That is so not funny....... I hope you are happy Herr Guttman
AR Resonance Mouthpieces
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ttf_Chris Fidler
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AR Resonance Mouthpieces
Quote from: BGuttman on Jan 08, 2018, 03:13PMHow does it work with the Inderbinen trombone?
That is so not funny....... I hope you are happy Herr Guttman
That is so not funny....... I hope you are happy Herr Guttman
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ttf_Ellrod
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AR Resonance Mouthpieces
Whatever happened to der Inderbinen? Seriously. I recall when the Inderbinen was Jesuss own trombone. What are you on now Chris?
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ttf_ntap
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AR Resonance Mouthpieces
Luke had sent me one of these a few months back when they were just gaining a foothold here in the US. I really liked the piece, but felt a bit constricted in terms of how I wanted to color the sound. Sure the mouthpiece locked me into pitch and partial easily, but I'd rather do a bit of extra work to get there if it meant I had more control over how the sound was colored. I feel that's an integral and unique role of trombone - being able to change colors to blend with saxes and high brass.
Anyway, yesterday I was sitting next to a colleague during a rehearsal, and he had an AR similar to the one I had tried from Luke (except with a V+ cup and different backbore). I put it in my horn for a few tunes and WOW! All of the positives I remembered about the piece were there, but everything felt loose - the slots were looser, and I was able to more or less make the sound I wanted without being as locked in.
I still have a few variables I'd like to change, but I was really impressed!
Anyway, yesterday I was sitting next to a colleague during a rehearsal, and he had an AR similar to the one I had tried from Luke (except with a V+ cup and different backbore). I put it in my horn for a few tunes and WOW! All of the positives I remembered about the piece were there, but everything felt loose - the slots were looser, and I was able to more or less make the sound I wanted without being as locked in.
I still have a few variables I'd like to change, but I was really impressed!
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ttf_sabutin
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AR Resonance Mouthpieces
Quote from: ntap on Jan 09, 2018, 09:32AMLuke had sent me one of these a few months back when they were just gaining a foothold here in the US. I really liked the piece, but felt a bit constricted in terms of how I wanted to color the sound. Sure the mouthpiece locked me into pitch and partial easily, but I'd rather do a bit of extra work to get there if it meant I had more control over how the sound was colored. I feel that's an integral and unique role of trombone - being able to change colors to blend with saxes and high brass.
Anyway, yesterday I was sitting next to a colleague during a rehearsal, and he had an AR similar to the one I had tried from Luke (except with a V+ cup and different backbore). I put it in my horn for a few tunes and WOW! All of the positives I remembered about the piece were there, but everything felt loose - the slots were looser, and I was able to more or less make the sound I wanted without being as locked in.
I still have a few variables I'd like to change, but I was really impressed!
I was "the colleague." And I have been impressed by it as well. Still on the fence about it...not quite aggressive enough in terms of brilliance of attacks...but I went back to my Minick "11C/7C on steroids" tonight (about 15 years and counting as my big band lead/solo m'pce of choice) in performance with the same band as the one to which one ntap refers above, and it was just too...unreliable...compared to the AR I've been trying.
Too "picky/choosy"in the registers above G4. (
)
Is there an available compromise? Do I just need to keep playing the AR until I adjust to it?
I really don't know.
Stay tuned.
S.
P.S. When ntap played it, he sounded wonderful. But he sounds great on almost everything.
P.P.S. This AR m'pce is the first one I've tried that really tempts me to pay the dues to make the switch on my .500 bore Shires lead/solo horn.
Let us pray...
Anyway, yesterday I was sitting next to a colleague during a rehearsal, and he had an AR similar to the one I had tried from Luke (except with a V+ cup and different backbore). I put it in my horn for a few tunes and WOW! All of the positives I remembered about the piece were there, but everything felt loose - the slots were looser, and I was able to more or less make the sound I wanted without being as locked in.
I still have a few variables I'd like to change, but I was really impressed!
I was "the colleague." And I have been impressed by it as well. Still on the fence about it...not quite aggressive enough in terms of brilliance of attacks...but I went back to my Minick "11C/7C on steroids" tonight (about 15 years and counting as my big band lead/solo m'pce of choice) in performance with the same band as the one to which one ntap refers above, and it was just too...unreliable...compared to the AR I've been trying.
Too "picky/choosy"in the registers above G4. (
)Is there an available compromise? Do I just need to keep playing the AR until I adjust to it?
I really don't know.
Stay tuned.
S.
P.S. When ntap played it, he sounded wonderful. But he sounds great on almost everything.
P.P.S. This AR m'pce is the first one I've tried that really tempts me to pay the dues to make the switch on my .500 bore Shires lead/solo horn.
Let us pray...
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ttf_bigeg
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AR Resonance Mouthpieces
Quote from: sabutin on Jan 09, 2018, 09:39PMI was "the colleague." And I have been impressed by it as well. Still on the fence about it...not quite aggressive enough in terms of brilliance of attacks...but I went back to my Minick "11C/7C on steroids" tonight (about 15 years and counting as my big band lead/solo m'pce of choice) in performance with the same band as the one to which one ntap refers above, and it was just too...unreliable...compared to the AR I've been trying.
Too "picky/choosy"in the registers above G4. ( 
)
Is there an available compromise? Do I just need to keep playing the AR until I adjust to it?
I really don't know.
Stay tuned.
S.
P.S. When ntap played it, he sounded wonderful. But he sounds great on almost everything.
P.P.S. This AR m'pce is the first one I've tried that really tempts me to pay the dues to make the switch on my .500 bore Shires lead/solo horn.
Let us pray...
Sam, what rim and backbore specs are you talking about here? Ive tried a V+ cup with the 25.4mm rim and it wasnt quite right on my .525 Edwards, and didnt really feel like a lead piece on my .508 either. Ive got the standard cup 24.8mm rim too which I like but it lacks a bit of fullness to the sound compared to my Reeves 11c. But perhaps I just need to spend some more time on it.
Too "picky/choosy"in the registers above G4. (
)Is there an available compromise? Do I just need to keep playing the AR until I adjust to it?
I really don't know.
Stay tuned.
S.
P.S. When ntap played it, he sounded wonderful. But he sounds great on almost everything.
P.P.S. This AR m'pce is the first one I've tried that really tempts me to pay the dues to make the switch on my .500 bore Shires lead/solo horn.
Let us pray...
Sam, what rim and backbore specs are you talking about here? Ive tried a V+ cup with the 25.4mm rim and it wasnt quite right on my .525 Edwards, and didnt really feel like a lead piece on my .508 either. Ive got the standard cup 24.8mm rim too which I like but it lacks a bit of fullness to the sound compared to my Reeves 11c. But perhaps I just need to spend some more time on it.
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ttf_lmalewic
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AR Resonance Mouthpieces
The beauty of the AR design is how much the backbore change will affect the blow/sound/feel of a piece. You can make it more stable or looser depending on what you use. Now with the addition of the V+ cup we have even more possibilities and should be able to fit most players needs. For me I find that with the AR pieces I dont think that I have to compromise to gain the benefits of the piece. Its all about finding the right match for the player and instrument. Im always happy to answer any questions and provide my opinion. Ive now worked with enough players trying these out that I have a good idea about what will and what wont work for someone. All the best!
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ttf_sabutin
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AR Resonance Mouthpieces
Quote from: bigeg on Jan 10, 2018, 02:05AMSam, what rim and backbore specs are you talking about here?
25.40 60 V+ cup, 60 43 10 5 shank.
QuoteIve tried a V+ cup with the 25.4mm rim and it wasnt quite right on my .525 Edwards, and didnt really feel like a lead piece on my .508 either. Ive got the standard cup 24.8mm rim too which I like but it lacks a bit of fullness to the sound compared to my Reeves 11c. But perhaps I just need to spend some more time on it.
I tried that above V+ combo on my .525 and .508 for short time also. Initial results? It felt good on the .525, not so good on he .508. Go figure.
It's all a mystery as far as I am concerned. I just keep trying stuff and keep what works.
Later...
S.
25.40 60 V+ cup, 60 43 10 5 shank.
QuoteIve tried a V+ cup with the 25.4mm rim and it wasnt quite right on my .525 Edwards, and didnt really feel like a lead piece on my .508 either. Ive got the standard cup 24.8mm rim too which I like but it lacks a bit of fullness to the sound compared to my Reeves 11c. But perhaps I just need to spend some more time on it.
I tried that above V+ combo on my .525 and .508 for short time also. Initial results? It felt good on the .525, not so good on he .508. Go figure.
It's all a mystery as far as I am concerned. I just keep trying stuff and keep what works.
Later...
S.
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ttf_ntap
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AR Resonance Mouthpieces
Quote from: sabutin on Jan 09, 2018, 09:39PMI was "the colleague." And I have been impressed by it as well. Still on the fence about it...not quite aggressive enough in terms of brilliance of attacks...but I went back to my Minick "11C/7C on steroids" tonight (about 15 years and counting as my big band lead/solo m'pce of choice) in performance with the same band as the one to which one ntap refers above, and it was just too...unreliable...compared to the AR I've been trying.
Too "picky/choosy"in the registers above G4. ( )
Is there an available compromise? Do I just need to keep playing the AR until I adjust to it?
I really don't know.
Stay tuned.
S.
P.S. When ntap played it, he sounded wonderful. But he sounds great on almost everything.
You're kind Sam - anytime I can sit next to you I consider myself very lucky, and think the same of you. Whether you're on your 11C, Minick, or the AR I still feel that way!
It's always a question for me: comfort vs sound and response. They aren't mutually exclusive; sometimes the more comfortable you are, the easier you can control and adapt. But sometimes what's comfortable doesn't give you the best sound/response. It's such a balancing act! I played an 11C for over a year, because I found a piece that worked so well with my horn. Ultimately, I've moved on to a Mt Vernon 6.5A - it's very similar to the 11C I was playing, but just a tad more comfortable.
Anyway, that AR felt good, and sounded good too!
Too "picky/choosy"in the registers above G4. (
)Is there an available compromise? Do I just need to keep playing the AR until I adjust to it?
I really don't know.
Stay tuned.
S.
P.S. When ntap played it, he sounded wonderful. But he sounds great on almost everything.
You're kind Sam - anytime I can sit next to you I consider myself very lucky, and think the same of you. Whether you're on your 11C, Minick, or the AR I still feel that way!
It's always a question for me: comfort vs sound and response. They aren't mutually exclusive; sometimes the more comfortable you are, the easier you can control and adapt. But sometimes what's comfortable doesn't give you the best sound/response. It's such a balancing act! I played an 11C for over a year, because I found a piece that worked so well with my horn. Ultimately, I've moved on to a Mt Vernon 6.5A - it's very similar to the 11C I was playing, but just a tad more comfortable.
Anyway, that AR felt good, and sounded good too!
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ttf_johntarr
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AR Resonance Mouthpieces
I was really happy with a 25.4 C top with the 43 bottom until I tried the V+ with the 46 bottom. My original plan was to try the V+ on my .525 bore horn but it was too restrictive. Just for fun, I put it into my .500 horn and bam, that was it.
It seemed nearly as easy in the high register as the C but with much better sound (for my ears) and the ability color the sound, as Sam mentioned. The main thing that I need to work with now is using much less effort than before. I used to wince at intervals that landed on a high g but now it just pops out like never before, as long as I dont wince and struggle. Being that I mainly work as a Feldenkrais teacher, my effort levels are very important and this mouthpiece is helping me find much more ease than Ive ever felt, even though I studied music.
Luke has been very helpful as well.
My next step is to order a V+ with the 65 bottom for the .525 horn.
It seemed nearly as easy in the high register as the C but with much better sound (for my ears) and the ability color the sound, as Sam mentioned. The main thing that I need to work with now is using much less effort than before. I used to wince at intervals that landed on a high g but now it just pops out like never before, as long as I dont wince and struggle. Being that I mainly work as a Feldenkrais teacher, my effort levels are very important and this mouthpiece is helping me find much more ease than Ive ever felt, even though I studied music.
Luke has been very helpful as well.
My next step is to order a V+ with the 65 bottom for the .525 horn.
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ttf_sabutin
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AR Resonance Mouthpieces
Quote from: ntap on Jan 11, 2018, 08:35PMYou're kind Sam - anytime I can sit next to you I consider myself very lucky, and think the same of you. Whether you're on your 11C, Minick, or the AR I still feel that way!
It's always a question for me: comfort vs sound and response. They aren't mutually exclusive; sometimes the more comfortable you are, the easier you can control and adapt. But sometimes what's comfortable doesn't give you the best sound/response. It's such a balancing act! I played an 11C for over a year, because I found a piece that worked so well with my horn. Ultimately, I've moved on to a Mt Vernon 6.5A - it's very similar to the 11C I was playing, but just a tad more comfortable.
Anyway, that AR felt good, and sounded good too!
Not so much "kind" as truthful, Nick. And I sound quite different...at least to my ears...on those three m'pces you mention with my .500 Shires. Different shifts and different timbres through the ranges.
About the 11C/6.5-ish thing. I have always felt that 11Cs and 6.5s...especially 6.5As and even more especially with Mt.Vernon/NY examples...are just different sizes of the same m'pce. Ditto w/12Cs and 7Cs. It's just a matter of rim size/contour and where the shifts need to happen through say 3 octaves. The 12C/7C thing is brighter and more aggressive sounding; the 11C/6.5 thing is darker and fuller sounding. Less aggressive attacks, also. More flexible as well.
Anyway...
About the AR and chops in general. You may remember that I had a spring problem last week on my .500 spit valve, but I was too busy to get it fixed so I jury rigged a piece of cardboard and some rubber bands until I could get it to Terry Pierce. I dropped it off at Terry's a couple of days ago, but since I am still in the middle of trying to figure out how to play that AR m'pce and I had a few days off, I put the AR m'pce into my .508 horn...on which I usually play a Mt. Vernon 6.5A...and practiced extensively for a couple of days. It felt...and especially sounded...not so good (Sigh...), but I soldiered on. The first day it just wasn't working, but I continued playing it the second day. After several hours I was about to give up on that m'pce/horn combination. I put it down and did some other stuff for a few hours and then I picked it up again. Surprise!!! It suddenly sounded and felt really good!!!
The soft machine figured it out.
Duh.
It felt like another m'pce!!!
On a desert island with only one horn and one m'pce? Maybe even not so good? Robinson Crusoe style? We'd figure it out eventually.
Duh twice!!!
Later...
S.
It's always a question for me: comfort vs sound and response. They aren't mutually exclusive; sometimes the more comfortable you are, the easier you can control and adapt. But sometimes what's comfortable doesn't give you the best sound/response. It's such a balancing act! I played an 11C for over a year, because I found a piece that worked so well with my horn. Ultimately, I've moved on to a Mt Vernon 6.5A - it's very similar to the 11C I was playing, but just a tad more comfortable.
Anyway, that AR felt good, and sounded good too!
Not so much "kind" as truthful, Nick. And I sound quite different...at least to my ears...on those three m'pces you mention with my .500 Shires. Different shifts and different timbres through the ranges.
About the 11C/6.5-ish thing. I have always felt that 11Cs and 6.5s...especially 6.5As and even more especially with Mt.Vernon/NY examples...are just different sizes of the same m'pce. Ditto w/12Cs and 7Cs. It's just a matter of rim size/contour and where the shifts need to happen through say 3 octaves. The 12C/7C thing is brighter and more aggressive sounding; the 11C/6.5 thing is darker and fuller sounding. Less aggressive attacks, also. More flexible as well.
Anyway...
About the AR and chops in general. You may remember that I had a spring problem last week on my .500 spit valve, but I was too busy to get it fixed so I jury rigged a piece of cardboard and some rubber bands until I could get it to Terry Pierce. I dropped it off at Terry's a couple of days ago, but since I am still in the middle of trying to figure out how to play that AR m'pce and I had a few days off, I put the AR m'pce into my .508 horn...on which I usually play a Mt. Vernon 6.5A...and practiced extensively for a couple of days. It felt...and especially sounded...not so good (Sigh...), but I soldiered on. The first day it just wasn't working, but I continued playing it the second day. After several hours I was about to give up on that m'pce/horn combination. I put it down and did some other stuff for a few hours and then I picked it up again. Surprise!!! It suddenly sounded and felt really good!!!
The soft machine figured it out.
Duh.
It felt like another m'pce!!!
On a desert island with only one horn and one m'pce? Maybe even not so good? Robinson Crusoe style? We'd figure it out eventually.
Duh twice!!!
Later...
S.
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ttf_anonymous
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AR Resonance Mouthpieces
.
I recently saw my colleague try out an AR Resonance 2480 with a 46 back bore, and borrowed it for a test drive. I could not believe what an amazing results I instantly got out of it. I immediately felt how easy it was to produce the sound in all ranges from pedal tones to the super high range, in every dynamic, especially when soloing through a loud big band and playing in the high register with a very loud sound. The tone is nice and dark, but also easy to manipulate and push into a bright, edgy, cutting sound. This was a love at first sight I ordered two of them from Antonio Rapacciuolo through Luke Malewicz in Chicago. Both of these guys were super nice, knowledgeable and accommodating, and the mouthpieces were manufactured and delivered overseas in a record time of a week! I also ordered the lightweight version of the same mouthpiece and I like it very much as well. Its brighter sounding, easier to play, but not as powerful for loud-dark playing, I really like it for certain playing situations.
The mouthpieces dont only sound amazing and help my playing and range, they also look super funky! Everyone in the band noticed the new sound and looks and had nice compliments. Antonio, I dont know what makes this mouthpiece so wonderful, but I congratulate you and thank you for making them! I am proud and happy to be one of the endorsing artists for this great product, and I only do it because I believe its a great product (and also to get a discount in buying more of these amazing mouthpieces ). I urge every brass player to go and try one of these soon.
My name is Rafi Malkiel, Im a professional jazz and world music trombone and euphonium player and a music educator living in New York City. Im currently playing the solo trombone chair with the multiple GRAMMY award winning big band the Afro Latin Jazz Orchestra amongst other bands. I play a Bach 16 NY trombone, and played Bach Mount Vernon 12C and 7C mouthpieces all of my life. I actually have a collection of dozens of (mostly) Bachs MV and NY mouthpieces
I recently saw my colleague try out an AR Resonance 2480 with a 46 back bore, and borrowed it for a test drive. I could not believe what an amazing results I instantly got out of it. I immediately felt how easy it was to produce the sound in all ranges from pedal tones to the super high range, in every dynamic, especially when soloing through a loud big band and playing in the high register with a very loud sound. The tone is nice and dark, but also easy to manipulate and push into a bright, edgy, cutting sound. This was a love at first sight I ordered two of them from Antonio Rapacciuolo through Luke Malewicz in Chicago. Both of these guys were super nice, knowledgeable and accommodating, and the mouthpieces were manufactured and delivered overseas in a record time of a week! I also ordered the lightweight version of the same mouthpiece and I like it very much as well. Its brighter sounding, easier to play, but not as powerful for loud-dark playing, I really like it for certain playing situations.
The mouthpieces dont only sound amazing and help my playing and range, they also look super funky! Everyone in the band noticed the new sound and looks and had nice compliments. Antonio, I dont know what makes this mouthpiece so wonderful, but I congratulate you and thank you for making them! I am proud and happy to be one of the endorsing artists for this great product, and I only do it because I believe its a great product (and also to get a discount in buying more of these amazing mouthpieces ). I urge every brass player to go and try one of these soon.
My name is Rafi Malkiel, Im a professional jazz and world music trombone and euphonium player and a music educator living in New York City. Im currently playing the solo trombone chair with the multiple GRAMMY award winning big band the Afro Latin Jazz Orchestra amongst other bands. I play a Bach 16 NY trombone, and played Bach Mount Vernon 12C and 7C mouthpieces all of my life. I actually have a collection of dozens of (mostly) Bachs MV and NY mouthpieces
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ttf_sabutin
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AR Resonance Mouthpieces
I am so far highly impressed with my AR combination 2540 60 V+ cup/60 46 10.5 shank on my Shires .500 bore. It has put the previous 2 m'pces that I have used on that horn for over 15 years...a classic NY 11C and a nameless Minick that I call an "11C/7C on steroids"...back on the m'pce shelf. This after about two weeks of intensive practice trying to learn how to play it. I still haven't taken it into battle...it's been a slow two weeks...but I'll have plenty of chances to check it out under combat conditions soon.
I await the challenge. If it's as good in ensembles playing lead parts and solos as it is in my practice room, it's a keeper!!!
Thanks, Luke and Tony....for your patience as well as for the m'pce design. As I have found with other modular equipment systems, I might make some more experiments after a couple of months of use, but unless I simply can't handle it on stressful multi-set gigs...it's the endurance thing that can make a difference...I've found what I've been looking for during the past several years.
Thanks again...
S.
I await the challenge. If it's as good in ensembles playing lead parts and solos as it is in my practice room, it's a keeper!!!
Thanks, Luke and Tony....for your patience as well as for the m'pce design. As I have found with other modular equipment systems, I might make some more experiments after a couple of months of use, but unless I simply can't handle it on stressful multi-set gigs...it's the endurance thing that can make a difference...I've found what I've been looking for during the past several years.
Thanks again...
S.
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ttf_The Bone Ranger
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AR Resonance Mouthpieces
Quote from: sabutin on Jan 20, 2018, 01:35PMThis after about two weeks of intensive practice trying to learn how to play it.
Sam, can you expand on this a little? Was it a unique process learning to play this AR mouthpiece compared to other mouthpieces you've embraced over the years?
Andrew
Sam, can you expand on this a little? Was it a unique process learning to play this AR mouthpiece compared to other mouthpieces you've embraced over the years?
Andrew
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ttf_griffinben
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AR Resonance Mouthpieces
I thought I'd add some thoughts after playing on these for the past couple of months. I use a 25.1 C with either a 60_46-10.5 or 60-43-10.5 backbore and a 25.4 V+ with the 60-43-10.5 backbore. I've been using both pieces on my .500/.508 Shires, experimenting with the 25.1 on some of my vintage horns (1920's Martin handcraft and Conn 24H), and the 25.4V+ on both my straight .525 and my .525/.547 (the horn I leave set up everyday for practice).
After practicing for a while, I find that I am much better used to the rim contour and the 25.1 feels MUCH more comfortable than it did previously. At first I experienced a similar feeling to Nick/ntap, that I was too locked in and couldn't color the sound or articulation the way I wanted to. I was hanging onto it as an exclusive lead piece, but now I'm using it on the .500/.508 almost exclusively.
I simply was working too hard before. Now that I'm figuring out the way it responds, I'm using far less effort and getting great results. Last week I was teaching lessons and going over the Guilmant and playing for students to show phrasing. Normally I would switch to the larger V+ for these more legit sessions but I left the 25.1 in without thinking about it. No loss of tone or flexibility, even in the low range. It's a keeper.
The V+ remains looser and I like the larger tonal palette available. I mostly notice it on coloring notes with lip vibrato, something it feels very comfortable doing. The 25.1 can too, but I'm more aware of the bookends. The V+ has been a great addition, especially for the medium and medium-large horns.
Lastly, the backbores made a huge difference. Luke sent me out a couple to check out and I thought for sure that the smaller 60-40-10.5 would be the answer for the V+ on the smaller horns. The opposite was true, with the larger 46 feeling more responsive. Ultimately, I gravitated back to the 43 (not looking at them while switching) as it proved to be a Goldilocks for me. Only after having the chance to try larger and smaller did I realize this and kind of learned the mouthpiece better. The larger 46 backbore on the 25.1 C allows me to move larger quantities of air when I really need to dominate or support a LOUD band. It's a little easier for me to get up to the trumpet timbre and more compact size of sound on a typical lead trumpet with the 43, but for funk and loud rock the 46 is a great weapon of choice.
Some findings from the brink....
Ben
After practicing for a while, I find that I am much better used to the rim contour and the 25.1 feels MUCH more comfortable than it did previously. At first I experienced a similar feeling to Nick/ntap, that I was too locked in and couldn't color the sound or articulation the way I wanted to. I was hanging onto it as an exclusive lead piece, but now I'm using it on the .500/.508 almost exclusively.
I simply was working too hard before. Now that I'm figuring out the way it responds, I'm using far less effort and getting great results. Last week I was teaching lessons and going over the Guilmant and playing for students to show phrasing. Normally I would switch to the larger V+ for these more legit sessions but I left the 25.1 in without thinking about it. No loss of tone or flexibility, even in the low range. It's a keeper.
The V+ remains looser and I like the larger tonal palette available. I mostly notice it on coloring notes with lip vibrato, something it feels very comfortable doing. The 25.1 can too, but I'm more aware of the bookends. The V+ has been a great addition, especially for the medium and medium-large horns.
Lastly, the backbores made a huge difference. Luke sent me out a couple to check out and I thought for sure that the smaller 60-40-10.5 would be the answer for the V+ on the smaller horns. The opposite was true, with the larger 46 feeling more responsive. Ultimately, I gravitated back to the 43 (not looking at them while switching) as it proved to be a Goldilocks for me. Only after having the chance to try larger and smaller did I realize this and kind of learned the mouthpiece better. The larger 46 backbore on the 25.1 C allows me to move larger quantities of air when I really need to dominate or support a LOUD band. It's a little easier for me to get up to the trumpet timbre and more compact size of sound on a typical lead trumpet with the 43, but for funk and loud rock the 46 is a great weapon of choice.
Some findings from the brink....
Ben
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ttf_sabutin
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AR Resonance Mouthpieces
Quote from: The Bone Ranger on Jan 21, 2018, 05:39PMSam, can you expand on this a little? Was it a unique process learning to play this AR mouthpiece compared to other mouthpieces you've embraced over the years?
Andrew
Yes. It was. First of all, there is a different rim feel. I've always played on Bach-ish rims, and although this rim is around 6.5 size, it feels less...rounded...to me. Not harshly so, but definitely different. Maybe more radically rounded, maybe a littler flatter. Whatever...it feels like there is less rim actually touching my face. Plus, the initial sounds and connections through the registers were radically different from any m'pce that I have ever played. But...when and where it was good, it was so good that I decided to try to learn how to play it. Luckily, I have had a fairly slow month in which to do so. If during the first two weeks or so of playing this m'pce I were to have had to play a strenuous and exposed lead gig? I dunno if I could have made it w/out switching to back to my Minick. Now? I think I'll be ok on a gig like that. I'll find out for sure later in the week, and I'll have my Minick and NY 11C with me just in case.
How was this process different from others? It was mostly a timbral thing. I had to both get used to a slightly different timbral approach and at the same time watch almost helplessly as different ranges would switch from great sounding to not-so-great-sounding in the middle of a practice session. And then switch back!!! Until one day a few days ago the switches began to diminish and I found a whole new connection feeling...very consistent from very low to very high. Much of this probably had to do with the adjustments I had to make to get different ranges to work well on my Minick for a decade or more...breaking old habits and learning new ones.
And the adventure continues...
S.
Andrew
Yes. It was. First of all, there is a different rim feel. I've always played on Bach-ish rims, and although this rim is around 6.5 size, it feels less...rounded...to me. Not harshly so, but definitely different. Maybe more radically rounded, maybe a littler flatter. Whatever...it feels like there is less rim actually touching my face. Plus, the initial sounds and connections through the registers were radically different from any m'pce that I have ever played. But...when and where it was good, it was so good that I decided to try to learn how to play it. Luckily, I have had a fairly slow month in which to do so. If during the first two weeks or so of playing this m'pce I were to have had to play a strenuous and exposed lead gig? I dunno if I could have made it w/out switching to back to my Minick. Now? I think I'll be ok on a gig like that. I'll find out for sure later in the week, and I'll have my Minick and NY 11C with me just in case.
How was this process different from others? It was mostly a timbral thing. I had to both get used to a slightly different timbral approach and at the same time watch almost helplessly as different ranges would switch from great sounding to not-so-great-sounding in the middle of a practice session. And then switch back!!! Until one day a few days ago the switches began to diminish and I found a whole new connection feeling...very consistent from very low to very high. Much of this probably had to do with the adjustments I had to make to get different ranges to work well on my Minick for a decade or more...breaking old habits and learning new ones.
And the adventure continues...
S.
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ttf_John Beers Jr.
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AR Resonance Mouthpieces
Question for Luke or ARRes, since I didn't see anyone else ask it:
Do you offer support for people using horns with alternative tapers at the mouthpiece receiver? Remington-taper Conns, for example, or Olds horns.
I ask because I might be in the market for a new piece for my Olds Recording, but if every backbore is a new, unreturnable, custom order... well, this could become an expensive process rather quickly.
Do you offer support for people using horns with alternative tapers at the mouthpiece receiver? Remington-taper Conns, for example, or Olds horns.
I ask because I might be in the market for a new piece for my Olds Recording, but if every backbore is a new, unreturnable, custom order... well, this could become an expensive process rather quickly.
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ttf_lmalewic
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AR Resonance Mouthpieces
Quote from: John Beers Jr. on Jan 22, 2018, 11:00AMQuestion for Luke or ARRes, since I didn't see anyone else ask it:
Do you offer support for people using horns with alternative tapers at the mouthpiece receiver? Remington-taper Conns, for example, or Olds horns.
I ask because I might be in the market for a new piece for my Olds Recording, but if every backbore is a new, unreturnable, custom order... well, this could become an expensive process rather quickly.
John,
It might be best to contact Antonio directly for this. His email is on the website. https://www.arresonance.com/
Im sure he could accommodate you if he had a mouthpiece with that specific taper so he could copy it. Let me know if I could be of more help.
Do you offer support for people using horns with alternative tapers at the mouthpiece receiver? Remington-taper Conns, for example, or Olds horns.
I ask because I might be in the market for a new piece for my Olds Recording, but if every backbore is a new, unreturnable, custom order... well, this could become an expensive process rather quickly.
John,
It might be best to contact Antonio directly for this. His email is on the website. https://www.arresonance.com/
Im sure he could accommodate you if he had a mouthpiece with that specific taper so he could copy it. Let me know if I could be of more help.
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ttf_JMartin
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AR Resonance Mouthpieces
Quote from: griffinben on Jan 22, 2018, 06:25AMI thought I'd add some thoughts after playing on these for the past couple of months. I use a 25.1 C with either a 60_46-10.5 or 60-43-10.5 backbore and a 25.4 V+ with the 60-43-10.5 backbore. I've been using both pieces on my .500/.508 Shires, experimenting with the 25.1 on some of my vintage horns (1920's Martin handcraft and Conn 24H), and the 25.4V+ on both my straight .525 and my .525/.547 (the horn I leave set up everyday for practice).
After practicing for a while, I find that I am much better used to the rim contour and the 25.1 feels MUCH more comfortable than it did previously. At first I experienced a similar feeling to Nick/ntap, that I was too locked in and couldn't color the sound or articulation the way I wanted to. I was hanging onto it as an exclusive lead piece, but now I'm using it on the .500/.508 almost exclusively.
I simply was working too hard before. Now that I'm figuring out the way it responds, I'm using far less effort and getting great results. Last week I was teaching lessons and going over the Guilmant and playing for students to show phrasing. Normally I would switch to the larger V+ for these more legit sessions but I left the 25.1 in without thinking about it. No loss of tone or flexibility, even in the low range. It's a keeper.
The V+ remains looser and I like the larger tonal palette available. I mostly notice it on coloring notes with lip vibrato, something it feels very comfortable doing. The 25.1 can too, but I'm more aware of the bookends. The V+ has been a great addition, especially for the medium and medium-large horns.
Lastly, the backbores made a huge difference. Luke sent me out a couple to check out and I thought for sure that the smaller 60-40-10.5 would be the answer for the V+ on the smaller horns. The opposite was true, with the larger 46 feeling more responsive. Ultimately, I gravitated back to the 43 (not looking at them while switching) as it proved to be a Goldilocks for me. Only after having the chance to try larger and smaller did I realize this and kind of learned the mouthpiece better. The larger 46 backbore on the 25.1 C allows me to move larger quantities of air when I really need to dominate or support a LOUD band. It's a little easier for me to get up to the trumpet timbre and more compact size of sound on a typical lead trumpet with the 43, but for funk and loud rock the 46 is a great weapon of choice.
Some findings from the brink....
Ben
Ben- That has been my experience as well. You cant hammer this mouthpiece. Its super efficient, and if I back off and let it do its job, its magic. Its getting better and better......
After practicing for a while, I find that I am much better used to the rim contour and the 25.1 feels MUCH more comfortable than it did previously. At first I experienced a similar feeling to Nick/ntap, that I was too locked in and couldn't color the sound or articulation the way I wanted to. I was hanging onto it as an exclusive lead piece, but now I'm using it on the .500/.508 almost exclusively.
I simply was working too hard before. Now that I'm figuring out the way it responds, I'm using far less effort and getting great results. Last week I was teaching lessons and going over the Guilmant and playing for students to show phrasing. Normally I would switch to the larger V+ for these more legit sessions but I left the 25.1 in without thinking about it. No loss of tone or flexibility, even in the low range. It's a keeper.
The V+ remains looser and I like the larger tonal palette available. I mostly notice it on coloring notes with lip vibrato, something it feels very comfortable doing. The 25.1 can too, but I'm more aware of the bookends. The V+ has been a great addition, especially for the medium and medium-large horns.
Lastly, the backbores made a huge difference. Luke sent me out a couple to check out and I thought for sure that the smaller 60-40-10.5 would be the answer for the V+ on the smaller horns. The opposite was true, with the larger 46 feeling more responsive. Ultimately, I gravitated back to the 43 (not looking at them while switching) as it proved to be a Goldilocks for me. Only after having the chance to try larger and smaller did I realize this and kind of learned the mouthpiece better. The larger 46 backbore on the 25.1 C allows me to move larger quantities of air when I really need to dominate or support a LOUD band. It's a little easier for me to get up to the trumpet timbre and more compact size of sound on a typical lead trumpet with the 43, but for funk and loud rock the 46 is a great weapon of choice.
Some findings from the brink....
Ben
Ben- That has been my experience as well. You cant hammer this mouthpiece. Its super efficient, and if I back off and let it do its job, its magic. Its getting better and better......
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ttf_bigeg
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AR Resonance Mouthpieces
Are many 'orchestral' players using the AR tenor pieces and if so are they gravitating toward the V+ cup with more open backbores over the standard cup?
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ttf_TromboneMonkey
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AR Resonance Mouthpieces
Just ordered one. I'm hyped!
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ttf_klimchak
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ttf_lmalewic
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AR Resonance Mouthpieces
Quote from: klimchak on Yesterday at 05:32 PMWhat did you order?
John ordered a 25.1 top. I sent a 40 and 43 backbore as well. I have a feeling he will like the 43 more but I could be wrong.
John ordered a 25.1 top. I sent a 40 and 43 backbore as well. I have a feeling he will like the 43 more but I could be wrong.
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ttf_lmalewic
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AR Resonance Mouthpieces
Quote from: klimchak on Yesterday at 05:32 PMWhat did you order?
John ordered a 25.1 top. I sent a 40 and 43 backbore as well. I have a feeling he will like the 43 more but I could be wrong.
John ordered a 25.1 top. I sent a 40 and 43 backbore as well. I have a feeling he will like the 43 more but I could be wrong.