Plastic mouthpieces!!

Discussion in ' User Reviews' started by smila, Sep 25, 2006.

  1. troykelly

    troykelly New Member

    they look groovy but i get the idea metals (like sm models or courtois) are better quality.

    shout at me if i'm wrong :D
  2. Aussie Tuba

    Aussie Tuba Member

    I was just looking on ebay. I saw a French horn Kelly Plastic mouthpiece.
    is there much difference in size to tenor horn ? might be worth looking at.
    This is in answer to gybrass3, I can't get the quote to work
    good luck searching
  3. brassneck

    brassneck Active Member

    This topic has been covered before but if you want to see what Josef Klier has to offer in tenor horn mouthpieces, visit and click on Mundstücke. On the right hand column, have a look at both types of althorn (& tenor horn)mouthpieces and prices for plexiglass manufacture.
    Last edited: Oct 7, 2007
  4. gybrass3

    gybrass3 New Member

    yeh due to the amount of people who want to have plastic mouthpieces for tenor horns i reckon the first person to make them will make a fortune in the first year of production and will probally be glad to of made them.
  5. MoominDave

    MoominDave Well-Known Member

    Yeah, they're a totally different shape, I'm afraid. Like a funnel, not a cup.
  6. gybrass3

    gybrass3 New Member

    silly french making a different size mouthpiece
  7. Hi all.

    I have a cornet and trumpet Kelly mouthpiece and their ideal for buzzing on. On a job I would use my vinny bach but for practice their just fine.
  8. Hells Bones

    Hells Bones Active Member

    French Horns actually originate (Or so they say) in Germany
  9. steve butler

    steve butler Active Member

    Have you got the letters to prove it? :wink:
  10. jcowensEb

    jcowensEb Member

    i tryed a kelly mouthpiece on my Eb bass and didnt like it,
  11. Super Ph

    Super Ph Member

    These things are awful. You get what you pay for with mouthpieces, and it's all in the precision drilling of the backbore. A good one will last you a lifetime. A plastic one won't. I've never heard anyone play well on one, I've heard lots play, let's just say, worse.
  12. mikelyons

    mikelyons Supporting Member

    My blue Kelly Mouthpiece is amazing. It stays warm in winter and is light to carry around. I had to work a bit to get my sound back because the character of the material changes the character of your sound, but once I did that everything has been fine. I have been playing on it for several years now and I don't think there is any difference in my sound from before. Even loud notes which I know some people have struggled with are superb. If I were you I'd try it and decide for yourself. It's not exactly megabucks, is it?

    And of course there are no calories.
  13. Super Ph

    Super Ph Member

    You had to work a bit to get your sound back because the mouthpiece made it worse. But I suppose if it inspired you to do some more work on your sound then maybe that's a good thing, perversely?
  14. MoominDave

    MoominDave Well-Known Member

    Oh, they're not so bad. Talking about precision workmanship is off beam - these are replicas of favourite metal mouthpieces, and the quality control for some of the original metal mouthpieces is notoriously variable (e.g. Vincent Bachs).

    What plastic mouthpieces do for me is to reduce the amount of feedback I get through the face - something that accounts for a surprising amount of the 'feel' of playing. You have to know (or learn to know) what you're doing with your lips better than you do on a metal piece. For some people this is a problem, for others it doesn't present an issue at all. Mostly it is those who play with too much pressure who dislike plastic mouthpieces.
  15. brassneck

    brassneck Active Member

    Mike Lyons has a valid point to make about about choice of mouthpieces when he mentioned adjusting or adapting to them to get the desired results. This is can be said of any mouthpiece, not just ones made of alternative materials. The more rigid you are in your production technique, the more limitations/benefits that will be exposed given differences in mouthpiece build and design.
  16. MoominDave

    MoominDave Well-Known Member

    Spot on. :clap:

    The more you specialise your embouchure, the narrower a range of equipment will work successfully for you.
  17. mikelyons

    mikelyons Supporting Member

    Two things more I'd like to add :
    The first is a list of observations:

    1. Some bandsmen seem to dislike innovation just because it is new
    2. Some bandsmen are not really willing to work at it when they make a change and just fall back to their previous position
    3. Some bandsmen think one bad experience invalidates all previous good experiences (The tried-it-once-and-didn't-like-it syndrome)

    The other is Brassneck's comment about specialisation - I coudn't agree more. I have gone out of my way to avoid specialisiing in one area of playing. I consider myself a 'good all rounder' Although some areas of my techinique are less well developed than others (how's that for a euphoniumism?) if I could be really bothered, I could get them to a higher standard (there's not much call for multiphonics or triple tonguing in the 2nd section as examples). Generally I find that I can use any mouthpiece and get similar results. My sound is nearly as good on a Euph as it is on a bass and I suspect it would be as good on a tubular steel chair. The thing is, once I realised how different it was, I was prepared to put in the effort to get used to it, and I think I have done that very successfully.
  18. brassneck

    brassneck Active Member

    -erm, that was MoominDave's suggestion really! I'll explain a little more what I mean.

    I believe that each of us imagine an ideal sound/methods of articulation that we aim to produce on a brass instrument. We sub-consciously modify our embouchure and air support even to small degrees to generate that sound/attack spontaneously. We need to be flexible in our approach to brass playing! We need feedback so we use our ears and also any physical resonance that we experience to monitor our performance as well as the opinions of others. Variables that affect our perceived performance either originate from us or instrument/mouthpiece change and as long as these changes are not too abrupt, we adapt fairly easily and without fuss. Physical changes to lips, teeth, jaw & breathing and changes to larger bore instruments & larger mouthpieces require more time with remedial work to get our basic technique back on track.
    If you have a system of play that does not use a method of adaptation, you may not be flexible enough to overcome any changes that occur and have to rely on the tools you use to maximise your potential. The trend for larger mouthpieces may only have a limited success despite effort put in. This is when instrument/mouthpiece quality and build does have a say in the end result. The different materials used in mouthpiece build will affect both sound and feedback. If the player cannot be flexible in his/her approach, then that mouthpiece may not be suitable for that person ... it does not mean that the mouthpiece is poor.
  19. Super Ph

    Super Ph Member

    I suspect that the lower down the band you go, the less it matters. Good bass players sound good on any equipment, good cornet players are often very picky
  20. brassneck

    brassneck Active Member

    - I don't feel that's the case as I think it is depends on the individual. Like anything else in life that someone takes an interest in, he/she has to make the best of what is available until an alternative that will genuinely benefit performance can be found. The lower the instrument, the less recovery time is required if there is a lapse in/lack of practice (in my experience). There are certain mouthpieces that are out of my comfort zone (thinner and wider rims) with which I cannot adapt to quickly enough because of certain limitations in my production technique (... not as bad as it sounds folks, but a serious dental problem exposed some things that had to be addressed!). You have to balance the benefits against restrictions in your natural approach to playing and also requirements of your playing role.
    Plastic mouthpieces, I found, initially created a drier sound but that can be accomodated to a certain degree. Whether the difference between metal and plastic is considered good enough for concert/contest use is up to the individual/conductor/players to help decide on. Playing outside doesn't have the feedback of room/hall acoustics and may have less noticable effects on the listener. And, of course, the benefit of not having cold metal to lips is a major factor for using them in that environment.