Best mouthpieces ever?(low and high)

[Jay Bertolet]

Taking a page out of Fletcher's book:

Which mouthpiece is the best ever for high range and low range playing? Mine.

End of story.

If you truly want an answer, go out and find it. Asking for opinions of mouthpieces is like asking what types of food you should like. Only one person can tell you that and they aren't on the TNFJ.

[PaulMaybery]

I LOVE my stable of $300+ don't work for me. That way I can lie to myself and others about how awesome they are so I don't look and feel like a fool because I overpaid for mouthpieces that don't maximize my abilities when a $60-$100 mouthpiece would do the trick.

... or a $30 one ...

Ditto on the stable of pricey mps. However, being who I am, and that is a very sceptical and stubborn old man, I had to find out for myself what all the talk (hype) was about on the "designer" Mps. I simply could never trust anyones recommendations without confirming it myself.

Since I already had the basics, (Bach 18, old 1930s Conn Helleberg, Conn 2, 24AW, King 26, Holton 52, and the more modern flat rimmed Helleberg) I was looking for what I called extreme design. So 4 Wedges, a line up of 5 G&Ws, 2 Sideys, PT 88+, Monette 94 Prana and 94 F, Mirafone C4, plus a couple of custom jobs.

So what have I been playing the most? Two. A wonderful modified Helleberg style mp that came with the BMB with silver plate, and a Sidey HB Classic in Stainless with a Gold Titanium Kote. These are like peas in a pod albeit Stainless and Silver.

Both have a flat rim for which I was skeptical, but after a breakin period, I find it suits me in most situations. The rounded rims were problems when my lips got dry from allergies and sinus issues. (which anymore seems to be all too frequent) Then I would need to revert to the flat/sharper rim for security and peace of mind.

Bear in mind I do practice "quite a bit" now, more than I did when I was running from all sorts of part-time jobs that professional tubaists do to keep the bills paid. I really do not feel that I need a more rounded rim for comfort. It (rounded) only seems to get in the way when I need to get a little "wild" in my playing.

I found that either of these pieces work perfectly welll in the F Tuba and the Cimbasso. Not having to change set-ups between instruments makes life easier. Even with the totally different blow of the cimbasso, the only issue is dealing with the resistance of the horn. The MP has become a constant. Last week I had 9 services, of which 2 rehearsals and performances for a broadway and cinema concert. The cimbasso was used on 6 of the 10 charts. On some, a switch in mid piece. Very comfortable.

So what about that 2 grand worth of MPs? Well I do get them out and mess around from time to time. The old Arnold Jacobs adage was to cross train a bit so as not to get to comfortable with one mp, where in you start playing by the feel of the piece rather than shooting the right pitchand sound into it.

I found I do enjoy stainless the best. But anymore it is not that big of a deal.

Would I go on that safari again? In a heart beat. I learned tons of things about my playing that I would have never otherwise encountered. What do I plan to do with them? Heck, I dunno.