Lindberg's 4CL can be played unbelievably loudly without the tone breaking up. I'm pretty sure in the mid to late 90s he went from playing a good mix of recitals, masterclasses, and concerts with orchestra to playing mostly pieces with full orchestra. That's right around when he started taping his bell and adding weight, and switched from a brass bell to a sterling one, and shortly after that from the 5CL to the 4CL. Even recently I saw him live a few times and the effect is obvious from the seats 40+ feet away. He played a double concerto together with the principal of one orchestra and even though Lindberg started off stage, his off stage sound has more presence than the guy standing front and center on the stage. That mouthpiece helps make a huge sound that is not necessarily apparent from close up.
I haven't yet! It's been some years since I tried a Wick mouthpiece, and I haven't run across any that I've noticed. I remember them feeling better for Euphonium in some ways, but I look forward to trying them again.
very good video. If you have the various Greg black mouthpiece, can you review of this? 1. weight comparison ex) greg black 5g regular vs greg black 5g medium vs greg black 5g heavy 2. At same weight, cup volume comaprison. ex) greg black 5gs vs greg black 5g vs greg black 5g-4gd
@@WilliamLang people who studied classical music and play in classical orchestra try to have a rounder, less bright, more mellow sound, so they blend better with the rest of the orchestra sections. In other types of music, brass players might want to cut through the other sections, to underline the difference in timbre. I guess that can work also in romantic, post romantic and contemporary music too. If your part is together with timpani, or just supporting a cello section, then by blending with them you'll sound... less like a brass instrument?
Dude the difference from one mouthpiece to the other was that the Linberg gave me that nail to the chalkboard goosebumps 😆 I'm sure it's because of the room you're playing in. I know for a fact if you re-do this test in a hall type area. Makes a huge difference. Heck we all tend to sound better in a hall setting. Kind of like us singing in the shower!
For sure - when I did a video comparing mouthpieces on Till Eulenspiegal in a recital hall it was really interesting to see which mouthpieces stood out in the acoustic, compared to my living room or practice studio. I also like the project as a view of what we listen when we listen to music - how do things sound on a cell phone recording, as simply as possible and the most widely available technology to record video in? With all these videos, it becomes a matter or preference more than an absolute better or worse situation - indeed my own favorite mouthpiece and plenty of opinions on this video series end up being completely opposed. Part of the charm of a living art!
@@WilliamLang yeah it does boil down to your mouth structure and sound settings. Our embochure sure becomes some sort of fingerprint to make it our own sound. Whenever I hear Lindberg performing in a hall setting with this mouthpiece...the Trombone sounds like a mix of Flugelhorn and Vienna Horn. It has this crisp epic sound. The Alessi has this rounder more Euphonium type sound. Both mouthpieces has its own characteristics which I enjoy regardless. You always need like 2 to 3 mouthpieces that's for certain style and delivery.
The Alessi has a more Orchestral sound where as the Lindberg has a more Orchestral SOLOIST sound, where he has to cut thru the Orchestra . I personally prefer the Alessi
it's funny because it's not like Alessi can't cut through the orchestra, but the Lindberg definitely is a lot more compact and "jumpy" for lack of a better term
Christian developed his line of mouthpieces after he was no longer a member of an Orchestra. They were developed with his solo career in mind, Correct? Where as Alessi, even though he does a lot of solo work, his main gig is still principal trombone. @@WilliamLang
i'm pretty aware of who they are. they're both crazy loud and cutting when they want to be, albeit in different ways, is all i'm trying to point out. i usually prefer Lindberg's style with concertos, but sometimes, and the Rouse recordings really comes to mind, I do prefer Alessi's wider sound palate
the mouthpiece i play on, an LI Brass 550E has the backbone and cup depth, but a rounded rim. Their new Eon line has a little sharper rim, and might be an option for you
i would call it medium, maybe a 6.5/10 on the depth feeling, with 10 being the deepest cups. The SOLO versions are closer to a 4.5/5 depth. If your Blessing is somewhat of a Shilke 51D copy most people would put those at like an 8/10 depth and say they're more appropriate for euphonium. I would disagree slightly, but I've always vibes well with a super deep mouthpiece. Check out my review on my LIBrass 550E, which is about the same rim as yours, but with an equivalent of a Bach 2G depth, which would be a solid 10/10 on the scale. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-vTk4zTPvnlU.html
@@WilliamLang Hey William, considering you rated your LI Brass 550E a 10/10 for cup depth, how would you rate the SR 550 mouthpiece in comparison? Based solely on visual appearance, the SR 550 seems even deeper. What's your opinion on this? Your answer is appreciated.
L'embouchure n°1, celle d'Alessi, le son est plus souple. Concernant l'embouchure n°2, celle de Lindberg, le son est beaucoup plus compact on dirait que la cuvette est moins profonde, le son est moins rond, il est plus percutant. J'ai l'impression que lorsque tu joue avec l'embouchure n°1 (Alessi) tu as plus de facilité, le son est plus large. Personnellement je préfère le son de l'embouchure n°1, celle d'Alessi, ça se rapproche de l'embouchure que j'utilise : Bach 6.5AL. Tandis que l'embouchure n°2 avec la forme conique me fait penser à la Denis Wick.
different tools for different jobs - both have their positive aspects! I'm mostly doing these commentary free so people can decide on their own what they hear
