AR Resonance Mouthpieces

ttf_lmalewic
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AR Resonance Mouthpieces

Post by ttf_lmalewic » Sun Jul 16, 2017 5:12 pm

Hello fellow trombonists,
I recently began working with Antonio Rapacciuolo of AR Mouthpieces and I am excited to announce that we have come out with something special for small-bore trombones. Antonio does have a full range of classical, and bass trombone mouthpieces also that are fantastic. If you would like more information on the pieces check out www.arresonance.com, and  https://www.facebook.com/arresonancesrl/. There are already 40-50 of them floating around the midwest for trumpet and now the same is happening for trombones. Antonio has a very unique two-piece mouthpiece system which allows you to tailor the piece to play the way you are used to rather than having to adjust to the blow of the piece. From my few weeks of playing on my piece I have noticed improvements in intonation, articulation and sound that I was not getting before. If you would like more information please send me an email, I do not get to check this forum too often. Please email me at     

l m a l e w i c   AT
g m a i l   DOT
c o m   

Here are some pictures.

https://www.dropbox.com/s/skl3eoynanbgm ... 3.jpg?dl=0

https://www.dropbox.com/s/gft9g9r396ia5 ... 6.jpg?dl=0

https://www.dropbox.com/s/obtmp1coy3g81 ... 8.jpg?dl=0
ttf_growlerbox
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AR Resonance Mouthpieces

Post by ttf_growlerbox » Mon Jul 17, 2017 3:07 pm

They definitely look the shiznit, and appear to be priced accordingly.  I guess the competition with Monette extends beyond the name.

The website doesn't yet have too many details regarding the trombone mouthpieces; what sort of sizes are being offered in the small bore range?
ttf_lmalewic
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Post by ttf_lmalewic » Tue Jul 18, 2017 8:05 am

As far as sizes we are currently making a full range of small and large shank pieces. Here are the various rim sizes available for each....

Small shank:
26.0mm
25.7mm
25.4mm
25.1mm
24.8mm
24.5mm

Symphonic:
XL   27.2mm
VL   26.8mm
L   26.4mm
ML   26.0mm
M   25.6mm
MS   25.2mm
S   24.8mm

Bass Trombone:
BL   28.4mm
BM   28.0mm
BS   27.6mm

Get in touch with Antonio Rapacciuolo (via facebook) or myself via email (check original post) if you have any specific questions.
ttf_heinz gries
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AR Resonance Mouthpieces

Post by ttf_heinz gries » Wed Jul 19, 2017 7:11 am

which cup deep, throat and backbore size are avaiable for the small shank version?
ttf_lmalewic
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AR Resonance Mouthpieces

Post by ttf_lmalewic » Wed Jul 19, 2017 9:31 am

All of the small shank pieces have the same cup which is a C cup but not too shallow, and slightly V-Shaped. The throat is 6mm. We will be trying out different throat sizes eventually but for now there is no need for it. I've currently had 4 guys in Chicago come out to my place and they all left with a mouthpiece so the design is working great. There are 5 different backbores that we narrowed down from 9. You would need to try 3 of them to get a sense of which one fits your playing the best but we can probably do a good estimate by talking to you.

If you have more questions please email me at  L M A L E W I C at G M A I L dot C O M
ttf_RJMason
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AR Resonance Mouthpieces

Post by ttf_RJMason » Thu Aug 24, 2017 11:21 am

Hey Forum,

I wanted to offer a review of the AR mouthpiece I just purchased from Luke. He mailed it to me two weeks ago with three different backbones (shanks) to try. I was previously using a hammond 13M since 2010. Another great mouthpiece.

My cup and rim size are similar to the Bach 6.5 size. This mouthpiece gave me a lot more core in the sound. Everything felt more stable and consistent. I tend to play vintage horns or tinker with parts because I like unique characteristics in my horns, but was looking for a component that could give me a uniformity in sound and an ease of playing across all registers without adjusting my face too much, and this piece has done it.

It also isn't as unforgiving as a Monette piece is...I enjoyed a Prana piece briefly but in live situations where I was pushing and playing incredibly loud it would back up on me and punish me for playing it differently than the "Dave Monette approach". This piece encourages good habits without punishing you for bad ones. It feels comfortable on the lips and has a nice weight to it. Heavier than my old Hammond but I like the stability that provides.

Luke also sent me three different screw on backbore shanks to try. Labeled 40, 43, and 46. They definitely make a difference in how the overtones sound--40 makes them sound closer together and very punchy, and 46 the overtones are spread out and broaden up the sound, 43 was right in the middle. There are also different resistances levels. Mine is one of the most open.

It may sound confusing but Luke is a pro trombonist with a lot of knowledge of musical situations and gear, so if you describe which horns you play on, which size and type mouthpiece you currently play, and the styles of music you want to use this piece on, he will steer you in the right direction.

Out of the backbores he sent I picked the 46--I like a broader tone especially on my .500 horns since I play pretty loud and punchy already.

The mouthpiece is also satin silver and looks beautiful! For the first time ever on a show, an audience member pointed to me and yelled "I want your mouthpiece!!" Haha. So if you're looking for a statement piece this can be it.

I'm hoping to try the Symphonic pieces at some point since I feel these mouthpieces can provide the attributes Symphonic players strive for in their approach.

Feel free to ask me any other questions I'll keep you posted!

-Ray
ttf_The Sheriff
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AR Resonance Mouthpieces

Post by ttf_The Sheriff » Sat Sep 16, 2017 12:45 pm

=====

I bought one from Luke today. In my 53 years as a trombonist it is the first mouthpiece that I have ever played that jumped out and grabbed me. For me, mouthpieces have always been a compromise. Compromise is not a word I would use to describe this AR Resonance piece.

It makes me sound like a better version of me. Wow. Mine is the small shank standard weight 24.8 mm, 6mm throat, 43 backbore, and a 10.5 shank. The shank number refers to how thin or thick the shank is. The 10.5 is quite thin, though there is a thinner one that Luke decided I should not even try because it wouldn't make a difference. I agreed, because it was so thin that you'd have to be extremely careful when inserting and removing the piece.

Anyway, this hep Italian cat that goes by the name of Antonio Rapacciuolo knows what he's doing! Ya dig?

-------
ttf_sabutin
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AR Resonance Mouthpieces

Post by ttf_sabutin » Sat Sep 16, 2017 1:24 pm

OK.I give up. How do I get ahold of one in NYC? Anybody? Do they ship on approval?

S.
ttf_ntap
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Post by ttf_ntap » Sat Sep 16, 2017 1:33 pm

Sam, I  have one. I'll text you.
ttf_griffinben
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Post by ttf_griffinben » Wed Oct 18, 2017 7:15 am

I purchased one of these about two weeks ago, a 25.1/60 with a 60/43/10.5 backbore.  Luke sent me out a few to try, four tops and two backbores.  The tops had inner rim diameters of 24.8mm, 25.1mm, 25.4mm, and 25.7mm.  The other backbore had a slightly longer throat (which I assume is cylindrical section) named a 60/40/10.5.

I gravitated toward the 25.1 and 24.8 tops.  My lips touch the sides/bottom of the 25.4 and 25.7, which didn't work too well for me.  I have a Bach Corp. 11C with a 6 1/2 rim threaded on and I don't bottom out on that one.  Your mileage may vary (They're making me up a 25.4 with a C+ cup now).  My lips tend to protrude a bit farther into the cup on larger rim sizes. 

Overall impression: this is a very stable mouthpiece with punch and power.  Bright, crisp sound.  In recordings I'm surprised at how much cleaner this mouthpiece sounds than most others I'm using.  I'm using it as a lead/commercial and Dixieland piece.  It feels a lot like a Greg Black 11C that I have, but punchier and more flexible.  I can move easier between low and high registers.  The rim profile reminds me of a Greg Black Bonilla model.  It works best for me on a .500 and smaller horn.  I've used it on my dual bore .500/.508 but that leaves me wanting a little more room to fatten the tone in middle and low registers.  Again, YMMV.  (I'm looking forward to trying out a 25.4 with C+ cup on this horn.) 

While I have dozens (hundreds?) of mouthpieces at home, this is on the short list of ones that I use regularly.  As a dedicated lead piece this fits the bill with the sound of a small mouthpiece that links with trumpets (11C/12C) while giving me a little more room to move around into the middle and low register without compromising the sound on top.  It was a close call, but I opted for the 25.1 over the 24.8 for that reason.  I'd definitely look at the 24.8 as a killer 11C mouthpiece with even more support up top.  I might pick one up later to have as an option. 

Luke was very easy to work with, I would put it on a short list of things to try if you are looking for a lead piece.

Ben
ttf_sabutin
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Post by ttf_sabutin » Wed Oct 18, 2017 9:17 am

Quote from: griffinben on Oct 18, 2017, 07:15AMI purchased one of these about two weeks ago, a 25.1/60 with a 60/43/10.5 backbore.  Luke sent me out a few to try, four tops and two backbores.  The tops had inner rim diameters of 24.8mm, 25.1mm, 25.4mm, and 25.7mm.  The other backbore had a slightly longer throat (which I assume is cylindrical section) named a 60/40/10.5.

I gravitated toward the 25.1 and 24.8 tops.  My lips touch the sides/bottom of the 25.4 and 25.7, which didn't work too well for me.  I have a Bach Corp. 11C with a 6 1/2 rim threaded on and I don't bottom out on that one.  Your mileage may vary (They're making me up a 25.4 with a C+ cup now).  My lips tend to protrude a bit farther into the cup on larger rim sizes. 

Overall impression: this is a very stable mouthpiece with punch and power.  Bright, crisp sound.  In recordings I'm surprised at how much cleaner this mouthpiece sounds than most others I'm using.  I'm using it as a lead/commercial and Dixieland piece.  It feels a lot like a Greg Black 11C that I have, but punchier and more flexible.  I can move easier between low and high registers.  The rim profile reminds me of a Greg Black Bonilla model.  It works best for me on a .500 and smaller horn.  I've used it on my dual bore .500/.508 but that leaves me wanting a little more room to fatten the tone in middle and low registers.  Again, YMMV.  (I'm looking forward to trying out a 25.4 with C+ cup on this horn.) 

While I have dozens (hundreds?) of mouthpieces at home, this is on the short list of ones that I use regularly.  As a dedicated lead piece this fits the bill with the sound of a small mouthpiece that links with trumpets (11C/12C) while giving me a little more room to move around into the middle and low register without compromising the sound on top.  It was a close call, but I opted for the 25.1 over the 24.8 for that reason.  I'd definitely look at the 24.8 as a killer 11C mouthpiece with even more support up top.  I might pick one up later to have as an option. 

Luke was very easy to work with, I would put it on a short list of things to try if you are looking for a lead piece.

Ben

Ben...

I just got one in the mail. (Not familiar w/the nomenclature yet...2540 60 m'pce and I gravitated to the more open of two shanks ...60 43 10 5, whatever that means.) I only spent about 10 minutes on it so far...I don't want to confuse my chops too much before the Kyle Saulnier concert in Boston Sunday. (I'm playing the lead book and...as you know...it's a bear!!!) However, I succumbed early this morning after a good warm up. On first blow, I agree with everything that you said. The rim feels a little larger and "thinner"...maybe just more rounded...than a 6.5, the cup is a little shallower and more "cuppy" than the ones on my good Mt. Vernon 6.5A and the Minick I got from you (They're actually quite similar cups, those two m/pces.) and...surprisingly...the throat looks exactly like a 6.5AL and the backbore and taper match my 6.5A almost exactly. I say "surprisingly" because it doesn't play or sound anything like a 6.5-ish piece. A very even blow right on up through the 8th partial to the 12th. Dunno about it timbrally yet...gotta take into an ensemble in a good room to be sure...but it seems to be a bit brighter than my Minick on the .500 horn. Less room to color...loud or soft, it sounds much the same. Dunno about forceful attacks yet, either. We'll see.

But initial reaction?

A damned good design.

Later...

S.

P.S. Luke? Ben? Whomever? Where can I find a chart regarding the available sizes of cups, rims and shanks? What do the numbers mean?
ttf_Blackthorne
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Post by ttf_Blackthorne » Fri Oct 20, 2017 8:22 am

Quote from: RJMason on Aug 24, 2017, 11:21AMHey Forum,

I wanted to offer a review of the AR mouthpiece I just purchased from Luke. He mailed it to me two weeks ago with three different backbones (shanks) to try. I was previously using a hammond 13M since 2010. Another great mouthpiece.

My cup and rim size are similar to the Bach 6.5 size. This mouthpiece gave me a lot more core in the sound. Everything felt more stable and consistent. I tend to play vintage horns or tinker with parts because I like unique characteristics in my horns, but was looking for a component that could give me a uniformity in sound and an ease of playing across all registers without adjusting my face too much, and this piece has done it.

It also isn't as unforgiving as a Monette piece is...I enjoyed a Prana piece briefly but in live situations where I was pushing and playing incredibly loud it would back up on me and punish me for playing it differently than the "Dave Monette approach". This piece encourages good habits without punishing you for bad ones. It feels comfortable on the lips and has a nice weight to it. Heavier than my old Hammond but I like the stability that provides.

Luke also sent me three different screw on backbore shanks to try. Labeled 40, 43, and 46. They definitely make a difference in how the overtones sound--40 makes them sound closer together and very punchy, and 46 the overtones are spread out and broaden up the sound, 43 was right in the middle. There are also different resistances levels. Mine is one of the most open.

It may sound confusing but Luke is a pro trombonist with a lot of knowledge of musical situations and gear, so if you describe which horns you play on, which size and type mouthpiece you currently play, and the styles of music you want to use this piece on, he will steer you in the right direction.

Out of the backbores he sent I picked the 46--I like a broader tone especially on my .500 horns since I play pretty loud and punchy already.

The mouthpiece is also satin silver and looks beautiful! For the first time ever on a show, an audience member pointed to me and yelled "I want your mouthpiece!!" Haha. So if you're looking for a statement piece this can be it.

I'm hoping to try the Symphonic pieces at some point since I feel these mouthpieces can provide the attributes Symphonic players strive for in their approach.

Feel free to ask me any other questions I'll keep you posted!

-Ray

It's nice to hear a comparison to Monette here, since I like their mouthpieces.  Maybe this would work even better for me.  Certainly something to consider.
ttf_The Sheriff
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Post by ttf_The Sheriff » Sat Oct 21, 2017 7:03 am

Quote from: griffinben on Oct 18, 2017, 07:15AMI purchased one of these about two weeks ago, a 25.1/60 with a 60/43/10.5 backbore.  Luke sent me out a few to try, four tops and two backbores.  The tops had inner rim diameters of 24.8mm, 25.1mm, 25.4mm, and 25.7mm.  The other backbore had a slightly longer throat (which I assume is cylindrical section) named a 60/40/10.5.

I gravitated toward the 25.1 and 24.8 tops.  My lips touch the sides/bottom of the 25.4 and 25.7, which didn't work too well for me.  I have a Bach Corp. 11C with a 6 1/2 rim threaded on and I don't bottom out on that one.  Your mileage may vary (They're making me up a 25.4 with a C+ cup now).  My lips tend to protrude a bit farther into the cup on larger rim sizes. 

Overall impression: this is a very stable mouthpiece with punch and power.  Bright, crisp sound.  In recordings I'm surprised at how much cleaner this mouthpiece sounds than most others I'm using.  I'm using it as a lead/commercial and Dixieland piece.  It feels a lot like a Greg Black 11C that I have, but punchier and more flexible.  I can move easier between low and high registers.  The rim profile reminds me of a Greg Black Bonilla model.  It works best for me on a .500 and smaller horn.  I've used it on my dual bore .500/.508 but that leaves me wanting a little more room to fatten the tone in middle and low registers.  Again, YMMV.  (I'm looking forward to trying out a 25.4 with C+ cup on this horn.) 

While I have dozens (hundreds?) of mouthpieces at home, this is on the short list of ones that I use regularly.  As a dedicated lead piece this fits the bill with the sound of a small mouthpiece that links with trumpets (11C/12C) while giving me a little more room to move around into the middle and low register without compromising the sound on top.  It was a close call, but I opted for the 25.1 over the 24.8 for that reason.  I'd definitely look at the 24.8 as a killer 11C mouthpiece with even more support up top.  I might pick one up later to have as an option. 

Luke was very easy to work with, I would put it on a short list of things to try if you are looking for a lead piece.

Ben

Ben, your impressions are virtually the same as mine. I'm probably going to pick up a 25.1mm cup to have as an option to my current 24.8mm. The 60 throat (6mm)(.236") is standard, I believe, throughout the small shank designs. The middle number, 40, 43, or 46, has to do with how far down, or the length of the throat is, (I think). The last number, 10.5 refers to how thin the shank is. There are thinner and thicker versions but I'm not sure which direction those numbers go as it pertains to the thickness of the shank. It's my understanding that the 43 throat/backbore and 10.5 shank are the most popular.

Perhaps Luke will chime in to bring some clarity to all of this.

Sam, this piece has made everything easier for me. What ever is in my head seems to come out a whole lot easier than any of my other pieces. So much so, that I only use the AR.
ttf_BGuttman
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Post by ttf_BGuttman » Sat Oct 21, 2017 8:48 am

For those interested, Antonio has enrolled as a member so you can send him messages.  I hope he chimes in soon.  I'm also interested in what is coming.
ttf_wgwbassbone
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Post by ttf_wgwbassbone » Sat Oct 21, 2017 10:33 am

Anyone played the bass bone pieces?
ttf_anonymous
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Post by ttf_anonymous » Sat Oct 21, 2017 10:40 am

Hello guys, nice to meet you all!
First time here, quick story about me: I'm an Air Traffic Controller in Italy (Breslmair is a former ATCo too, in Austria, strange coincidence!), I've been playing trumpet professionally for many years as a second job, collected a few hundreds trumpets, countless mouthpieces, immensely in love with brass instruments and curious by nature.
Long story short, I needed a mouthpiece that performed as I wanted, I couldn't have any maker do what I wanted, I bought a CNC lathe, I learnt by myself, I made a few prototypes, people loved them, I sold some, I bought another lathe, sold more, another lathe...
Next Tuesday I'll receive my 5th one, a HUGE one, finally my life will be a little easier, hopefully. Image

I also own and run the www.italiantrumpetforum.it, the biggest trumpet community in Italy, I'm sorry this forum is having connectivity issues, I know what it means. BIG kudos to the guy/guys who own and run it, it's not an easy task.

Back to the topic: first of all thanks to all of the guys who are writing such nice reviews, sales are important but happy customers are even more important!
I'm very glad Sam Burtis is playing one of my pieces, I remember talking about his videos about Vocal Overtones a few years back in my forum!

Here's a quick explanation of all the weird numbers:
60 is the throat, 6.0mm (European, sorry!)
There are 60 and 65 options for small shank mouthpieces but 95% of the customers use 60 as it's a bit of a standard and because you can have a wide array of feelings just by changing the rest of the backbore, most won't need the 65 option.
40-43-46 express how long the cylindrical part of the throat is (40 being the longest), this impacts how stable harmonics will be, how hard it will be to "lip bend" a note, how easy it is to center it, how hard you have to work to make a high note speak, how clean the articulation is, how difficult an harmonic slur is and, in part, how far apart the harmonics are.
The final number says how "open" the backbore is (bigger number=thinner wall at the end): this GREATLY impacts the back pressure feeling, the harmonic spread, the brightness of the sound, the articulation and other "minor" things.

I also have a Symphonic trombone and Bass trombone series, more in the next message.

I'll be more specific once I'm back home, wife calls, it's Saturday night here, I've made some 50 mouthpieces today, fingers hurt, nails are black and chipped, I need a shower and some food!

(Luke, THANKS A LOT! You are doing a great job, most of my sales are happening because of you!)
ttf_lmalewic
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Post by ttf_lmalewic » Sat Oct 21, 2017 12:26 pm

Quote from: wgwbassbone on Oct 21, 2017, 10:33AMAnyone played the bass bone pieces?

Not many bass trombone pieces yet in the US. I’ll have more of the pieces in about a week for a few interested guys to check out and hopefully they can post impressions and review on here about them. Stay tuned.
ttf_AR Resonance
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Post by ttf_AR Resonance » Sat Oct 21, 2017 12:49 pm

Not in the US but several in Europe and Australia, both for Symphonic and Big Band.
I'm proceeding with baby steps simply because trombone mouthpieces are relatively new and I'm struggling to make trumpet ones at the moment. My hope is that with the new lathe I will automate most of the steps freeing time to spend on trombone.

Here's a paper I've written with Luke regarding small shank mouthpieces, it's not in its final form but should give a rough idea of what to expect:

Resonance Trombone Mouthpieces
Small Shank Models

Rim Contour – The rim is slightly flat, a bit like a small shank Bach 3.

Cup – All the tops have a C style cup with a tendency to a V that is matched with a rather edgy entrance to the throat. This helps with stability and articulation. They work well in many jazz and commercial settings.

Throat – Each piece has a “60” designation meaning that it has a 6mm throat size. Throughout the testing phase this size has worked the best and you can adjust the overall performance of the piece with a different backbore. If you are used to playing small pieces with a larger throat a “65” or 6.5mm option is available.

Tops – Each top is named after its rim diameter in millimeters.
26.00 – Comparable to a Bach 4 size
25.70 – Comparable to a Bach 5 size.
25.40 – Comparable to a Bach 6.5 size.
25.10 – Comparable to a Bach 6.75 size.
24.80 – Comparable to a Bach 7 size.
24.50 – Comparable to a Bach 12 size.

Backbores – Below are the three of our most popular backbores.

60 40 10.5 – Close overtone spacing. Works well for players that use more compression.

60 43 10.5 – Middle of the road. Works the best for most players and is the backbore we usually suggest trying first.

60 46 10.5 – Widest overtone spacing. Works well for players that use open air and players looking for a more classical feel from the piece.

Other less popular sizes are 60 40 11, 60 43 11 and 60 46 11. These have a thinner shank than their counterparts so they offer a bigger/brighter sound with less slotting allowing the player to manipulate the pitch more. They are better suited for players who need to have more control over the instrument but they also require more precision by the performer. They are available upon request.
The remaining 3 sizes are 60 40 10, 60 43 10 and 60 46 10, noticeably tighter in feel with a much darker sound, specific for those who need a lot of air resistance. They also offer quite a compressed harmonic series.


What, I hope, sets my mouthpieces apart from most brands is the possibility to match any cup and rim to the kind of feeling, intonation, sound and articulation you like choosing among 9 (or more, if really needed) kinds of backbores.
This started when I was looking for "the perfect trumpet mouthpiece" years ago. Countless experiments lead me to the conclusion that what most players actually need is not a rim or a cup but rather the back pressure feeling that they expect from "the system". The system is a combination of factors: the receiver, the bell, the bore, the player, the mouthpiece, the room and so on. Once you find the right balance rims and cups are less and less important because the embouchure tends to relax more throughout the entire range and we players need to blow less air, push less against the teeth with obvious advantages in terms of ease, tone, intonation, sound and stamina.
In fact most (99% ?) of my customers don't even ask for different rims once they find the right backbore. The same happens with trumpet mouthpieces where, on average, players tend to push a lot more.
With most other brands, instead, you have very limited options for backbores and they generally are tied to specific cups and rims, so we tend to think that rims and cups are what define a mouthpiece.

Another region of the mouthpiece that I have experimented a lot on is the curve leading to the throat, that is a very important area because has a huge impact on articulation and stability without having to mess with the actual cup diameter, depth and shape. I have scanned countless mouthpieces and almost all have a similar design in that area. I've decided to go to a different route and I think/hope this is one of the reasons why the mouthpieces feel easy and focused.

Time for another break!
See you later!
ttf_cozzagiorgi
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Post by ttf_cozzagiorgi » Sat Oct 21, 2017 2:51 pm

I live in switzerland and am interested in trying out your symphonic and bass trombone mouthpieces. How can i go about trying them out?

I am curious to try them in high level english style brass bands where volume and articulation demands are particular.
ttf_The Sheriff
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Post by ttf_The Sheriff » Sat Oct 21, 2017 4:05 pm

-----

Great stuff, Antonio. Thanks for all of the information you have provided. A little light went on in my head head when you mentioned that what most players need is not a rim or a cup but rather the back pressure feeling that they expect from "the system". BINGO!! That's it, and it is what makes your mouthpiece so efficient and easy to play.

I find that playing your mouthpiece allows me to steer in a very musically satisfying direction, and I am sure the reason is because of the beautifully balanced system which allows for efficiency and ease of playing.

-----
ttf_AR Resonance
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Post by ttf_AR Resonance » Sat Oct 21, 2017 10:56 pm

Quote from: cozzagiorgi on Oct 21, 2017, 02:51PMI live in switzerland and am interested in trying out your symphonic and bass trombone mouthpieces. How can i go about trying them out?

I am curious to try them in high level english style brass bands where volume and articulation demands are particular.

Hello!
If you live where the Matterhorn is you are pretty close to Torino, in Italy, where I live.
ttf_wgwbassbone
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Post by ttf_wgwbassbone » Sun Oct 22, 2017 5:40 am

Quote from: lmalewic on Oct 21, 2017, 12:26PMNot many bass trombone pieces yet in the US. I’ll have more of the pieces in about a week for a few interested guys to check out and hopefully they can post impressions and review on here about them. Stay tuned.

I would be interested in the smallest rim size(27.6) piece.
ttf_AR Resonance
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Post by ttf_AR Resonance » Sun Oct 22, 2017 9:06 am

Here's a comparison chart for small shank mouthpieces:

https://docs.wixstatic.com/ugd/a6c7cc_1 ... 7d0faf.pdf

And here a list of sizes for the large shank ones, still working on a comparison chart:

https://docs.wixstatic.com/ugd/a6c7cc_6 ... 6f0af3.pdf

Also, here are some photos of mixed pieces, trumpet, trombone, tuba...

https://www.facebook.com/pg/arresonance ... 5750105041

Please let me know if I'm pushing it too much, I don't want to make this a sales pitch post.
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Post by ttf_anonymous » Wed Oct 25, 2017 4:12 pm

Hello all-

I recently got an AR Resonance mouthpiece from Luke (who has been great to deal with) and would like to share my experience.  I got a 24.8 top with three shanks- a 40, 43, and a 46.  On my .508 horn, the 40 was a tad tight.  The 43 was very usable, but I ended up feeling the most comfortable on the 46, the most open of the 3.  After a 30 minute acclimation warm up, I felt completely comfortable on it.  It is simply the quickest responding mouthpiece I’ve ever played.  There is zero lapse between what you think and what comes out.  Upper register is much improved from what I’m used to.  Everything feels very stable, and it's extremely easy to go between registers.  The pitch is also very stable, no matter how much air you put through the horn, it locks in.  The sound is very clean, clear and pleasant.  As The Sheriff stated, this mouthpiece makes me play like a better version of me.  Wow- I kept saying that over and over again.  I wasn’t even in the market for a new piece, but after 45 minutes, I couldn’t go back to my regular mouthpiece!  These guys are really on to something, and I'm excited to see what they'll come up with.  Especially with the bronze, copper, stainless steel and titanium possibilities in the future. 
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Post by ttf_The Sheriff » Fri Oct 27, 2017 2:38 pm

Quote from: JMartin on Oct 25, 2017, 04:12PMHello all-

I recently got an AR Resonance mouthpiece from Luke (who has been great to deal with) and would like to share my experience.  I got a 24.8 top with three shanks- a 40, 43, and a 46.  On my .508 horn, the 40 was a tad tight.  The 43 was very usable, but I ended up feeling the most comfortable on the 46, the most open of the 3.  After a 30 minute acclimation warm up, I felt completely comfortable on it.  It is simply the quickest responding mouthpiece I’ve ever played.  There is zero lapse between what you think and what comes out.  Upper register is much improved from what I’m used to.  Everything feels very stable, and it's extremely easy to go between registers.  The pitch is also very stable, no matter how much air you put through the horn, it locks in.  The sound is very clean, clear and pleasant.  As The Sheriff stated, this mouthpiece makes me play like a better version of me.  Wow- I kept saying that over and over again.  I wasn’t even in the market for a new piece, but after 45 minutes, I couldn’t go back to my regular mouthpiece!  These guys are really on to something, and I'm excited to see what they'll come up with.  Especially with the bronze, copper, stainless steel and titanium possibilities in the future. 

-----

Still diggin' it? I've had mine for a while now and it's my all time fave.

====
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Post by ttf_JMartin » Sat Oct 28, 2017 4:06 am

Quote from: The Sheriff on Oct 27, 2017, 02:38PM-----

Still diggin' it? I've had mine for a while now and it's my all time fave.

====

Hey Scott- 

Yes, I still love it.  This mouthpiece is magic.  It keeps getting better the more I play it.  There seems to be no limits on what it can do, other than my own weaknesses.  It makes me go for things I would normally shy away from, because I wasn’t sure they’d come out.   The equipment never gets in the way.  I’ve been telling everyone about these, because I think they’re really onto something.  I’d love to try the 25.1 at some point too, but I’m completely happy with the 24.8
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Post by ttf_The Sheriff » Sat Oct 28, 2017 6:20 am

Quote from: JMartin on Oct 28, 2017, 04:06AMHey Scott- 

Yes, I still love it.  This mouthpiece is magic.  It keeps getting better the more I play it.  There seems to be no limits on what it can do, other than my own weaknesses.  It makes me go for things I would normally shy away from, because I wasn’t sure they’d come out.   The equipment never gets in the way.  I’ve been telling everyone about these, because I think they’re really onto something.  I’d love to try the 25.1 at some point too, but I’m completely happy with the 24.8
----

I hear ya, brother! I had a chance to try Joel Adams' 25.1 top on my 43-10.5 shank and I'm gonna stick with the 24.8. If anything, I might pick up a 46-10.5 shank. I remember liking it when I was at Luke's place, but chose the 43-10.5 because it was "me" all the way. However, the 46-10.5 would be perfect for my church gigs. The first thing that popped into my mind when I tried it was.... "legit".

===

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Post by ttf_JMartin » Sat Oct 28, 2017 9:24 am

Quote from: The Sheriff on Oct 28, 2017, 06:20AM----

I hear ya, brother! I had a chance to try Joel Adams' 25.1 top on my 43-10.5 shank and I'm gonna stick with the 24.8. If anything, I might pick up a 46-10.5 shank. I remember liking it when I was at Luke's place, but chose the 43-10.5 because it was "me" all the way. However, the 46-10.5 would be perfect for my church gigs. The first thing that popped into my mind when I tried it was.... "legit".

===


Ah, Nice!  I have a buddy who is getting a 25.1 soon, so I’ll be able to check it out next week.  And I agree, for me, 46-10.5 made me a better “me”.  I can’t wait to see what the other metal options play like.  These guys know what they’re doing!
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Post by ttf_AR Resonance » Sat Oct 28, 2017 10:02 am

Thanks a LOT Jeff and Scott, these posts make me very happy!
I’ve finally had a couple of hours to record and edit a video with Luca Begonia, a wonderful musician from Italy who used to play with Clark Terry, and happens to be an AR Resonance Artist Image
Here a link to the video:

https://youtu.be/QstI_ITvVl4

I hope you like it!
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Post by ttf_The Sheriff » Sat Oct 28, 2017 10:34 am

Quote from: AR Resonance on Oct 28, 2017, 10:02AMThanks a LOT Jeff and Scott, these posts make me very happy!
I’ve finally had a couple of hours to record and edit a video with Luca Begonia, a wonderful musician from Italy who used to play with Clark Terry, and happens to be an AR Resonance Artist Image
Here a link to the video:

https://youtu.be/QstI_ITvVl4

I hope you like it!
====

You're welcome. Nice video. Thanks.

------
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Post by ttf_JMartin » Sat Oct 28, 2017 2:50 pm

Quote from: AR Resonance on Oct 28, 2017, 10:02AMThanks a LOT Jeff and Scott, these posts make me very happy!
I’ve finally had a couple of hours to record and edit a video with Luca Begonia, a wonderful musician from Italy who used to play with Clark Terry, and happens to be an AR Resonance Artist Image
Here a link to the video:

https://youtu.be/QstI_ITvVl4

I hope you like it!
Thanks for the video, and the great mouthpieces! 
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Post by ttf_anonymous » Thu Nov 02, 2017 5:43 am

Hi everyone,

I couldn't agree more with Jeff Martin on this!  I received the AR Resonance mouthpiece from Luke and I'm blown away.  First off, Luke is amazing to deal with.  He is professional, responds very quickly and just a super nice guy.  I received the same mouthpiece as Jeff, the 24.8 top with three shanks- a 40, 43, and a 46.  I play on a .500 bore and at first the 40 felt just a little tight for me.   So I moved to the 43 and I felt like I was at home right away.  I'm not an equipment junkie at all......I've been playing the same horns and mouthpieces for a long time.  But for some reason, this mouthpiece is allowing me to play WAY more efficiently than ever before.  The 46 feels a little more open but I kept going back to the 43 as that felt more comfortable for me.  After a week or so of playing on the 43 shank, I moved back to the 40 and it doesn't feel as tight anymore.  The slots in the upper and lower register are amazing.  You can scream in the upper register or you can play soft and high without any "crispy critters" sneaking into your sound.  The pitch locks in, articulation sounds great and it's just EASY to play.

I went back to my regular mouthpiece and it's just not the same.  Everyone I've played for on this mouthpiece absolute loves it more than what I was playing before.  Plus, it looks pretty cool! As a non-gearhead, I HIGHLY recommend checking this company out.  They are on to something and I can't wait to see what else they come out with.
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Post by ttf_dembonesMA » Thu Nov 02, 2017 7:22 pm

I've been waiting to jump in on this thread until I had extensive quality time on my AR Resonance mouthpiece.

I bought a 24.8 top a couple of months ago, to use with my Lawler .500 (fantastic, but that's another thread), and quickly settled on the 43 back bore. The first blow was an "ah-ha!" moment like other have described here - wow-this-is-amazing kind of reaction. Like earlier posts, the mouthpiece blew so freely, with less effort, and great tone and clear articulation all over the horn from top to bottom.

Over time that feeling persisted, though at times it felt too small to me. I had a really busy fall, with a few weekends where I had as many as seven gigs over three days, and along about the fourth or fifth gig the 24.8 would start to feel a little cramped. I asked Luke to send along a 25.1 top. For me, it is even better. More room, more flexibility, absolutely no loss in the upper register, and for me it accentuates all of the good qualities I was enjoying in the 24.8. To me, this supports AR Resonance's assertion that the back bore is at least as important as the rim and cup.

I agree with the comments from earlier posts, and would add that it feels like it encourages proper support and articulation. I've played *many* 11C's and most recently one from a highly-regarded custom maker that I played for several months and really liked it, but only when playing the AR did I realize how much I was fighting it, and prior pieces I had used. I am not fighting the AR, it's liberating my efforts.

Gotta say, really amazing. When I think about how long people have been making trombone mouthpieces, it's impressive to see such an improvement in something so simple.

And Luke is a great guy to work with. Flexible, responsive, and accommodating. And I've already paid for everything so I'm not buttering him up.

My 2 cents, and cheers,

Don Mikkelsen
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Post by ttf_Zandit75 » Thu Nov 02, 2017 8:44 pm

Wow, so many options, how do you make a decision?
I'm currently using a Schilke 59 on my Shires Trom, could someone suggest what the closest model from AR would be?
And just to throw in a complete newbie question, what different does the colour make, silver, rose or yellow gold?
I can see why there would be different sounds from bell made from different materials, but I honestly don't see how a MP made from different materials would make that much of a difference?
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Post by ttf_BGuttman » Fri Nov 03, 2017 5:52 am

Firstly, all the discussion so far has been on tenor mouthpieces; generally between 11C and 5G size.

For the question about color affecting the sound, the color you see is a plating -- most mouthpieces are made of brass.  The different materials (generally silver plate vs. gold plate) affect how the mouthpiece feels.  This may affect your playing but shouldn't.  I would be cautious about any "colored" gold plate since a common metal used to change the color is nickel and some have an allergy to nickel.
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Post by ttf_AR Resonance » Fri Nov 03, 2017 6:35 am

Again, thanks to ALL of you guys, these reviews are very welcome!
I don't believe the finish on a mouthpiece affects sound or at least not in a way most players say they perceive. I'm leaning more toward the idea that the FEEL of the material affects our perception and ability to relax while playing. Gold is definitely more slippery and feels warmer to most, this totally has an effect on how you can play and thus sound, that's for sure.
Colored gold can be obtained in different ways, in my case 99.999999% of my gold plated mouthpieces are 24Kt, no additional things like cobalt that many use for hardening the surface: it doesn't look the same as 24Kt gold in my opinion.
My rose gold is just a mixture of 24Kt with copper, no Nickel at all. While people can be allergic to anything nowadays copper is less likely than Nickel. Still, I think pure gold is the best option and, to me, looks better in person than rose gold.
Silver: you can't go wrong, less striking but cheaper and looks cool enough already. Image
(Soon-ish I'll make them in surgical grade steel and possibly in phosphor bronze)
Thanks a lot to everybody!
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Post by ttf_JMartin » Fri Nov 03, 2017 8:28 am

Quote from: AR Resonance on Nov 03, 2017, 06:35AMAgain, thanks to ALL of you guys, these reviews are very welcome!
I don't believe the finish on a mouthpiece affects sound or at least not in a way most players say they perceive. I'm leaning more toward the idea that the FEEL of the material affects our perception and ability to relax while playing. Gold is definitely more slippery and feels warmer to most, this totally has an effect on how you can play and thus sound, that's for sure.
Colored gold can be obtained in different ways, in my case 99.999999% of my gold plated mouthpieces are 24Kt, no additional things like cobalt that many use for hardening the surface: it doesn't look the same as 24Kt gold in my opinion.
My rose gold is just a mixture of 24Kt with copper, no Nickel at all. While people can be allergic to anything nowadays copper is less likely than Nickel. Still, I think pure gold is the best option and, to me, looks better in person than rose gold.
Silver: you can't go wrong, less striking but cheaper and looks cool enough already. Image
(Soon-ish I'll make them in surgical grade steel and possibly in phosphor bronze)
Thanks a lot to everybody!

 

I would love trying a bronze and stainless steel piece.  I’ll be on the lookout for those! 
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Post by ttf_Dukesboneman » Fri Nov 03, 2017 8:47 am

I`m becoming interested in these. I play (mostly) a Bach 7C.
Do they have a similar rim and how does the cup compare?
I really like the sound and feel of my 7C`s but.... being the gear geek that I am
has anyone played a 7C -ish model?
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Post by ttf_lmalewic » Fri Nov 03, 2017 9:24 am

Quote from: Dukesboneman on Nov 03, 2017, 08:47AMI`m becoming interested in these. I play (mostly) a Bach 7C.
Do they have a similar rim and how does the cup compare?
I really like the sound and feel of my 7C`s but.... being the gear geek that I am
has anyone played a 7C -ish model?

From the guys that have left a post I believe Don Mikkelsen is now playing a 25.1mm top and that would be the closest to a 7C size. Kevin Cerovich just tried the 25.1 as well and is ordering one in gold plate.
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Post by ttf_griffinben » Fri Nov 03, 2017 12:07 pm

I got my 25.4 V+ and C+ cups in this week.   

WOW.   

Totally blows my best Mt. Vernon 6 1/2AL out of the water.  I've gravitated more toward the V+; it's a little easier to blow through the harmonic series of the horn.  A little more slippery, which I like.  The C+ has more bounce but grips more.  I'm waiting to try some of the other backbores before making a final determination, i think the right backbore could make the C+ a good "lead" piece for me.  I'm hooked.

Everything is so stable, extremely easy to play in all ranges of the horn.  It doesn't have the same 'pop' up top as the standard C cup up high, but it's thicker and richer below middle Bb. 

Ben


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Post by ttf_The Sheriff » Fri Nov 03, 2017 1:47 pm

Quote from: Dukesboneman on Nov 03, 2017, 08:47AMI`m becoming interested in these. I play (mostly) a Bach 7C.
Do they have a similar rim and how does the cup compare?
I really like the sound and feel of my 7C`s but.... being the gear geek that I am
has anyone played a 7C -ish model?
---

See reply #22 and look at the comparison chart that Antonio provides a link to. The 24.8 top is closer to a 7C than the 25.1 according to the comparison chart. Try both.

==
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Post by ttf_Ellrod » Fri Nov 03, 2017 2:00 pm

Any comments re: large shank 4G-5G size? ~26.00mm
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Post by ttf_The Sheriff » Fri Nov 03, 2017 2:20 pm

Quote from: griffinben on Nov 03, 2017, 12:07PMI got my 25.4 V+ and C+ cups in this week.   

WOW.   

Totally blows my best Mt. Vernon 6 1/2AL out of the water.  I've gravitated more toward the V+; it's a little easier to blow through the harmonic series of the horn.  A little more slippery, which I like.  The C+ has more bounce but grips more.  I'm waiting to try some of the other backbores before making a final determination, i think the right backbore could make the C+ a good "lead" piece for me.  I'm hooked.

Everything is so stable, extremely easy to play in all ranges of the horn.  It doesn't have the same 'pop' up top as the standard C cup up high, but it's thicker and richer below middle Bb. 

Ben


----

Ben, if you would please, tell us more about the V+ and C+ cups. How they differ from the standard cup, etcetera.

Thanks...

===
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Post by ttf_JMartin » Fri Nov 03, 2017 5:55 pm

Quote from: The Sheriff on Nov 03, 2017, 02:20PM----

Ben, if you would please, tell us more about the V+ and C+ cups. How they differ from the standard cup, etcetera.

Thanks...

===

Yes, please.....I’d love to hear more, Ben. 
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Post by ttf_griffinben » Sat Nov 04, 2017 9:29 am

Quote from: The Sheriff on Nov 03, 2017, 02:20PM----

Ben, if you would please, tell us more about the V+ and C+ cups. How they differ from the standard cup, etcetera.

Thanks...

===
Quote from: JMartin on Nov 03, 2017, 05:55PMYes, please.....I’d love to hear more, Ben. 

It's been a while since I've been measuring mouthpieces, but in general, the V+ and C+ cups are a fair amount deeper than the "C" cup I have.  They feel more a kin to a 6 1/2AL cup in terms of depth, with the V+ feeling a bit deeper than the C+.    The cups seem to continue a similar angle/contour to this depth with the C+ "bowling", or flattening, out considerably before going into the cup and the V+ being much more seamless. 

Playing characteristics of the V+ is as different as a 12C to a 6 1/2AL.  The 25.1 C cup I have feels punchy and supportive, and a crushing upper register.  The V+ and C+ definitely have more room and feel larger.  More air is needed to support.  I keep coming back to a 6 1/2AL comparison and I feel it's apt.  But it feels rounder and more supported than any 6 1/2 I've played.  The sound doesn't get away from you.  Does that make sense?

The C+ is a different animal that I haven't completely figured out.  It has some of the punch of the normal "C" cup, but it doesn't move as easily between harmonics.  It feel too locked into certain notes.  Perhaps a different backbore will help alleviate this, as the sound is a bit denser than the V+, and I thinkt hat could be really useful in some situations.

Definitely apples and oranges.  I'm using my 43 backbore that I picked out with the 25.1 top.  I'm looking forward to checking otu different backbores with these tops.

Ben

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Post by ttf_sabutin » Sat Nov 04, 2017 9:43 am

Quote from: griffinben on Nov 04, 2017, 09:29AMIt's been a while since I've been measuring mouthpieces, but in general, the V+ and C+ cups are a fair amount deeper than the "C" cup I have.  They feel more a kin to a 6 1/2AL cup in terms of depth, with the V+ feeling a bit deeper than the C+.    The cups seem to continue a similar angle/contour to this depth with the C+ "bowling", or flattening, out considerably before going into the cup and the V+ being much more seamless. 

Playing characteristics of the V+ is as different as a 12C to a 6 1/2AL.  The 25.1 C cup I have feels punchy and supportive, and a crushing upper register.  The V+ and C+ definitely have more room and feel larger.  More air is needed to support.  I keep coming back to a 6 1/2AL comparison and I feel it's apt.  But it feels rounder and more supported than any 6 1/2 I've played.  The sound doesn't get away from you.  Does that make sense?

The C+ is a different animal that I haven't completely figured out.  It has some of the punch of the normal "C" cup, but it doesn't move as easily between harmonics.  It feel too locked into certain notes.  Perhaps a different backbore will help alleviate this, as the sound is a bit denser than the V+, and I thinkt hat could be really useful in some situations.

Definitely apples and oranges.  I'm using my 43 backbore that I picked out with the 25.1 top.  I'm looking forward to checking otu different backbores with these tops.

Ben


Ben...

Are you going to be in the NYC area any time soon? I'd really like to try those cup variations.

Sam
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Post by ttf_ntap » Sat Nov 04, 2017 9:44 am

Quote from: sabutin on Nov 04, 2017, 09:43AMBen...

Are you going to be in the NYC area any time soon? I'd really like to try those cup variations.

Sam

Ditto that.
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Post by ttf_AR Resonance » Sat Nov 04, 2017 10:45 am

Image


https://www.dropbox.com/s/f3anz3udzs1d7 ... 8.jpg?dl=0

Hello!
I'll do my best to explain how they look and what they are meant for and please excuse me if I'm using a highly modified drawing (distorted on purpose in both axis and in the features themselves) but it's way too easy nowadays to replicate stuff that costed me so much time to prototype.
The idea behind the C+ is to increase the sense of stability of the harmonics and "punch" in the attacks and in the articulation. That curve serves for this scope and the way that curve changes from concave to convex brings to the other feature that's in a way what defines my mouthpieces on the cup side of them: the "transition to the throat".
There are no less than 10 parameters that play a role on how a mouthpiece sounds and feels and what we generally have access to when we want to change a parameter of a mouthpieces is, in most cases, just different cup options. To me this is like saying that to have a smoother running feel on a shoe you need to get a couple of sizes more. Or that a better grip on the sole is achieved by tightening the shoe laces.
Those curves are the cup-side homologous to the different shapes of the backbores I make: you shouldn't change what is familiar and appreciated (rim shape and diameter, cup volume and so on) to achieve different sound, performance, intonation, articulation and so on.

The V+ is a tick more towards what a trumpet player would call "a flugely sound" (well, that's how an Italian would translate it...): smoother sound, slots less defined and more prone to bending, slippery feeling when doing slurred harmonics and so on. It also feels more open even if the throat and backbore are the same. I would say it has a less brassy sound that can be very good in certain situations but it's a bit harder to tame.

Technically speaking the C+ has the same cup depth as my standard one but it's indeed perceived as deeper (that's why I hardly do what a player asks when he wants to modify something, I instead do what I know will make the player feel what he wants, unless the player already has direct experience with mouthpiece makers). In a way I wouldn't call the V+ a deeper cup as well, it's simply a different concept, not really related to the standard one.
But then we get to the hard topic of defining geometry, feeling and sound with words: where do we measure the depth? When does a cup end and where does the throat begin? When do we measure the internal diameter of a continuous curve?

Hope it makes sense!

What is important to me is that everyone is different (and every instrument is different!) and there is no chance a single size can fit all, that's why I make different backbores and cups. Image

Ciao!
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Post by ttf_AR Resonance » Sat Nov 04, 2017 10:50 am

Dropbox saved me again! Image
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Post by ttf_BGuttman » Sat Nov 04, 2017 10:50 am

For images, see here:

http://tromboneforum.org/index.php/topic,75147.0.html

Note that the Forum is not accepting images of any kind for upload; even to the Gallery.  You need to host your image somewhere else and "point" to it here using IMG tags as explained in the thread.

Looking forward to more edification.
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