing on the other mouthpieces I tried. I just wish they made it in stainless steel.
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Re: Freak Jury Mouthpiece Blah-Blah

Postby the elephant » Sat Jan 20, 2018 3:20 pm

bloke wrote:...I'm wondering how a Lexan mouthpiece with a whole bunch of extra mass would respond...

Realize that - rather than 1.2 oz - these could end up weighing nearly 2 oz. :shock:


I was strongly considering ordering a set of the added-mass version of the feather-weight stems and buttons you sell. Then I decided to just go all Lexan. I am having Lexan pistons cast at this moment. I am also thinking of having my case duplicated in blow-molded plastic due to its inherent flotation characteristics. I want the case in red and for it to say "Snap-On Made in America" on both sides.

So many choices to make!
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Re: Freak Jury Mouthpiece Blah-Blah

Postby the elephant » Sat Jan 20, 2018 3:24 pm

Bandmaster wrote:I have been using the Stofer Geib with my Holton 345 for a couple years now and I love it. It gives me the upper overtones I was missing on the other mouthpieces I tried. I just wish they made it in stainless steel.


Mark used one on my Holton back when it was his. I wanted to buy if from him to use as a baseline starting point with this horn. He said pretty much the same thing about it. Since I have completely remade my 345 (including complete removal of the Rusk slip-joint cuts in the bugle) I decided to buy a bunch of mouthpieces to try out with it; perhaps it will like something different in its new life.

I have a brand new Stoffer Geib sitting here waiting for the weather to improve and allow me to get back to work on the Holton. Thanks for the comments on the Geib. I look forward to trying mine out in the Holton - someday, I hope. Heh, heh...
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Re: Freak Jury Mouthpiece Blah-Blah

Postby the elephant » Sat Jan 20, 2018 3:28 pm

PaulMaybery wrote:Accoustically I thought the S/D was sweet, capable of a huge warm sound, particularly on larger tubas.It was incredible on the Wessex York prototype.

I rather liked the smaller throat, and I really couldn't tell you beans about the length of the throat or back bore.

I felt the throat was balanced perfectly with the size of the cup to make it possible for it to accept a huge sound.

Volume was never an issue, nor was timbre or any aspect of the quality of sound.

My issue was with the rim. At first I found it extremely comfortable. It allowed for incredible sensitivity for the articulation/release of sound. I did not keep jumping back and forth for these first months. I wanted to know what this piece could do on its own. I believe when we swap back and forth after only a few minutes, what we experience for a large part is how the chops react to the previous MP.

To cut to the chase, for me the rim was a little narrow and sunk into the lip tissue a little too quickly when playing strenuous charts for extended periods. I also realize that the rim is one of the sweet features of this MP. Had I not had the Prana 94, I would still be playing the S/G. The S/G is a rather sophisticated piece, whatever that means.

I pulled it out last week for another go at it, and put it away after just 2 orchestra rehearsals.

It is strange that in the 1960s I had an original Conn Geib,($5,00) kept it for a few months and sold it back for $4.00.

Being a young player, I did not understand how to deal with the sharper rim and on graduation with a class of 500 (7 times throught Pomp and Circum...)worked myself a nice water blister on my upper lip. But that could have happened on the Conn 120.

On its own the S/G is a beautiful creation and a wonderful tool. I would recommend it, but it ain't cheap. $250 in gold.

Buy it and get used to it. Take the time without a bunch of yapping from others, and have it tell you what it needs.


Thanks very much for the information. I will consider it as I test out my S/G in the 345...
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Re: Freak Jury Mouthpiece Blah-Blah

Postby Leland » Sun Jan 21, 2018 4:46 pm

the elephant wrote:• Lexan Kellyberg (I have one, but want to know what others think about it.)
• Stainless Kellyberg (Looking at one of these to play with.)
• Lexan KT-50 (Student wants one.)

Regular Kellyberg: Became my go-to cold weather mouthpiece, used it for the wreath ceremony at the Iwo Jima memorial and for other outdoor gigs. I keep one in the car to buzz along with the radio. Nothing wrong with it, a little grippier than gold plate, steel, or titanium.

Stainless Kellyberg: Have NOT used any other stainless mouthpieces except for a couple G&W. Really like the material, though, since it's easier to keep clean than regular brass. Steel and titanium mouthpiece throats get squeaky-clean with just one or two passes of a twisted-up paper towel.

KT-50: I was the guy who convinced Kelly to begin making these (waaaay back in the early 2000's; even started a thread on Tubenet to gauge interest, then sent him a link). Sent him my PT-50, they measured it, and they sent me back my PT-50, a clear Lexan KT-50, and a solid chocolate Kellyberg. Plays just like my PT-50 but with a little more grip on the skin. I'd have also used this one for outdoor gigs if I had it in a different color.

[edit -- adding link to old KT50 thread]
viewtopic.php?f=2&t=2437
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Re: Freak Jury Mouthpiece Blah-Blah

Postby pecktime » Mon Jan 22, 2018 2:45 am

Here's my 2 cents. I have the lexan Kellyberg, stainless Kellyberg and Lexan KT50.

I play jazz(mainly 2 beat trad and New Orleans second line) on my tubas, no orchestral opinions here.

Lexan Kellyberg: Good mouthpiece, amazing for the price. Maybe a bit too smooth/ warm or bland sounding, like the mids have been scooped a bit. I find it can get lost in a band situation if you want some front on your walking. Harder to push the time with this one. Good for the car.

Stainless Kellyberg: even smoother, hard to hear myself when playing with a raucous band or amplified. Can put out lots of sound but I have trouble hearing the note. Very even throughout the range and fun to play. Extremely warm yet hollow sounding on my Melton 3450 CC, not as great on the Melton 2011TA BBb ( I use a gold glitter Kelly 18 on the 2011).

KT50: Sounds gruff on my 3450, like a grumpy old lumberjack who smokes cigars. Takes as much air as a 24AW. Big down low, a nice edge when you need it. Sounds great on walking lines. Feels like a 'grownup' mouthpiece- there's nothing it can't do, it's up to the player. I'm not a fan of the clear lexan though.
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Re: Freak Jury Mouthpiece Blah-Blah

Postby Three Valves » Mon Jan 22, 2018 8:50 am

pecktime wrote: I'm not a fan of the clear lexan though.


That needs to be fixed!!

Outside of a classroom or lab, nobody wants to see what your lips are doing... :tuba:
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Re: Freak Jury Mouthpiece Blah-Blah

Postby bloke » Mon Jan 22, 2018 10:49 am

Copper plate the Lexan (as you can copper plate most anything) and then silver plate over the copper plating.

Though this might (??) actually work, THIS IS A JOKE!
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Re: Freak Jury Mouthpiece Blah-Blah

Postby Donn » Mon Jan 22, 2018 12:14 pm

One of our esteemed forum members decorates Lexan mouthpieces, for his own amusement. I don't recall how, but I'm sure there are many creative options. Even some simple light engraving would serve the side purpose of obscuring the contents, I expect. Or sandblasting.
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Re: Freak Jury Mouthpiece Blah-Blah

Postby Three Valves » Mon Jan 22, 2018 12:45 pm

I was thinking;

Rattle can!!
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