Stephen Mead euphonium mpcs

[elimia]

Hi all,

I'm interested in hearing about folks' experience with the Wick SM series of euphonium mouthpieces. I'm considering an SM3 - is this thing big enough to swallow you up?

Ryan

[imperialbari]

I am just a plain guy, so I am not into any SM series. (Yet I am wick'ed enough to endorse Denis, aside from his ridiculously small bassbone mpc's).

In 1998 I had a unique chance to meet Steven Mead eye to eye. Hearing him doing some of his amazingly musical stunts (this guy basically is a great singer, who just has chosen to sing through his euph).

But also discussing tech matters. If my memory hasn't rottened too much, his basic mouthpiece is the raw brass prototype for the SM3 and his brilliancy piece is an SM4.

He told, that he had designed the SM2 on request from euph friends in the Brit military bands, which had to put out some sound and hardly ever met high range challenges.

If those guys wearing down pavement on a daily basis can survive on an SM2, the SM3 should be a breeze on any indoor guy.

Anyway my personal opinion is, that anything smaller than a Yamaha Yeo signature bassbone piece with an opened up backbore is a sissy approach to the euph. But then I am bestowed with a sample of the finest euph ever made: the YEP641.

If you are into the Besson pseudo-baritones 967 or 968, a Bach 12C and an adapter will do a fine job for you.

Klaus
- I'm only the tuba player, so please don't shoot me, just stick with the drummer!

[CJ Krause]

***

[The Impaler]

I played on an SM3 for quite a while on my 842, at least until I had Dave Houser make me a custom piece that's not too much dissimilar to it (basically a more comfortable, slightly larger rim). The inside's a copy of Art Lehman's old piece. Anyways, on to the air issue:

I always prefer a piece that I get a huge sound on and a great open low register on. You can always learn to play higher and with more consistent air on something like that, but sometimes you'll fight a smaller piece that has a great high register and doesn't take a ton of air for years to really open up your sound and the low register.

Here's the solution: work on just your air alone. Breathing exercises are the key to really being able to make those phrases and open up that low register. Why? Less resistance and more work. The better your air works without the horn, the better it will feel when you take it back to the horn. Check out "The Breathing Gym" by Sam Pilafian and Pat Sheridan. It revolutionized the way I play, and I'm sure it can help you out as well. Well, there's my 2 cents, hope it helps!

[9811matt]

I've been playing a SM3 for going on six years on my 642, and an SM3M on my 2900 for a like period.

Bigger rim diameter than the 51D... (works better with my teeth). Also gives me more room to play (enhancing flexability).

What to say... it works fine for just about anything except for trombone (too dark, and I have a Bach 4AL for that).

-M

[elimia]

I bought the SM 3.5 and have played on it for a couple of days. I love it and highly recommend this to euph players who want to open up their sound. I had played on a Schike 51 for a long time, but this mpc just feels better from the get-go. I think it helps build better endurance too.

Thanks to everyone for their comments, much appreciated.

Ryan