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What mouthpiece did Mendez use?


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razeontherock
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PostPosted: Thu Jun 28, 2012 1:28 am    Post subject: Reply with quote

So if he didn't switch to the 10 1/2 Mendez #1 til after his accident, what did he play before that?
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trpt.hick
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PostPosted: Thu Jun 28, 2012 8:28 am    Post subject: Reply with quote

A Bach 10.5 C.
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tomtrum
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PostPosted: Sat Nov 17, 2012 7:46 am    Post subject: Mouthpieces from the past.... Reply with quote

Speaking of Bach 10.5 C MPs, I just sold my Selmer Paris 1953 vintage horn but not what I purchased back in the 1950s, the two MPs my Biehoff Music Store (Milwaukee) teacher (Mr. Clauer) recommended I buy, namely the Bach 10.5C and Olds #3. What a coincidence that the insight of this teacher (who BTW used a Bach Strad horn) could see the long term value and notoriety of these MPs. And, more importantly, how they would help me launch my trumpet playing as a kid in Grade and High School. Glad to hear I was/am in good company with Mendez having used the 10.5C. Now I'm in the market for a brighter horn, so I can continue my "comeback".
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trumplyr
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PostPosted: Mon Dec 03, 2012 9:50 am    Post subject: Reply with quote

Everyone is saying RM played a Bach 10 1/2C but that cannot be correct. I played one last night and I did not have his sharp articulation, not close on double & triple tonguing speed, still could not circular breathe, did not experience his interval jumping ability nor his finger dexterity not to mention I did not sound like him either.

Are you guys sure?
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darkrise001
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PostPosted: Thu Sep 05, 2013 4:39 am    Post subject: Reply with quote



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livescore

livescore

สมัครสมาชิก gclub
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drncollazo
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PostPosted: Thu Sep 05, 2013 6:24 am    Post subject: Reply with quote

Bach 10.5 C...well documented.
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danduncan
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PostPosted: Wed Feb 19, 2014 12:52 pm    Post subject: Reply with quote

connicalman wrote:

Until last year I didn't have the suppleness to connect the little bit on the left with the larger bit on the right of my upper lip - these were the parts I could feel buzzing within the mpc. There was otherwise a less 'live' slice between...
Now the whole width buzzes well. That I feel has to do with better technique, more patience, and the Wick rim. Kinda sharp on the alpha, that one, yes? Hmm...
Connicalman - these comments lead me to believe you are really on the right track. Suppleness and the feeling of EVERYTHING buzzing well, are both VERY important. Sometimes the journey of overcoming our own particular troubles, leads us to MAJOR truths. I know it did for me as well.
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danduncan
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PostPosted: Wed Feb 19, 2014 12:53 pm    Post subject: Reply with quote

trumplyr wrote:
Everyone is saying RM played a Bach 10 1/2C but that cannot be correct. I played one last night and I did not have his sharp articulation, not close on double & triple tonguing speed, still could not circular breathe, did not experience his interval jumping ability nor his finger dexterity not to mention I did not sound like him either.

Are you guys sure?
He was amazing - simply amazing.
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lms849
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PostPosted: Fri Apr 03, 2015 9:17 am    Post subject: Reply with quote

RM was the very best as for my tastes. I have most of his recordings on CD's and play them while driving. I find my fingers trying to keep up on the steering wheel.
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GeorgeB
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PostPosted: Thu Jul 28, 2016 6:37 am    Post subject: Reply with quote

I used a Bach 10 1/2 C mp when I began playing in 1953, and used it until I quit in 1965. I made a comeback this spring and guess what I am using for a mp ? Yep, my 63 year old Bach 10 1/2 C. It has served me well.
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solo soprano
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PostPosted: Wed Sep 28, 2016 2:09 am    Post subject: Reply with quote

GeorgeB wrote:
I used a Bach 10 1/2 C mp when I began playing in 1953, and used it until I quit in 1965. I made a comeback this spring and guess what I am using for a mp ? Yep, my 63 year old Bach 10 1/2 C. It has served me well.


My old trumpet teacher back in the '60's George Pee Erwin played on both a 1912 & 1922 French Besson using a gold plated Bach 10 1/2C his whole career. He had the most beautiful tone.

I guess that his piece was either a NY or Mount Vernon and not exactly the same as yours? I also don't know if he opened the throat, but most of the old timers did.

As you know, Vincent Bach employed a standard throat size for manufacturing purposes. To make all the different models in various throat sizes would be a nightmare in terms of inventory and manufacturing. So he reduced the size to #27 (0.144") with the belief that players would then adjust the drill hole to suit their own playing style and needs. Bach would give a hand reamer, jeweler's reamer (5, 4 or 3 English pin broach) as a keepsake to those who visited the factory for a mouthpiece.

Pee Wee & his beloved Meha:
https://youtu.be/CvCeJcGZfLw
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GeorgeB
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PostPosted: Fri Sep 30, 2016 2:33 am    Post subject: Reply with quote

solo soprano wrote:
GeorgeB wrote:
I used a Bach 10 1/2 C mp when I began playing in 1953, and used it until I quit in 1965. I made a comeback this spring and guess what I am using for a mp ? Yep, my 63 year old Bach 10 1/2 C. It has served me well.


My old trumpet teacher back in the '60's George Pee Erwin played on both a 1912 & 1922 French Besson using a gold plated Bach 10 1/2C his whole career. He had the most beautiful tone.

I guess that his piece was either a NY or Mount Vernon and not exactly the same as yours? I also don't know if he opened the throat, but most of the old timers did.

As you know, Vincent Bach employed a standard throat size for manufacturing purposes. To make all the different models in various throat sizes would be a nightmare in terms of inventory and manufacturing. So he reduced the size to #27 (0.144") with the belief that players would then adjust the drill hole to suit their own playing style and needs. Bach would give a hand reamer, jeweler's reamer (5, 4 or 3 English pin broach) as a keepsake to those who visited the factory for a mouthpiece


I started playing with a community band recently and found it necessary to switch to a Bach 3C to get a more fuller sound. When I played in the 50s/60s it was with a 5 or 6 man combo so the smaller mp worked just fine and gave me a nice tone. The 3C works much better with a large orchestra.
But man, I love that old Gold plated 10 1/2C.
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Manchester Brass Custom ( ACB ) RL-GB pro B flat trumpet
1952 Selmer Paris 21 B flat trumpet
1962 Conn Victor 5A cornet
Bach TR300H2 B flat trumpet
ACB Cornet Doubler
Bach 3C, Bach 5A, 5B, 5C, 5C custom 24 backbore
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solo soprano
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PostPosted: Fri Sep 30, 2016 5:21 am    Post subject: Reply with quote

GeorgeB wrote:
I started playing with a community band recently and found it necessary to switch to a Bach 3C to get a more fuller sound. When I played in the 50s/60s it was with a 5 or 6 man combo so the smaller mp worked just fine and gave me a nice tone. The 3C works much better with a large orchestra.
But man, I love that old Gold plated 10 1/2C.


Jim New who recently left Kanstul was making exact duplications of popular mpc's like Charlie Shaver's 3C and many more. I love & play exclusively a gold plated copy of Arturo Sandoval's Mount Vernon 3C w/ same drill as Arturo #24. Arturo's favorite (guess he has a little collection) MV3C has the MV backbore, plus it's a bit smaller in the cup than the typical MV3C, it has a slightly wider rim than the average MV3C and Jim used the old style Mt Vernon Blank for the outside. Cost $125 and it was gold plated by Jim Dearing aka www.goldchops.com out of Bangor Maine (one day turnaround) for $30.
contact: goldchops@aol.com
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GeorgeB
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PostPosted: Fri Sep 30, 2016 6:43 am    Post subject: Reply with quote

Hmm, gold rim on my 3C. Food for thought. Thanks for the link.
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GeorgeB
Manchester Brass Custom ( ACB ) RL-GB pro B flat trumpet
1952 Selmer Paris 21 B flat trumpet
1962 Conn Victor 5A cornet
Bach TR300H2 B flat trumpet
ACB Cornet Doubler
Bach 3C, Bach 5A, 5B, 5C, 5C custom 24 backbore
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solo soprano
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PostPosted: Fri Sep 30, 2016 8:13 am    Post subject: Reply with quote

GeorgeB wrote:
Hmm, gold rim on my 3C. Food for thought. Thanks for the link.


For $30 go for broke. gold plate the whole mpc.
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Bill Knevitt, who taught me the seven basic physical elements and the ten principles of physical trumpet playing and how to develop them.

https://www.latorremusic.com/
https://qpress.ca/product-category/trumpet/?filter_publisher=la-torre-music
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