This channel is about trumpet playing and the challenges of using the tongue controlled embouchure. I try to keep it light-hearted and honest so you will see examples of playing that I am not happy with. I’m happy to discuss that, but I won’t waste time with people who will criticise without the desire to learn. I am a professional trumpet player from the UK who has used TCE/Superchops to develop my playing for 10 years.
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Best video because you show, that everybody starts at point zero! Especially where you say to your self..."back to normal".
Brother can you make a trumpet training DVD on Jerome Callet's techniques that you'd have taught. Since you are so far away go over how to practice the tongue embouchure.
No player should choose a mouthpiece based on what they see in VennCAD. Every player needs to do a blind test with a few mouthpieces at a time, maybe three. Pick one, stick with it for a few weeks, then take that one and two new ones and do another blind test. After two or three play throughs, pick one for a six month run, then repeat with the two other best options and you'll probably be able to understand exactly what you need. THEN you can design something custom based on this process. I know, for instance, I play better on a narrow rim, sound better with a deep cup, and play highs and lows better with a smaller diameter cup, but no where near as small as a lead, I mean like a 7C vs a 1.5C. I am still a low level intermediate adult player, so honestly, except for mouthpieces at either extreme, I sound and play pretty much the same on every mouthpiece, with the exception, perhaps, of Monette's new Unity and maybe a top end Lotus - neither of which I can afford.
I agree that you shouldn't make your choices based upon technical information. The point of this video is just to highlight how a lot of common knowledge about the old designs is actually incorrect too. It is not the intention of VennCAD to be used a tool for choosing a mouthpiece.
@@BrassPractice I agree only to the point that once you "understand" what works for you, that the software can actually be a help. I was quite shocked to see the VennCAD measurements for the 3 to 7C and what is or is not considered a "large" mouthpiece. Me, for instance, I feel choked on a 7C, and play best on a 1 1/4C, but based on your measurements, I should be comfortable on other "smaller" pieces, but I'm not. The problem is that there are too many variables and as beginners, we do not know how to weight those variables. Cup inside diameter, rim contour, rim width, bowl depth, bowl shape, bore, mid bore, straight or venturi - how is it possible to find an ideal combination? You did great work, it was not a criticism of the work you did.
Wow that was very interesting my safari is even more crazy now! Cheers
Hi Rich,. where can I get the information to start learning TCE? I have all of Callets books except trumpet secrets. I have been working with Callets books but I understand that TCE is an updated version of Superchops? Im just starting over on trumpet. need some counsel, and do you offer lessons?
I can offer online lessons if you like, and/or exchange some videos over WhatsApp (or similar app). I could also send you a copy of my ebook, which is intended for guiding TCE beginners into practicing TCE. Send me an email from the website linked above.
Totally nailed that one!
I hear a bit more sweetness to the attack on the metal version, but both sound great.
I kinda like younger trumpets but it's good
Is this a trumpet 1 or trumpet 2🤔
That was great.
I appreciate everything you are saying and your sound and range are awesome…but!!!! After playing for 60+ years and being envious of those players that can reach the range of Cat Anderson and still have a great sound, I’ve come to the conclusion that some players just have the perfect physical attributes that allows them reach unbelievable heights. Look at you, Adam Rapa, Chet Baker ( his mouth was so small he looked like he was playing on a trombone mouthpiece). and there’s this kid on you tube that looks like he’s 15 that play like Wynton. Now, look at the great Satchmo, Louis Armstrong’s mouth; he had great teeth but a huge smile and overbite and they say people on the shore of the Mississippi could actually hear him when he was on the riverboat playing. He had this great big beautifully clear sound but he did not have a great range and when he was younger and at his peek he might smack 20 high C’s on one particular piece but you never heard him play at the most above that C maybe he would hit a D or an E but rarely. I have a Louis Armstrong embouchure and have had a great big sound, in my forty’s and playing regularly I could play a high C with no problem but never, ever the heights you guys reach. I say all this to say, some of the chosen have been selected to have that perfect makeup and some like me just have to live with our limitations. Your methods may help those with the perfect makeup get even better but some of us will never reach that zone no matter what. At 72 and retired, I will keep a nice practice routine and just try to have the best sound I can and enjoy the years I have left. Thanks!
Hi sir, what 15 yo kid are you talking about ?
@@adamchromy520 I saw him yesterday but I forgot what his name was. He is probably several years older he just looks 15. He has a you tube channel. He really is fantastic!
Nice Maynard lick!
Hello Rich, at first great great content and information I was once a student from Jerry 2003 I visited him in Long Island. unbelievable guy. second I disagree with your comment about your brain. Your brain works fantastic and you have done the right things and you will… after long and taking care of this way to play the trumpet and try to to get better control. I would say this is the most efficient and easiest way to play trumpet. If you understand how the trumpet physically works, you will know that like Jerry used to say that the trumpet is a compressive instrument. and with this kind of position you will ever have a compressive way to play and produce Notes, the lowest and the highest. At least I agree hundred percent with your content. Great job and maybe got some time to talk about or even better to meet. Have a drink and have a good time to talk about the most beautiful instrument in the world.. thanks for sharing your knowledge.❤🎺😊👋
Rich: Your blog is very interesting. I went to Staten Island and had a couple of lessons from Jerome many years ago. I play his Sima horn and have been using his SC3 for about 20 years. A few years ago he sent me his newer SC3S, which I really like, but have had trouble adapting to the shallower cup. What is your opinion of the SC3S and the 1SB, vs. the SC3?
I would just echo what Jerry himself once said to me - I can play all of them! I stuck to the SC3 for a long time and didn't seem any significant benefit to going to the SC1SS. I've never owned a 1SB so can't really comment.
Non è italiano e non si capisce
Dude, good info. But you have to stop saying "um".
Thanks for the candid video. A worthwhile watch. I'll try to incorporate this to my practice. Wish me luck!
Best of luck!
Does TCE work on low brass instruments?
Yes definitely. You can't really do the double pedal tone exercises, but that doesn't mean you can't play with your tongue on the lips.
I think everything you have to say here is quite reasonable. Thank you for putting in perspective some of the teaching methods that may be effective for some students at particular developmental levels and only marginally helpful for others. I am of the opinion also that understanding is not harmful and does not in any way resemble paralysis. It seems to me that paralysis is created when a person can't quite quite process information. This does not necessarily mean the information is incorrect or that giving information is incorrect only that the processing mechanism is not operating well. That's a different issue altogether isn't it? Thank you also for being clear about what tongue in between. The teeth is where others have been quite unclear about this.
Hello Rich, a friend of mine brought your video to my attention, and I thank you for your kind words regarding my book. I knew Jerry Callet a bit, and am acquainted with a few TCE players, principally Alex Holton (NYC). Alex and I discussed TCE a little, but my understanding of it is less than complete. You are obviously a very accomplished player and a thoughtful teacher. I am interested in different pedagogies and what they have in common, or how they can complement one another or even be blended. You are correct when you point out that there is more than one way to play the trumpet, and further, that we often perceive and understand things differently (forgive me if I am putting words in your mouth). I believe there are very few solid “rules” that apply to every player, especially when considering different idioms (commercial v classical for example). This makes writing a method book a risky endeavor - maybe a foolish one. Our teaching and understanding stems from our personal experience, and from the idioms in which we function. I’m an orchestra guy (though my original hope was to be a commercial lead player!), and have spent my career trying to create a clear, resonant, and engaging (to use one of Vincent Cichowicz’ favorite terms) sound with as natural and vocal expression as possible in order to function in “classical” or “legit” settings. Some of my teaching is reaction to the ubiquitous (in North America, anyway) “wind and song” approach of Arnold Jacobs and Cichowicz and their many disciples (which I feel is limited and limiting) on one end of the spectrum and the a mechanical/pneumatic approaches on the other. Of course, as teachers we have to be aware of what’s happening physically (or should be happening), but frequently must use metaphorical language to achieve the desired results. We must also be flexible and creative in dealing with individual students. Consequently, it helps to have a big “toolbox” of approaches and ideas. I have had splendid success with literal speech as a model for articulation (which in turn greatly affects sound and stability), but if it doesn’t work for a particular student, we go another route. BTW, whispering might be a better model than talking since it takes the vocal cords out of the equation. I sometimes think of “talking” in a somewhat pressurized atmosphere. For students who speak with the very tip of the tongue (ALA Mendez, whose clear but somewhat explosive articulation would be caricature-ish in the orchestra), I introduce “anchor” tonguing mechanically, and if the resulting sound and range are improved, suggest that they experiment with it, and perhaps discovering a hybrid solution that is personally workable. Suggestion and experimentation over hard and fast rules. Language and regional accents can affect outcomes, so i look to the resulting sounds as the indication of the desirability of one approach over another. I ask players to beware of thinking in terms of binary “right” and “wrong,” or so rigidly hewing to an approach or instruction that they lose sight of the larger goal of making music. Just some ideas. Best wishes to you.
Hi Peter, Thank you so much for taking the time to watch and comment on this video. My habit is to butt heads with the dogmatic descriptions of how to play whist simultaneously believing that TCE is a really solid system for building the fundamentals and developing the chops. It has certainly caused me a lot of cognitive dissonance since I got into it because as a freelancer I've played in both classical and commercial settings and you must adjust the physical approach, whether it be conscious or not, or you'll end up with something that's not right for either extreme. Ultimately when it comes to making music I think that so many of the in-the-moment decisions we make whilst playing come from our habits and experience that we've built over years of listening and practice, and that's something that I feel is entirely separate from my thoughts on how to help a struggling player overcome the physical difficulties of playing. Still, I could be wrong so ask me again in 10 years! It's great to share ideas with you, so thanks again. If you don't mind I'll pin your comment at the top because I think people could get a lot out of reading it.
Very good content, many thanks!
Glad you liked it!
I have a theory that learning to play any musical instrument should be accomplished the same way one learns to speak as a child: Learn to PLAY TONES i.e. "speak" on the instrument long before even being introduced to sheet music, the same way a child who cannot read is nonetheless able to speak coherently long before they attend kindergarten or first grade. I took Italian for three years in high school and did well. Unfortunately, there was virtually no conversation, everything was vocabulary and grammar. The sad result was that after three years I was barely able to communicate in Italian with my Italy-born grandfather. I believe this is EXTREMELY common with Americans who "learn" foreign languages in school: after years of classroom study they're unable to actually verbally communicate in the language with native speakers. Maybe the situation is different in the UK? I now firmly believe that anyone wishing to learn a foreign language must LEARN TO SPEAK IT FIRST (immersion being the best way) before opening a book to study vocabulary, spelling and grammar. As an adult who's trying to learn to play the trumpet with the sole goal of simply achieving basic competency as a "hobbyist" so that I can play pop songs that I love I wish I was able to simply play by ear. The ability to link certain tones with notes on a staff can wait until I can play the instrument, much as my ability to speak came before learning to read. There've been some outstanding instrumentalists who never had the ability to read sheet music but who were very accomplished musicians; I'm immediately reminded of the late Jerry Lee Lewis who was an awesome piano player. Even The Beatles, I've heard, couldn't read sheet music and used amanuenses to dictate melodies to, with the amanuenses then converting the melodies into sheet music.
I'll have to sit on the fence with this one. I'm a big fan of teaching people how their instrument works, both in terms of learning the harmonic series and mechanical functions of the valves, but this relies on a simultaneous teaching of music theory to at least a bare minimum degree. Personally I can't see any disadvantage to learning to read sheet music whereas I can see plenty to not learning it. I think that in order for your language comparison to work there would need to be structures in place to assure that the person learning knows what it is they are trying to achieve (this was obviously he case with those you've mentioned) but unfortunately my experience with teaching children has shown that this often isn't the case.
I think it's worthwhile making a video about this. I've made some note and I'll put it in the queue
@@BrassPractice I look forward to watching it!
The intro tune sounds like the Herb Alpert & The Tijuana Brass tune "Walk, Don't Run". Is it? Herb Alpert and his trumpet is what got me interested in learning to play the trumpet.
It's actually a clip from a demo tune I wrote when I was learning to use Logic a few years ago. I do like Herb Alpert though, so maybe the influence is deep in my subconscious somewhere!!
Hi Rich. Awesome information...also been chatting with Donovan around his journey thus far with TCE so love hearing the references to his videos as well. I am really interested in having some lessons to get started in understanding TCE and how it could help my playing. I know your probably very busy but let me know best way to get in contact with you to set something up.
If you pop over to the Neoteric Brass website there's a contact link and I'll try to get back to you over the weekend.
Well stated. I agree with everything that you have to say here. It is intelligent and well thought out. Thanks for your post.
Well Stated. I agree with what you have to say whole heartedly.
My experience is that I can play on very small diameter mouthpieces but not very shallow ones. They don't seem to speak as easily. I play on big mouthpieces but my small mouthpiece IS a Jet Tone MF. I can swap backwards and forwards no problem. I did a brass band entertainment contest with a "trumpet feature" where I swapped from Denis Wick 2 to the MF. It's a relatively deep mouthpiece. Incidentally, I have a 19th century cornet mouthpiece that's 14mm diameter. I gave the end wrapped with tape so it fits a modern instrument. It has a really good low register.
😅 I used to play solo cornet on a DW2 many many years ago. I wouldn't dare now. Switching to the Jet Tone would be a challenge mid-concert
@@BrassPractice I don't play on anything as open as that now. Still large diameter, but I am looking for more focus.
Excellent video mate!
Thanks!
I do definitely hear a difference in the slotting of the heavier one. It sounds like each partial is more secure and centered for you than the lighter one. However, it seems like the lighter one might be easier to get around the horn easier due to the lighter weight. I use a medium-heavy weight top of my custom lead piece because I felt that a lighter iteration of the same mouthpiece didn’t hold together for me quite as well in terms of slotting and intonation consistency especially when playing lead in a big band. A heavy weight version of it made slotting a bit too firm for me and made things feel a bit labored or the tone got a bit ratty because I would have to play louder to get it to the point of “lighting up.” That being said, in amplified settings, I use the lighter one because it allows greater freedom to get around the horn quickly but still having a bit of sizzle in the sound without having to over exert myself. When I play in extremely loud unamplified settings, I need a bit more mass because the tone quality holds together better and I have much more consistency/accuracy of slotting notes precisely especially in the extreme high register.
This is pretty much exactly my experience!
'why someone would spend 25 grand on a trumpet that sounds like a cornet!' - LOVE IT!!! Love your channel, the brilliant information and your authenticity. Great stuff!!
Thank you! Glad to hear you enjoy the videos 🎺👍🏼
Interesting discussion! After having watched the entire video here are my takeaways: * You’re not a fan of Bach mouthpieces. * You believe trumpet players should use small mouthpieces. I’ve seen so many trumpet players likewise say that one should look at non-Bach mouthpieces. The issue for me (a new learner) is that, while I have a good idea of what Bach mouthpieces are like because I’ve perused the famous Bach mouthpieces manual which describes them individually, although I’d like to try mouthpieces from other manufacturers I have absolutely no idea where to begin regarding choosing a non-Bach mouthpiece. By the way, when you spoke of small mouthpieces in this video were you primarily referring to diameter, cup depth or both? Also, would you be comfortable suggesting a small mouthpiece which would be good to try for someone who’s accustomed to Bach 3C or 5V mouthpieces? Thanks very much for any feedback.
Hi, Thanks for your comment and questions. If you are a beginner on the instrument then I'd be more concerned with your approach to playing than what equipment you are using. I have seen that you have previously commented on my video about V.B. sizes, which I guess could have lead you to believe that I dislike Bach mouthpieces. This isn't exactly the case; and it would be unfortunate if that's the main message that you take away from what I've said; it's just that there aren't many of them that I would recommend to people who are trying to learn an efficient approach to playing. Also, If you were looking for something different then I wouldn't bother using something the similar or the same to what you're currently accustomed - this would defeat the point of making a change! My preference for size would be something with a cup diameter of 0.63" - which is around the size of a Bach 10-1/2, a Yamaha 9, or a Warburton 7. For a short while I used to frequently switch between Warburton 7MD and 7SV mouthpieces depending on the music I had to play. I think this size is suitable for most players and makes sense when you consider most player's goals, practice time, and common playing issues. I hope you find this helpful.
@@BrassPractice Thanks so much for your thoughtful and helpful reply!
For new viewers please explain what “TCE” refers to. Thanks!
TCE is short for "tongue controlled embouchure", which is a method of brass playing and embouchure development. There is some basic information on the Neoteric Brass website, or at tce-studio.com
@@BrassPractice Thanks very much.
Thank you. I kept wondering what that meant throughout a couple videos.
I’d say, you have the right to any opinion about the trumpet that you wish to express! 👍
Please do a video about trumpet mouthpiece throats, a subject which in my view does not get discussed nearly enough as cup shape, volume and diameter seem to receive most attention.
Can someone here please suggest a source for large-throat trumpet mouthpieces? I’m looking for a few mouthpieces that have essentially standard rims and standard bowls BUT have much larger than normal throats to try out. Thanks in advance!
Lotus, AR Resonance, Monette, some Klier you have a choice between 2 throat sizes, Breslmair ... and probably some others (more likely at smaller manufacturers)
@@wiemelen Thanks very much!
Bach Symphony models give you options for throat and taper.
Very interesting video! Trumpet beginner here: what is meant by a "cushion rim" when referring to Bach mouthpieces?
If you measure the width of the rim from the inside edge to the outside edge then a broader (larger) rim is commonly called "cushioned" as it makes contact with a more of your face. It does not relate to the cup diameter or internal size. It spreads the weight of the instrument over a greater area. Those who follow tradition approaches to playing tend to believe that this can be bad for flexibility on the instrument. They're also not very popular these days because many of the designs from the past that featured a cushion rim were not the best mouthpieces... they tended to have the high point of the rim quite near the inside and a low alpha angle, causing the "bite" to feel quite exaggerated.
@@BrassPractice Thanks very much for your fantastic explanation!
Oooo... a tunable bell trumpet! I have one, though I never move the bell except to remove it when cleaning. Do you adjust yours? I only bought it because it was the nicest trumpet on the used shelf in my price range.
The bell on this trumpet is actually static and can unscrew to be swapped with another. The crook end is the tuning slide. Look up "Stomvi Master Trumpet" if you want to learn more.
Hey man, I've got a question. Why is the orbicularis oris activated by pushing the chin upwards? If the aim is control of the muscle, we just can't mush it together. Since it is attached to the bone via the corners and the tip of the chin, shouldn't we get more activation out of it by making sure it stays in place by activating the chin? Also, brass players who can play with endurance or high or loud (with a few exceptions who might look a little different, or get away with inefficiencies) have a flat chin. It's been criticized by Jeff Smiley as well, but he seems to not know about modern ways of teaching it to people. Just because you cannot teach people a flat chin, does not mean it has no benefits under the right circumstances.
Thanks for the question - it's an interesting one and could warrant making a video so that you can visually see my explanation. The argument that I commonly say is that people are taught to play with tight corners and flat chins in order to create structural integrity of the embouchure, specifically preventing unwanted movement of the bottom lip. With the TCE this is not necessary as the bottom lip is held in place by the tongue. If you keep you lips sealed and push the tip of the tongue into the bottom lip then you'll notice the obicularis oris muscle flexing. If you do this and try to flatten the chin at the same time then you end up trying to push and pull things in opposing directions at the same time.
In response to a couple other things you've said: "brass players who can play with endurance or high or loud have a flat chin" - I disagree and there is plenty of photographic and video evidence of great players using and not using a flat chin. It's also important to recognise the difference between a chin that looks flat when it is relaxed and one that is tight and pulled downwards intentionally. And "Just because you cannot teach people a flat chin, does not mean it has no benefits under the right circumstances." - This is bordering on rude and disrespectful. I choose not to teach people to play with a flat chin because I fundamentally disagree with the idea in my understanding and lived experience of embouchure development. I'm happy to agree that many people have made this a successful part of their pedagogy but it's not a part of mine. Thanks again for taking the time to comment.
I don’t understand how people are able to switch back and forth between different rim diameters. I can see changing cup depths depending on what you’re playing, but I can’t play anything other than the rim diameter I play on. Anything smaller and I can’t “fit” into it and my low range suffers. My high range is fine, so that’s not a concern. What I look for is that balance of the right amount of resistance. Not so much that you’re fighting to produce the notes, and not so little that you feel like you’re being sucked into the horn. I want just enough resistance to feel like the horn and I are working together, and no more.
I covered this in my most recent two videos - TCE Talks S02E01+2. Hopefully you'll find it interesting.
Very interesting! How do you explain the values mentioned in an official Bach document available on their website (named "AV2BA901_Original_1889_web.pdf"): Approx Cup Diameter 1 1/2 C 17.00 mm, 3C 16.30 mm, 7C 16.20 mm, which is not in line with the value you show in the video.
Well Bach never define how they measured their mouthpieces. Also, they're pretty well known for being inconsistent in their manufacture due to tool wear and designs changing over time.
@@BrassPractice But maybe, also, the 3d party measurements you're talking about were made on pieces that are not representative of the intended size, because of the well known Bach inconsistencies. I'm not trying to defend Bach, just trying to understand all that better.
@@alcibiademinel that's probably possible. According to some of the information I found when doing some research on mouthpiece sizes recently, modern Bach mouthpieces are all now made on CNC machines, so their consistency should (at least in theory) be good now, so - much less variation from piece to piece than they used to have. Same probably goes for most manufacturers... So, probably depends whether they scanned a recent mouthpiece, or an old one. I've also read that the reason the bach 7C is so big is that because they made so many (it was in the case of just about every trumpet they sold, and that's what everyone started on), that they used to run the cutting tools longer than for the more ^specialty" pieces, for which they were possibly more particular. A worn cutting tool on the old turret lathes they used apparently takes a deeper cut. The cups from old, worn cutters were wider than with new cutters, so if you got a 7C made with a new cutter, it was close to spec, where a 7C from a cutter near the end of it's life was significantly larger. So, on average Bach 7Cs were larger than spec.... The story also goes that because people got used to 7Cs being larger than spec, when Bach went to modern CNC lathes, they deliberately made them larger than spec, and never updated the spec sheet...... Is this the truth? Who knows - this is just what I've read in various forums when I was doing some research on mouthpiece sizes a while back. This only applies to Bach 7Cs, and not necessarily to other brands - I have two Yamaha 7Cs (Yamaha's model number "11C4-7C") from the early 90s which both feel significantly smaller than two Bach 7Cs from about the same period. The two Yamahas also feel noticeably different to one another, even though they were made about the same time, and are the same model.....
An excellent comparison of embouchure types
Bach 7B feels diffrent..no sharp edge..
Mouthpieces is like never ending sea.
I remember reading that the 3C was designed for a lead player in one of the big bands (Glenn Miller I think) and was pushed into the Bach line. I would like to see someone do a book on Bach mouthpieces similar to the one on trumpets
Hi guys, I have played using different mouthpieces in my life, different brand and different sizes. Different throats and backbore like Monette Style. Actually I'm a happy trumpeter with an Yamaha 11C4 modified (Throat 3,8mm, backbore just few broad and lenght total 81mm) However I suggest you to try the wonderfull Dario Frate Mouthpieces from Italy.
If we are saying that all VB mouthpieces "basically sound the same" because our lip intrusion adapts, are we also saying that other brand mouthpieces? Earnest question from a rank amateur who played thru high school and is now attempting to "rediscover" the instrument. I played a 3C the whole time not knowing that there were hundreds of options available between various manufacturers and only just recently heard Charlie Porter's video comparing trumpets from $200 to $20000 played back to back with both VB mouthpieces and also each played with a Monette. The difference was obvious to these old ears.
I don’t think it’s even so much as us adapting to it and lip intrusion, even though I do mention those things… in some ways it’s like for every alteration he made to a design he made another to compensate or balance for the same result.
I had a long debate going on my old blog about that Charlie Porter video a few years back. I don’t buy the idea that Monette sound better, just different. The preference is subjective.
@@BrassPractice agreed and why I didn’t say better. But the difference is remarkable.
When I started to learn the trumpet as an 8 year old I must have played with my tongue between my teeth, but I don’t think my teacher told me to do this. I wasn’t a very diligent student but enjoyed playing as a social activity. When I was introduced to double and triple tonguing I found I struggled and it was then I found out (when I was about 16 - can’t remember how, I think it as the only way I could make it work. That was 50 years ago) the tongue stayed behind the teeth so was able to do multiple tonguing. The trouble was I sounded terrible and was so fed up I gave up the trumpet. About 12 years later I heard Kind of Blue and decided to start playing again only this time I would play ‘properly’ and since I sounded rubbish anyway it wouldn’t matter. I was surprised that it took no time at all to sound reasonable and have practiced consistently ever since playing in various bands and orchestras. None of the teachers I have had were able to explain how I could increase my range and none of the standard texts helped me much. Then KZread came along bringing a whole lot more confusion. I remain open minded and experiment with any new information to see if it helps. I bought the Superchops DVD a long time ago but I didn’t manage to apply it. I will be dusting it off. I consider myself more knowledgeable/experienced now than when I bought it so maybe it will make more sense this time around. Thanks for posting this video.
I've been looking at the Kanstul Mouthpiece Comparator for a few years now and when you look at the Bach cups there is no logic to it, each number has its own cup depth and internal shape but to make matters even crazier the rims just change across the range. I don't use Schilke mouthpieces but there is a system in place, size of I.D. depth of cup and 4 standard rims A, B, C, D. now that makes a lot of sense in terms of choosing something to suit your expected needs.
Really enjoy your videos!
Who the hell told you that ...lets see what they can do lol...probably not a lot