I just received a brass 1L plus. Which is equivalent to a 1 1/4 C. Having played on a Bach 1 1/4 24/24 for the last few weeks, while loving the sound and hating the rim, I can say that the Lotus is miles ahead in terms of comfort, tone production and tone quality. It also feels like the notes, mostly upper range, are not as high as they are. Very interesting feeling.
For me it’s definitely a keeper. _________________ Richard Simoneau
Principal trumpet Symphony Nova Scotia
Maritime Brass Quintet
Yamaha 9445 CHS 3rd gen
Yamaha Xeno 8335IIS
Yamaha 9820C piccolo
I can’t comment on this as I have never played a Monette. But they both seem to claim the same benefits. _________________ Richard Simoneau
Principal trumpet Symphony Nova Scotia
Maritime Brass Quintet
Yamaha 9445 CHS 3rd gen
Yamaha Xeno 8335IIS
Yamaha 9820C piccolo
nice sound - nice playing
Playing on a Lotus mouthpiece myself, I can only agree it is a great mouthpiece, when you take the right approach.
Took me some time getting used to not overblowing and not using too much pressure/power ... but it finally starts to pay off.
And best part of all, when using my previous main mouthpiece (GR 66.9L which seems to produce a bit more overtones and has a bit more brilliant sound) I'm now also able to use the same approach I use on the Lotus mouthpiece (something I was not able to do previously). _________________ Trumpet : Yamaha YTR-9335CHS + Yamaha YTR-6335H
Trumpet mouthpieces : Lotus 2L (main) + Lotus 2L2
Flugelhorn : Kanstul 1525 with Curry 1,5FL
Cornet : Conn 80a (1919) with Curry 1,5 BBC + Curry 1,5 VC + GR L66,9 #6
Joined: 29 Nov 2009 Posts: 828 Location: Cincinnati, OH
Posted: Thu Aug 29, 2019 6:22 am Post subject:
wiemelen wrote:
nice sound - nice playing
Playing on a Lotus mouthpiece myself, I can only agree it is a great mouthpiece, when you take the right approach.
Took me some time getting used to not overblowing and not using too much pressure/power ... but it finally starts to pay off.
And best part of all, when using my previous main mouthpiece (GR 66.9L which seems to produce a bit more overtones and has a bit more brilliant sound) I'm now also able to use the same approach I use on the Lotus mouthpiece (something I was not able to do previously).
Could you elaborate some on the "correct approach"? I'm intrigued by the claims, and by the description of things being "easier". But I don't really know what that means from player to player.
In the most basic sense I usually think of playing as a system that needs balance of some kind. If you are more relaxed here, you need some compensation there...etc. Does that fit into any of the Lotus design?
Could you elaborate some on the "correct approach"? I'm intrigued by the claims, and by the description of things being "easier". But I don't really know what that means from player to player.
In the most basic sense I usually think of playing as a system that needs balance of some kind. If you are more relaxed here, you need some compensation there...etc. Does that fit into any of the Lotus design?
Well I'm just an amateur, but let me try to explain what my experiences are so far :
1) Lower register: not much difference with my GR mouthpiece besides sound (which is a matter of taste). Although I do have to say the Lotus has a very easy/light attack.
2) Higher register : My ranges hasn't increased, but I wasn't expecting that (maybe only hoping ). Like mentioned by many others, playing the high register feels/is easier. However, when using lots of power/force in the high register, I seem to tire more quickly. When backing off and playing more focussed, I can hit the same range and tire less quickly. BUT, it did take some time to get there and I'm still working on it. In the beginning, my fellow trumpet players noticed that my sound wasn't as full and powerfull in the higher register (above the staff). Partially caused because I didn't use enough air. Have been able to mainly solve this issue by playing lots of Caruso.
3) Sound : Matter of taste of course. Nice rounded sound, sometimes a bit harder to push it in order to get a more brighter sound.
4) Endurance : This is a tricky one and probably also personal. But like mentioned before, endurance is the same or even a bit better when backing off a bit.
5) Breath : I do need to take breaths more often. The Lotus requires more air to maintain the same air stream, specially above the staff.
6) Bindings : These are amazing with the Lotus. I'm now binding notes effortless, which for some notes, I never could do before. Finally I don't need to be jealous anymore of fellow trumpet players who can bind all notes like it is a piece of cake.
7) Hitting notes : My old Yamaha has some pretty loose slotting. However, when using the Lotus, it seems like notes have a specific place you need to hit in order for them and to be in tune. I noticed the same thing some time ago when playing a Yamaha Chicago in combination with my GR. But then it was the trumpet making the requirement, now it's the mouthpiece.
8 ) Saliver : Funny one, but ever since using the Lotus, I need to empty my spitvalves more often. _________________ Trumpet : Yamaha YTR-9335CHS + Yamaha YTR-6335H
Trumpet mouthpieces : Lotus 2L (main) + Lotus 2L2
Flugelhorn : Kanstul 1525 with Curry 1,5FL
Cornet : Conn 80a (1919) with Curry 1,5 BBC + Curry 1,5 VC + GR L66,9 #6
The XL cups are really deep and I wouldn't ordinarily choose to play a 'B-cup' style. What I find so impressive about the LOTUS mps is that (when you play them in the 'correct' manner) they offer an extraordinary level of efficiency and stability across the range. For this video it allowed me to achieve (hopefully!) a far brighter sound ('Hollywood appropriate') than I would ordinarily be comfortable generating on such a deep mouthpiece, but with some of the breadth, richness (again; hopefully!) and security that comes from playing a mouthpiece shape like this. Normally, I would have to play a more standard cup depth in order to have the same confidence in the middle-high register.
I hope the clip is enjoyable and supports my observations!
Thanks for your time!
Wow, you weren’t kidding about the bright sound with this setup, if you hadn’t said you were using deep mpc I would certainly thought you were on something quite shallow! My old university jazz ensemble professor used a setup like this, a very deep Hammond mpc for everything from Mahler to Bill Chase (he was in the actual Chase band years back, though I think that predated Hammond mpcs!), and somehow he achieved a (generally) appropriate sound for all of them.
I have not tried Lotus mpcs myself, but a good friend (full-time professional player) has tried several models, and liked them a lot. I’m currently quite satisfied with my Mt Vernon 3C, Marcinkiewicz Vizzutti, and Schilke 1.25 ‘Fluffy,’ but I always enjoy trying other equipment. I used to be quite gear-obsessed.
Joined: 31 Dec 2015 Posts: 900 Location: Bay Area, California
Posted: Sun Dec 01, 2019 9:41 pm Post subject: Re: Lotus
bebop wrote:
Does the Lotus 3L+ feel just like a Bach 3C diameter wise? I know this might depend on the shape of the rim. Or. maybe like a Warburton 4 diameter.
I went from an ACB 3C to the Lotus 3L+ a couple days ago, and to me it feels a little bigger, maybe. As you probably know different 3Cs have a lot of different feels. It feels really comfortable. It feels "neutral" to me- and if I relax and play soft it really does what I want. I definitely don't feel like I'm swimming in a bathtub. It projects with very little effort.
I love the mouthpiece so far and I'm looking forward to playing it on a gig next week.
Lots of posts on the large cups. L cups, XL cups, etc. Thanks to all for that. Can anyone comment on the M or S cups? _________________ Sima, Kanstul 1525 Flugel and Kanstul pocket trumpet. Olds Super
I use a 7s n + which is their narrowest, most shallow, silver plated nickel (guess but inside of me has same appearance as new silver plate unbuffed), and the plus config..
I had previously played Monette 84 prana MFIII, then moved to a wedge 64 ES, then a Lynn l piece (loved that cup), and for last month the Lotus. I may be a bit unusual in that I actually have a better low range with these pieces than the 5c and below and have good pedals as well. I noticed no difference in playing any of these below the staff between the 4 mentioned, but the Lotus does have a deeper cup than any others. I haven’t recorded but friends can’t tell much of a difference in the sound out front when below the staff. Above the staff, it is not actually as good as the Lynn piece for ultimate range, Lynn gets 1 step higher, but the quality of the notes is better with Lotus (I’m talking about notes I can use and count on (hi e on Lotus and f on Lynn). However the squeals nice loud ones go to the Lotus and I feel that with more time it will pass the Lynn which I played for 6 months. I have actually played a good e over dbl. c once with it at good volume, but it’s a once in 20 chance. I do get better articulation with the Lotus. I don’t know if this will help anyone because I don’t know many who play as narrow and shallow as I do for everything, but I don’t think I’ll be looking anymore.
Rod
Joined: 31 Dec 2015 Posts: 900 Location: Bay Area, California
Posted: Sun Dec 15, 2019 8:52 pm Post subject:
Rod Haney wrote:
I use a 7s n + which is their narrowest, most shallow, silver plated nickel (guess but inside of me has same appearance as new silver plate unbuffed), and the plus config..
I had previously played Monette 84 prana MFIII, then moved to a wedge 64 ES, then a Lynn l piece (loved that cup), and for last month the Lotus. I may be a bit unusual in that I actually have a better low range with these pieces than the 5c and below and have good pedals as well. I noticed no difference in playing any of these below the staff between the 4 mentioned, but the Lotus does have a deeper cup than any others. I haven’t recorded but friends can’t tell much of a difference in the sound out front when below the staff. Above the staff, it is not actually as good as the Lynn piece for ultimate range, Lynn gets 1 step higher, but the quality of the notes is better with Lotus (I’m talking about notes I can use and count on (hi e on Lotus and f on Lynn). However the squeals nice loud ones go to the Lotus and I feel that with more time it will pass the Lynn which I played for 6 months. I have actually played a good e over dbl. c once with it at good volume, but it’s a once in 20 chance. I do get better articulation with the Lotus. I don’t know if this will help anyone because I don’t know many who play as narrow and shallow as I do for everything, but I don’t think I’ll be looking anymore.
Rod
I don't want to get too off topic but I'm curious what kind of music do you play with that small of a mouthpiece? Is the S size more shallow than say a Bobby Shew lead, if you are familiar with that mouthpiece? EDIT: I just saw their mouthpiece chart and I see that they have a size shallower: XS.
More or less what I want but not professionally ( pro am at that) for quite a few years. Anymore I play electric blues and R&b. I play ballads and Irish folk on occasion for fun. I am not at all a legit player, but I was simply speaking of sound and range, and everyone’s face is different, I purposefully didn’t comment on articulation as the music I like doesn’t require high levels of those skills, and at 68 and retired I’m not looking too far afield for new challenges. I have never had anyone comment my tone needed to be deeper, and I can pretty much match any timbre I need to. I think they are just good mouthpieces even tho a bit expensive, still a bit cheaper than a prana, and I don’t think their secret is in the cup/ rim. But everyone is different and I’m certainly Not a well rounded player or a MP expert.
Rod
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