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I voted in the poll, but if it makes a difference in producing them or not, I would buy one out of curiosity. Just like you, when I play the euphonium I need to sound “good,” but have not prioritized practice time on a horn that I’m only paid to play a couple of times a year.

-T. J.

bloke wrote:...and (also important) without a bunch of extraneous noise or hiss in the sound...

That good ole airy Wick fuzz.... Ever present when using my classic 4AL on Euphonium, but disappears when using the stainless GW Carbonaria, a much clearer result from behind the bell. I've never understood where it comes from as it doesn't seem to be present on Wick classic tuba MPs....

Mark Finley wrote:As a stainless fan, I'd like to see an option of a stainless rim bonded to the brass underpart

Same here. I'd be better able to justify springing for a baritone/euphonium mouthpiece more specific to what I'm playing if it were stainless steel. I'm allergic to the nickel in most silver plate finishes.

I am currently playing with a plain old vincent bach trombone mouthpiece both my baritone and my euphonium but it's not the most comfortable because it's just too small for me. I've been using a CKB 4G bass trombone mouthpiece on the E-flat tuba, (just a little too small in depth for the best playing on that horn), and get a better sound overall, whether it's in a bass trombone or a tuba.

Heaven forbid I run into nickel-plated, or a silver plate with a decent amount of nickel in it! Stainless steel has made my tuba playing life so much better!!!! No more huge puffy lips and weeping sores.... Some women may like to put things on their lips to make them puffy, but I like to be able to play.

I'm interested in a euphonium mouthpiece, but from a trombone doubler's perspective. I thought I was a bit different in the wish to cover bass bone parts on a euph, I'm glad to hear someone else think that's a worthwhile thing to do as well. I think the bel canto stuff is pretty well covered in existing pieces. Bass bone doubling requires a different mouthpiece. You've managed to use a lot of words and yet avoided describing what it is that you've produced relative to anything I'm familiar with.

If you've produced something similar to a contrabass trombone mouthpiece, then that doesn't interest me. I would be interested in trying something that feels like the 2g-1.25g range, with some special adaptation for euphonium and produces nice sounds in the compensated range. I'd try it at a conference where it's free to try, and buy it if it makes my eyes pop out of my head, and plays better than one of my current pieces.

So I guess that puts me somewhere between a head of lettuce and rumplestiltskin?

Ok, what I take from that is "a really good low range", and "not as large as the 1-1/2". That's what I'm looking for.

Given that there is a huge chasm between you as a pro tubist and me as a semi-pro trombone player, that's a risk I think I'd take. I need a piece specifically to double bass bone on the euph, and the best thing I have now is a 1 1/4g - size mid-range bass trombone mouthpiece. What you have sounds like an improvement on that.

So sign me up!

Probably not helpful, but...

At University I played a Schilke 58 with custom-order tenor shank on my YEP-321S euph. It's absolutely the perfect mouthpiece for me IF--and only IF--I'm playing the euphonium several hours a week, every week, which I haven't done since leaving school in '96. Additionally, it was worthless above high D; I had to swap in a Bach 12C for the stratospheric passages.

Something less wide, less deep, and less demanding than the 58 that could deliver most of its tonal opulence without me having to maintain much of a dedicated euphonium embouchure would be of great interest to me.

While I really should get a bass-bone receiver put on that 321, it would be nice if someone made up a line of bigger-than-Schilke-53 tenor-shank mouthpieces for the multitudes of 201/321 euphs and their copies.

WC8KCY wrote:Probably not helpful, but...

At University I played a Schilke 58 with custom-order tenor shank on my YEP-321S euph. It's absolutely the perfect mouthpiece for me IF--and only IF--I'm playing the euphonium several hours a week, every week, which I haven't done since leaving school in '96. Additionally, it was worthless above high D; I had to swap in a Bach 12C for the stratospheric passages.

I just started playing tenor trombone and oval baritone with a tenor shank in a german band with to many tuba players using a 6 1/2 . I was thinking the same thing about the 12c for higher stuff. Huh...

vespa50sp wrote:I just started playing tenor trombone and oval baritone with a tenor shank in a german band with to many tuba players using a 6 1/2 . I was thinking the same thing about the 12c for higher stuff. Huh...

I've since moved on from the 12C to the Yamaha 51B for soloistic applications.

More control, volume, richness, and focus than the 12C.

The Bach 6 1/2AL is, to me, the 24AW of trombone mouthpieces: it takes extra effort to play, yet does nothing particularly well.

I'm always out for trying a new design, especially if it's substantially different. I've moved back to my old LM-20 for the time being. I would also prefer stainless, but I can't say I wouldn't consider buying one in brass.

I am also interested in it.