Mouthpiece to help produce louder volume?

O00Joe

I'm mostly a classical style guy but I'm playing more and more with amplified instruments at clubs and what not. I'm not always provided a microphone so I'm hoping I could get some advice on mouthpieces that help with louder playing.

I know I should get my own clip on microphone or I could plug Yamaha Silent Brass into an amplifier (which I definitely plan on doing, especially with effects pedals) but I'd like the option to go straight acoustic.

The mouthpieces that I'm looking into that might fit the bill so far are a Curry 5*, Stork Vacchiano Studio Master XS6 or VM6, and Pickett 6D-C4. I stick to a 5ish Bach diameter.

Anyway, any experiences or advice with this? I appreciate it.
_________________
1981 Bb Bach Stradivarius 37/25 ML raw - Laskey 60C
2003 C Bach Stradivarius 239/25A L silver - Stork Vacchiano 4C25C
2006 Bb/A Schilke Piccolo P5-4 silver - Reeves A adaptor - Stork SM SP6
Akai MPC Live II
Roland JD-Xi
Casio MT-68

Don Herman rev2 · Posted: Sun Nov 11, 2018 1:22 pm Post subject:

Get in-ear monitors and use the mic. Do not play louder, do not change equipment, do not do anything to mess up your playing for an artificial situation.
_________________
"After silence, that which best expresses the inexpressible, is music" - Aldous Huxley

Pete · Posted: Sun Nov 11, 2018 2:09 pm Post subject:

cheiden · Posted: Sun Nov 11, 2018 4:48 pm Post subject:

There are reasonably priced clip-ons available without the added expense of going wireless. I don't know anyone who'd recommend running a Silent Brass into an amplifier. Those that have tried say the tone is inadequate for sound reinforcement.

I've got a Schilke Symphony that plays noticeably louder than my standard setup but there's no way I'd use it for a gig with amplified instruments. It's typically the wrong sound and it tanks my endurance. You could try to go a little brighter. Sometimes that works better than louder for some gigs.
_________________
"I'm an engineer, which means I think I know a whole bunch of stuff I really don't."
Charles J Heiden/So Cal
Bach Strad 180ML43*/43 Bb/Yamaha 731 Flugel/Benge 1X C/Kanstul 920 Picc/Conn 80A Cornet
Bach 3C rim on 1.5C underpart

O00Joe · Posted: Sun Nov 11, 2018 8:28 pm Post subject:

Of course I don't want to blow my brains out or use unhealthy technique, I was just wondering if any one has experienced mouthpieces that particularly cut through well.

This kind of commercial/jam playing is becoming a regular occurrence for me so it wouldn't be an "artificial situation".
_________________
1981 Bb Bach Stradivarius 37/25 ML raw - Laskey 60C
2003 C Bach Stradivarius 239/25A L silver - Stork Vacchiano 4C25C
2006 Bb/A Schilke Piccolo P5-4 silver - Reeves A adaptor - Stork SM SP6
Akai MPC Live II
Roland JD-Xi
Casio MT-68

Brad361 · Posted: Sun Nov 11, 2018 8:56 pm Post subject:

The vast majority of the gigs I do are what you describe; member of a four piece horn section in a large amplified band. The current band provides a mike, but if they didn’t, I would definitely get my own, wireless or wired. I have a Shure SM 57, (wired) that works fine with other bands where I need to provide my own. I don’t know that the Silent Brass plugged into the system would work.

We can’t really compete with amplified instruments without a mike, and trying to is a great way to screw up your chops.
That being said, maybe you need a mouthpiece that would brighten your sound, so it carries more, rather than trying to be “louder?”

Brad
_________________
When asked if he always sounds great:
"I always try, but not always, because the horn is merciless, unpredictable and traitorous." - Arturo Sandoval

cheiden · Posted: Mon Nov 12, 2018 9:18 am Post subject:

I noticed that you use a Reeves adapter for your picc. Ever check out their mouthpieces? I've known quite a few players that turn to Reeves for their commercial pieces.
_________________
"I'm an engineer, which means I think I know a whole bunch of stuff I really don't."
Charles J Heiden/So Cal
Bach Strad 180ML43*/43 Bb/Yamaha 731 Flugel/Benge 1X C/Kanstul 920 Picc/Conn 80A Cornet
Bach 3C rim on 1.5C underpart

MrOlds · Posted: Mon Nov 12, 2018 9:41 am Post subject:

I’ve played the Curry and the Storks you mentioned. I got more sound from the Storks.

cheiden · Posted: Mon Nov 12, 2018 9:49 am Post subject:

I used a stand-mounted Shure SM57 for years. Eventually sprung for an AMT ROAM wireless that is terrific. That model is obsolete but there's a new one. Note that these are costly.
_________________
"I'm an engineer, which means I think I know a whole bunch of stuff I really don't."
Charles J Heiden/So Cal
Bach Strad 180ML43*/43 Bb/Yamaha 731 Flugel/Benge 1X C/Kanstul 920 Picc/Conn 80A Cornet
Bach 3C rim on 1.5C underpart

zaferis · Posted: Mon Nov 12, 2018 10:05 am Post subject:

An SM 57 on a mic stand or
an Audio Technica Pro 35 clip-on

You WILL get a horrid sound by using a Silent Brass system to amplify the trumpet, not to mention what it does for backpressure and pitch.

I would also add a "soundback accoustic monitor/relfector" this will help you hear yourself (without more amplification/system monitor) and help keep you from overblowing.
Then practice/play with a clean accurate approach and let the sound system and sound engineer do what they do.
_________________
Freelance Performer/Educator
Adjunct Professor
Bach Trumpet Endorsing Artist
Retired Air Force Bandsman

O00Joe · Posted: Mon Nov 12, 2018 10:51 am Post subject:

Thanks for all the advice so far.

Yea I definitely wouldn't use Silent Brass except to use effects pedals playing a solo line, which does happen a lot with one of the groups I play with. It's usually a rock set up with me being the only wind instrument.
_________________
1981 Bb Bach Stradivarius 37/25 ML raw - Laskey 60C
2003 C Bach Stradivarius 239/25A L silver - Stork Vacchiano 4C25C
2006 Bb/A Schilke Piccolo P5-4 silver - Reeves A adaptor - Stork SM SP6
Akai MPC Live II
Roland JD-Xi
Casio MT-68

Speed · Posted: Mon Nov 12, 2018 11:08 am Post subject:

To pile on, the OP's problem is not a mouthpiece issue. It is a sound reinforcement issue.

If you're going to play trumpet with an amplified band, adding a mic to your equipment list is expected. A Shure 57 is typical, acceptable and inexpensive. Any soundman worth his salt is going to know how to EQ it and mix it. Are there better sounding mics out there? Absolutely, but there's nothing wrong with a 57.

Someone made an interesting comment about playing brighter rather than louder, so I will share something that shows my age.

When gigging in the mid-1960s, before the time guitarists wanted overdriven sounds, most guitar players were afraid to turn their amps up past 5 or so for fear they would damage the amp. They'd turn down the bass and turn up the treble, rather than cranking the volume. The result was - and still is - that the guitar cut through the mix better.

I leaned a valuable lesson as a teenage musician, playing in the opening band for a more popular, regional band. As they were doing their sound check, the bass player had an absolutely terrible sound when he was playing alone. It was truly cringe-worthy. But when the band all joined in, the bass sat perfectly in the mix. That was my first lesson in realizing that the sound you get in your bedroom isn't necessarily the sound you want on stage.

It may be easier for musicians playing electric instruments to just adjust their tone controls than it is for us to "play brighter," but when it comes to where we sit in the mix, the concept is the same. It's not all about volume.

Take care,
Marc Speed

giakara · Posted: Mon Nov 12, 2018 12:01 pm Post subject:

razeontherock · Posted: Mon Nov 12, 2018 2:26 pm Post subject:

O00Joe · Posted: Mon Nov 12, 2018 9:36 pm Post subject:

I should have been more clear and said I was looking for more projection and brightness. Maybe it would have prevented the mostly irrelevant lecturing. Although, there were a lot differing of assumptions made, particular on the kind of groups and instrumentations I am referring to.

Thanks to those who actually recommended mouthpiece and microphone makes and models, answering my question.
_________________
1981 Bb Bach Stradivarius 37/25 ML raw - Laskey 60C
2003 C Bach Stradivarius 239/25A L silver - Stork Vacchiano 4C25C
2006 Bb/A Schilke Piccolo P5-4 silver - Reeves A adaptor - Stork SM SP6
Akai MPC Live II
Roland JD-Xi
Casio MT-68

Locutus2k · Posted: Tue Nov 13, 2018 12:59 am Post subject:

Curry all the way. I don't understand if you have already tried a Curry 5 or not. Anyway the 5 Star is LOUD and sparkling the 5 Z is Laser beam (and very easy on the high parts) all the others cups have a very nice and full sound depending on what you want to achieve.
Try some in your favorite cups/size they are not hard to find in stores.
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Edwards X-13
Lawler TL5 Balanced 30th Anniversary (#2 of 5)
Lawler TL5 L bore
Bach NY Special edition 2008
Flugel Van Laar Oiram Ack
Mark Curry mouthpieces
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deleted_user_680e93b · New Member Joined: 03 Apr 1996 Posts: 0

Yamahaguy · Heavyweight Member Joined: 09 Dec 2004 Posts: 3992

SM-57 is a great choice for the price...and the Stork Studio Masters are superb!
I liked the XMS cup for those gigs, but be careful because that rim
is quite different than the Vacchiano.