Comparisons and experiences, please

[musicofnote]

For the last 18 months or so I've been very happy with my Markey 87 and 85 mouthpieces on my lovely Shires Q36GR. Then I dragged out my old Greg Black 1 7/16 medium and while different, except in the lowest register, I actually liked it a lot. But ... it does now appear to be a tad small.


Can anyone tell their experiences with.....
Greg Black 1 5/16 vs Markey 85

and/or

Greg Black 1 1/4 (.312" bore) vs Markey 87

the good, the bad, the ugly.

While I like the 87, I sometimes get the feeling, that being forgiving with wide slots, it's also an air hog. But produces a dark, deep sound that blows the wall down.

The 85 is a bit punchier, demands a tad more attention to hitting the "center" of the note, also dark, with maybe better projection, but rather bores a hole in the wall rather than blows it down.

My Greg Black 1 7/16 medium sits in the middle but the lowest register, especially around pedal e-flat/D is more difficult. The highest register sings like the 85 and has an even darker sound than either without losing weight or strength.

(similar or different experiences. - thanks)

[boneberg]

For the last 18 months or so I've been very happy with my Markey 87 and 85 mouthpieces on my lovely Shires Q36GR. Then I dragged out my old Greg Black 1 7/16 medium and while different, except in the lowest register, I actually liked it a lot. But ... it does now appear to be a tad small.


Can anyone tell their experiences with.....
Greg Black 1 5/16 vs Markey 85

and/or

Greg Black 1 1/4 (.312" bore) vs Markey 87

the good, the bad, the ugly.

While I like the 87, I sometimes get the feeling, that being forgiving with wide slots, it's also an air hog. But produces a dark, deep sound that blows the wall down.

The 85 is a bit punchier, demands a tad more attention to hitting the "center" of the note, also dark, with maybe better projection, but rather bores a hole in the wall rather than blows it down.

My Greg Black 1 7/16 medium sits in the middle but the lowest register, especially around pedal e-flat/D is more difficult. The highest register sings like the 85 and has an even darker sound than either without losing weight or strength.

(similar or different experiences. - thanks)

I had a similar question a little while back (see link below). I've found that the GB 1 5/16G und the 1 1/4G .312/#2 work best for me. The 1 1/4G uses a lot of air.

viewtopic.php?t=40893

[Burgerbob]

The 87 is far, far more efficient (on some horns!) than basically any GB you care to name. The 1 1/4G is not even close.

But of course it has to be the right match for the instrument.

[boneberg]

Is there a big difference (other than the size of course) between the sound/efficiency of the 87 and 85? The 85 seemed like a laser beam when pushed compared to the 1 5/16G.
Wait, there is a considerable difference between sound and efficiency here!

[Burgerbob]

Is there a big difference (other than the size of course) between the sound/efficiency of the 87 and 85? The 85 seemed like a laser beam when pushed compared to the 1 5/16G.
Wait, there is a considerable difference between sound and efficiency here!

Yes, 85 is considerably smaller in all ways to the 87 and the sound is correspondent to that.

[JTeagarden]

I play a Markey 87 with my Bach 50, and it seems to hit a real sweet spot in terms of efficiency and clarity of the sound, big but not woofy at all, but it's not a good fit for my King 6B (seems like a combination of simply being too big and shank taper, inserting way too far into the leadpipe, a Rath 1-1/4 W that I had hanging around is actually a much better fit...)

[musicofnote]

I just spent an hour doing Bordogni for Tuba etudes (lots of fun) and switching between the Markey 85 and the Greg Black 1 7/16.

Findings today (grin):
Markey - a tad more difficult to play accurately in the low to pedal range, maybe because of that crispness of the left side of the note with however a rather wide slot. Yeah, the notes speak quickly, but allow for sloppiness. When playing in middle range and opening up, the sound brightens - not unpleasantly but it does get bright.
GB – there seems to be a little bit more resistance in the blow, which helps the accuracy on the lowest register. I get the feeling I can lean into the mouthpiece and get something back from it, whereas I don't fall into the Markey, but it doesn't help/support me either. When I step on the gas in the middle register, the sound gets broad, but stays dark and powerful - which frankly, I like better. Downside, I do have to concentrate a bit more in the low-middle to low register, can't slop into notes and have them speak. but I found I could get used to this. Not relying on my own lack of precision of playing is a good habit to develop.

I really am leaning so slightly toward the GB, BUT would love to try a 1 5/16 or even 1 1/4 to see if these playing characteristics carry over. I had a 1 3/8 but I remember that didn't suit me, neither the feel nor the response, so sold it.

[Kbiggs]

FWIW, I’ve played a Markey 87 for about 3 years now. Previously, I was going back and forth between that mpc., a GB 1 5/16, and a DE LB 113/L/L8. I’m thinking about a DE XB w/the same specs.

I recently tested the Markey and the GB again back-to-back during a few rehearsals and practices.*

Markey: A slightly smaller ID than the GB, and a more comfortable rim. It has more resistance/compression that the GB, but it’s easier to play and sound with more presence and projection when played with less tension. A reasonably wide slot, but fairly easy to find the sweet spot for each note.

GB: seems a little “wild” on this horn. Harder to find the sweet spot, and more difficult to slot into place. The rim is narrower, which might have something to do with it, as well as the larger throat and the more bowl-shaped cup. The backbore is also larger.

If I were to go down the path of exploring the GB more, I would probably try one with his narrower throat/backbore combination.

*I play a modified Bach 50B3, stock 50 pipe (sometimes a 50 Open), with an M/K nickel crook, Instrument Innovations valves, and a yellow Corporation bell.

[musicofnote]

Update:

I've been spending most of the time on the Greg Black 1 7/16G. When I go back to either of the Griego Markey, while they speak easier, their tone is wider, brighter and not as pleasant to my ear or my wife's (on blind listening, and she's a professional pianist). We both agreed, that in terms of tone quality, the GB has a punctuated but dark, clear sound. The Markeys sound, in direct comparison, a little bright. She liked the compacter sound of the GB when playing soft. I did too.

Now the Markeys are not bad, but going back and forth the GB appeals more and more to me. In terms of response, the more I get into the GB, the more accurate I'm getting, in all registers, which ... has changed over the days. Even the lowest register is cleaning up, maybe because I'm learning to zero in better on the notes and not simply letting the mouthpiece do it. The Markeys, especially the 87 were allowing sloppy playing on my part.

So I went ahead and ordered a new 1 5/16G from the German on-line store. Against my better judgement, but there simply doesn't seem to be a european* or asian* mouthpiece maker in the same league with a better offering - or prove me wrong....

* and just for giggles, I pulled out a couple of my Wedges (109 Hybrid, 110 large bore, s59) I'd played for almost 10 years. They were spot on then, helped fix a small playing deficit I had, but ... moving on.

[WGWTR180]

Yes the more time you spend on any other mouthpiece you will discover its good and bad points. Assuming you've only been at this for ten days give it 30-60 days and then let us know.

[tbonesullivan]

The issue with comparisons is that it takes a while, and depends on the person. For me it takes me at least a week to really get "used to" a mouthpiece. There's always an acclimation period. Then if you are comparing anything to a Greg Black, it depends on all the options for that particular mouthpiece with regards to throat, weight, and so forth, all within the same rim size.

[musicofnote]

The issue with comparisons is that it takes a while, and depends on the person. For me it takes me at least a week to really get "used to" a mouthpiece. There's always an acclimation period. Then if you are comparing anything to a Greg Black, it depends on all the options for that particular mouthpiece with regards to throat, weight, and so forth, all within the same rim size.

It depends upon what and how you're comparing. Comparing dimensions, is ... ok, but I'm only comparing these three because I've got these three (discounting the Wedges) on hand.

At then end of the day though, the comparison of raw dimensions is at best secondary to comparing them in terms of:
response, ie ease of playing, achieved accuracy, acheived intonation
tone color

I could as easily hide all outwardly characteristics and simply concentrate on the playing characteristics. So there isn't a goal in terms of biggest or deepest or largest throat or anything mundane like that. What I'm looking for is the piece that gives me the best version of tone color from top to bottom that I can find as well as the one that gives me the best combination of ease of playing from top to bottom. I -thought- I'd found that in the Markey pieces, although I did have to admit, they had their weaknesses necessitating choosing one for certain kinds of music and one for other kinds of music. Let's see if that's the case with GB, the more important question.

[EriKon]

I play a Markey 87 with my Bach 50, and it seems to hit a real sweet spot in terms of efficiency and clarity of the sound, big but not woofy at all, but it's not a good fit for my King 6B (seems like a combination of simply being too big and shank taper, inserting way too far into the leadpipe, a Rath 1-1/4 W that I had hanging around is actually a much better fit...)

Interesting. I'm currently playing a Markey 87 on my Duo Gravis for about one and a half months. I've been on a Doug Elliott Setup and a Markey 85 before that. Compared to the 85, the 87 made articulations and the sound much more clear although the 85 actually sounded a little more round on that instrument. But the 87 being cleaner made me stay with this one now especially since I'm mostly playing bass tb in mic'd up situations at musical theatres. I personally like the 87 being a little more forgiving as I'm also mostly switching in between tenor and bass within one show and also often playing different horns for different shows. So it is nice to have some room that forgives some flaws in my side. Airwise I find the Markeys really efficient, more efficient than anything else I own.

[tbonesullivan]

Interesting. I'm currently playing a Markey 87 on my Duo Gravis for about one and a half months. I've been on a Doug Elliott Setup and a Markey 85 before that. Compared to the 85, the 87 made articulations and the sound much more clear although the 85 actually sounded a little more round on that instrument. But the 87 being cleaner made me stay with this one now especially since I'm mostly playing bass tb in mic'd up situations at musical theatres. I personally like the 87 being a little more forgiving as I'm also mostly switching in between tenor and bass within one show and also often playing different horns for different shows. So it is nice to have some room that forgives some flaws in my side. Airwise I find the Markeys really efficient, more efficient than anything else I own.

I had the 85 first, and then got the 87, after which the 85 was put back in the box. I didn't notice a huge difference but my low range was a bit better and I felt the sound was a bit more "orchestral". They also definitely are quite efficient, and I rarely have to worry about running out of air even in low and/or loud passages.

I've thought about getting a 90 just to see, but decided against it as that just seems to be a bit too big in terms of size for me. If I really need a mouthpiece for playing below the staff all the time I already have one, which never gets used, a Doug Yeo

[EriKon]

Interesting. I'm currently playing a Markey 87 on my Duo Gravis for about one and a half months. I've been on a Doug Elliott Setup and a Markey 85 before that. Compared to the 85, the 87 made articulations and the sound much more clear although the 85 actually sounded a little more round on that instrument. But the 87 being cleaner made me stay with this one now especially since I'm mostly playing bass tb in mic'd up situations at musical theatres. I personally like the 87 being a little more forgiving as I'm also mostly switching in between tenor and bass within one show and also often playing different horns for different shows. So it is nice to have some room that forgives some flaws in my side. Airwise I find the Markeys really efficient, more efficient than anything else I own.

I had the 85 first, and then got the 87, after which the 85 was put back in the box. I didn't notice a huge difference but my low range was a bit better and I felt the sound was a bit more "orchestral". They also definitely are quite efficient, and I rarely have to worry about running out of air even in low and/or loud passages.

I've thought about getting a 90 just to see, but decided against it as that just seems to be a bit too big in terms of size for me. If I really need a mouthpiece for playing below the staff all the time I already have one, which never gets used, a Doug Yeo

That sounds similar to my experience and to my mouthpiece staple. I also have the Doug Yeo in case I need the low end for really long stretches

[JTeagarden]

I am withholding judgment on what ultimately works best with my duo gravis once Scott Sweeney has overhauled it, there are any number of problems with it that make any kind of decision about an appropriate MP premature until these problems are worked out, so keeping some MPs around to test out once I get the horn back.

[musicofnote]

I play a Markey 87 with my Bach 50, and it seems to hit a real sweet spot in terms of efficiency and clarity of the sound, big but not woofy at all, but it's not a good fit for my King 6B (seems like a combination of simply being too big and shank taper, inserting way too far into the leadpipe, a Rath 1-1/4 W that I had hanging around is actually a much better fit...)

So it is nice to have some room that forgives some flaws in my side. Airwise I find the Markeys really efficient, more efficient than anything else I own.

It was the "forgiving" quality that I noticed in comparison. The slots, especially downstairs are wider than the Greg Black. Which allowed me to get sloppy - what I also noticed on the GB. With the GB, once I started being more precise in my playing, the notes entered well and the sound improved to what I was looking for. I won't say it's more difficult, it just is ... more demanding. But the telling point is the wound. the sound of the GB appeals to me more and once I could zero in the notes (more accurately centered), I got to liking it more. So while the Markeys are more comfy for my laziness, the result was less pleasing to my ear (and my wife's). I also noticed, that I do better in terms of endurance, with the tad more resistance in all registers the GB offers. Almost as if the Markeys were too easy, too open. My chops simply run out of gas earlier with the Markey - they feel great until I lose the flexibility going from the middle up or down to the extremes. But this is a very individual thing, only applicable to me. What I'm hoping for in the 1 5/16G GB? more of the same with a slight edge to the bottom register, hopefully without losing the upper register. We'll see.

[boneberg]

So it is nice to have some room that forgives some flaws in my side. Airwise I find the Markeys really efficient, more efficient than anything else I own.

It was the "forgiving" quality that I noticed in comparison. The slots, especially downstairs are wider than the Greg Black. Which allowed me to get sloppy - what I also noticed on the GB. With the GB, once I started being more precise in my playing, the notes entered well and the sound improved to what I was looking for. I won't say it's more difficult, it just is ... more demanding. But the telling point is the wound. the sound of the GB appeals to me more and once I could zero in the notes (more accurately centered), I got to liking it more. So while the Markeys are more comfy for my laziness, the result was less pleasing to my ear (and my wife's). I also noticed, that I do better in terms of endurance, with the tad more resistance in all registers the GB offers. Almost as if the Markeys were too easy, too open. My chops simply run out of gas earlier with the Markey - they feel great until I lose the flexibility going from the middle up or down to the extremes. But this is a very individual thing, only applicable to me. What I'm hoping for in the 1 5/16G GB? more of the same with a slight edge to the bottom register, hopefully without losing the upper register. We'll see.

I think you are on to something here... Good luck!

[bassclef]

What I'm hoping for in the 1 5/16G GB? more of the same with a slight edge to the bottom register, hopefully without losing the upper register. We'll see.

I have been enjoying reading your observations.

Have you thought about trying the GB 1 3/8G, as it's in between the 1 5/16G and 1 7/16G? That's not a passive-aggressive statement that you should, I'm genuinely curious.

I suppose there's actually 2 different 1 3/8's - the G and the GD cup which is the same cup the 1 5/16G has.

I was playing a 1 7/16 for a few years starting right when they were released. Fairly happy with everything, but I began to want something with a little more room while having slightly less resistance and accompanied by the exact same things I underlined in your quoted post excerpt above. I found it with the 1 3/8G and have been there since...though I have been a little 1 5/16G curious for a while now so I am following along here!

[musicofnote]

What I'm hoping for in the 1 5/16G GB? more of the same with a slight edge to the bottom register, hopefully without losing the upper register. We'll see.

I have been enjoying reading your observations.

Have you thought about trying the GB 1 3/8G, as it's in between the 1 5/16G and 1 7/16G? That's not a passive-aggressive statement that you should, I'm genuinely curious.

I suppose there's actually 2 different 1 3/8's - the G and the GD cup which is the same cup the 1 5/16G has.

I was playing a 1 7/16 for a few years starting right when they were released. Fairly happy with everything, but I began to want something with a little more room while having slightly less resistance and accompanied by the exact same things I underlined in your quoted post excerpt above. I found it with the 1 3/8G and have been there since...though I have been a little 1 5/16G curious for a while now so I am following along here!

I had a 1 3/8G medium about 2 years ago and ... didn't like the rim. I found it, at the time, to me too large for me. Funny, that after having played so long on a Markey 87, that the 1 7/16G doesn't seem too small. So ... I ordered that 1 5/16G and will see how that goes. Still liking the basic sound in all registers and dynamics better than the Markeys. In comparison, the Markeys sound brighter, not bad, but I prefer a darker sound, but one with body and without air in it. When people love what they call a dark sound, I often hear a lot of air in the sound, so I'm very ... much wanting the darkness without that air.

[musicofnote]

My Greg Black 1 5/16G -medium came, a month earlier than expected, 2 weeks ago. I'd ordered it from https://www.thomannmusic.ch which is a Swiss branch of the huge German store of the same name - order from the Swiss company and you are in Switzerland, they don't charge extra for customs or shipping and the price is literally the same as the web-price directly from GB. Plus, 5 months after ordering directly from GB beginning of 2025, I canceled that order when they still couldn't give me a delivery date. Thomann has always been very quick.

Anyway, on to the important part. How does the new mouthpiece work? While also playing with the smaller sister, the 1 7/16G medium, the main playing differences were between the Markey 85, 87, 1 7/16 and 1 5/16, are that ...
1) the GB slots seemed a bit narrower than either the Markey 85 or 87. This demanded, I do a bit more work in zeroing in on the pitches, not relying on the slots to pull me in - which the first Markey response is "wow, easy to play and be accurate." but later I noticed, especially in the lower registers, scooping which negatively affected the intonation.
2) there was ever so tiny bit more resistance in the GB, both of them, which especially helped in the lower register, especially when I had to play very low and softly. Markey ... just allowed me to get on with playing loud, because soft would cut out on me. So, loud is good too - which is not really a musical solution. And the basic tone quality of the GB didn't suffer because with the resistance came a bit more embouchure and air support.
3) the upper register of the 1 5/16th responded similarly to the upper register on the Markey 87. On both the 85 and the 1 7/16, the upper register was work. With the two relatively larger pieces, I feel my lips have just that more space in the mouthpiece to work for the upper notes, so my result is the opposite of expected - the upper registers from f up to c in the treble staff speak more reliably with the 1 5/16G with good sound and intonation, where it was a chore on the 1 7/16G, but doable, it's a good measure "easier" on the bigger ones - and going down and back up again. My test is not a certain excerpt (although they too figure in) but, starting on a b-flat or c and doing an arpeggio up to the stratosphere, then back down to pedal f and back up again to the highest note (b-flat or c) and back to the middle one. All on one breath. Doable on the smaller pieces, more so on the larger.
4) The Markey, both of them do "speak" quicker than the GB. Do denying that. No matter where on the slot you hit the note. But the Markey slots are so wide, that the note "sounds" fine and speaks that quick no matter where you hit it, so ... you get the illusion you're playing terrifically. But in terms of intonation, you're not necessarily doing so. The GB needs more attention but both with heavy articulations as well as legato, even though not as quick, the results that one hears (yes I recorded myself playing multiple excerpts on all pieces) when one has gotten used to the speed, is comparable if not for my taste with my playing better, ESPECIALLY the legato. Punchiness, after some work, is great on both, but legato to my ear I can accomplish better on the 1 5/16th followed by the 1 7/16.

After I prepared this, I stuck the 1 7/16 and the two Markeys in my mouthpiece drawer. Maybe to sell, maybe not. Along with my Wedges, which I loved for 10 years but I no longer need.

[musicofnote]

My Greg Black 1 5/16G -medium came, a month earlier than expected, 2 weeks ago. I'd ordered it from https://www.thomannmusic.ch which is a Swiss branch of the huge German store of the same name - order from the Swiss company and you are in Switzerland, they don't charge extra for customs or shipping and the price is literally the same as the web-price directly from GB. Plus, 5 months after ordering directly from GB beginning of 2025, I canceled that order when they still couldn't give me a delivery date. Thomann has always been very quick.

Anyway, on to the important part. How does the new mouthpiece work? While also playing with the smaller sister, the 1 7/16G medium, the main playing differences were between the Markey 85, 87, 1 7/16 and 1 5/16, are that ...
1) the GB slots seemed a bit narrower than either the Markey 85 or 87. This demanded, I do a bit more work in zeroing in on the pitches, not relying on the slots to pull me in - which the first Markey response is "wow, easy to play and be accurate." but later I noticed, especially in the lower registers, scooping which negatively affected the intonation.
2) there was ever so tiny bit more resistance in the GB, both of them, which especially helped in the lower register, especially when I had to play very low and softly. Markey ... just allowed me to get on with playing loud, because soft would cut out on me. So, loud is good too - which is not really a musical solution. And the basic tone quality of the GB didn't suffer because with the resistance came a bit more embouchure and air support. And reminds me again, that I personally DO need just a bit of resistance - too open is not good for me.
3) the upper register of the 1 5/16th responded similarly to the upper register on the Markey 87. On both the 85 and the 1 7/16, the upper register was work. With the two relatively larger pieces, I feel my lips have just that more space in the mouthpiece to work for the upper notes, so my result is the opposite of expected - the upper registers from f up to c in the treble staff speak more reliably with the 1 5/16G with good sound and intonation, where it was a chore on the 1 7/16G, but doable, it's a good measure "easier" on the bigger ones - and going down and back up again. My test is not a certain excerpt (although they too figure in) but, starting on a b-flat or c and doing an arpeggio up to the stratosphere, then back down to pedal f and back up again to the highest note (b-flat or c) and back to the middle one. All on one breath. Doable on the smaller pieces, more so on the larger.
4) The Markey, both of them do "speak" quicker than the GB. No denying that. No matter where on the slot you hit the note. But the Markey slots are so wide, that the note "sounds" fine and speaks that quick no matter where you hit it, so ... you get the illusion you're playing terrifically. But in terms of intonation, you're not necessarily doing so. The GB needs more attention but both with heavy articulations as well as legato, even though not as quick, the results that one hears (yes I recorded myself playing multiple excerpts on all pieces) when one has gotten used to the speed, is comparable if not for my taste with my playing better, ESPECIALLY the legato. Punchiness, after some work, is great on both, but legato to my ear I can accomplish better on the 1 5/16th followed by the 1 7/16.

After I prepared this, I stuck the 1 7/16 and the two Markeys in my mouthpiece drawer. Maybe to sell, maybe not. Along with my Wedges, which I loved for 10 years but I no longer need.

[boneberg]

My Greg Black 1 5/16G -medium came, a month earlier than expected, 2 weeks ago. I'd ordered it from https://www.thomannmusic.ch which is a Swiss branch of the huge German store of the same name - order from the Swiss company and you are in Switzerland, they don't charge extra for customs or shipping and the price is literally the same as the web-price directly from GB. Plus, 5 months after ordering directly from GB beginning of 2025, I canceled that order when they still couldn't give me a delivery date. Thomann has always been very quick.

Just curious, musicofnote...
Was this a custom order through thomann.ch, or was it something they had in stock? I'm asking because I ordered a custom GB almost year ago through a dealer and have never gotten a clear delivery date.

[musicofnote]

No, this was a custom order. Thomann told me to get the exact specs from the GB web site (probably knowing I -could- just order right then and there), so I did that, sent them the information and a little under 2 months later got the email, that it was underway from them to me. Which means, GB sent THEM the mouthpiece, which they simply forwarded to me. And compared with the GB website, I saved about US$45 on shipping. I assume, that because Thomann has GB mouthpieces in stock - this wasn't one of those - that they get some kind of "special handling" from the GB office in the US, being that they sell to the entire German speaking Europe and have a store in UK too. As a matter of fact, when I was "fighting" with GB about that direct order for which they couldn't give me a shipping date after 5 months, I told them, I'd never order again from them, when I could get faster service from volume-dealers they supply. But I didn't mention names - they just told me to go ahead and do business that way, they didn't need my direct business. So ... I did. Again. And Thomann isn't the only volume-dealer I've bought a GB mp from.

[Rusty]

You might also consider comparing the same models in regular weight. I’ve tried both the 1 7/16G and 1 1/2G in both medium and regular, and the 1 3/8GM medium, and I feel the regular weight has a quicker response, more colour or sparkle to the sound, and perhaps an easier time moving between partials. The medium weight is more stable with perhaps more core at louder dynamics. All a balance with you and the horn of course, and usually comes down to personal preference.

[musicofnote]

On of the things I like is the slightly darker sound of these GB pieces plus the actual tad of resistance they offer. I went through the "less resistance is better" style decades ago on the trumpet, but it turned out to be categorically the wrong direction for me. If I'd continued with the trumpet I might even have gone the other direction with the hunks of metal added to the trumpet, like some of the Monettes. When I was still playing Wedges, I preferred both the all-metal and hybrid models with the Wedge tone ring added. And I have a Tone Halo on my Shires Q36GR both of which I love. The instrument itself has great even response throughout the registers, but for me almost too free blowing and the tone halo give me just the right amount a minimal resistance, but just as evenly throughout the registers.

As to "moving between the partials ... after warmup today, including Tuba Rochet, I pulled out the Bilger 3 studies and did the first three - when I rely on my playing ear to nail the intervals instead of the wide net-like slots, this etudes worked really well. Would have worked as well in terms of playing feel on the Markey 87, but would have sounded ... not quite as clean as the GB. I'd prefer doing the work than trusting the mouthpiece to.

[musicofnote]

Another 3 weeks down the line and still loving the Greg Black 1 5/16G medium. Briefly tried again the Markeys and thought .... "nah..." and went back to the GB. Still the proper combination --for me-- of tone, slotting, slight resistance, size, comfort. We'll see in a month if I still think that way.