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In my on-going quest to find the mythical magic mouthpiece, I have been testing a gold-plated Warburton Demondrae Thurman model, courtesy of John (JTJ), for the past month.
As a point of reference, I've been playing a Doug Elliott XT-I with a gold plated 103 rim (1.030"/26.16mm) since mid-Feb; prior to that, I played a Wick Heritage 4BL and a Perantucci PT4C. The DE is extremely comfortable, highly responsive, and very efficient. The 103 rim, however, is a significant step-up in size from the Heritage 4BL (25.90mm) and PT4C (25.85mm), which results in an occasional double buzz on the fourth partial F#-G-Ab (BC), which Mr. Elliott diagnosed as likely to be caused the combination of the 103 rim being a bit too large and the slipperiness of the gold plating as compared to silver.
The idiosyncrasies of mfgs' measuring practices notwithstanding, the DT is identical to the DE 103 in diameter. I get the double buzz with the DT as well, though when it does occur, I find it somewhat easier to regain control with the DT, possibly due to the wider rim.
The DT rim is noticeably wider (a good 1mm) than the DE XT-103 rim. Since I play with moderately heavy mpc pressure, the wider rim - which spreads the pressure over a wider surface area - translates into increased endurance, particularly in the upper register. It also seems to helps anchor the corners, which translates into a more controlled buzz. I also find that I don't have to shift as much to negotiate range breaks: a very good thing, since I have so many.
The bite of the DT appears to be and feels sharper than that of the DE and the Heritage, but is still very comfortable. Articulation has never been my strong suit, but the DT plays a cleaner than the DW and Wick Heritage, particularly from the second line Bb (BC) down.
The other physical characteristic worth mentioning is that the DT is a heavy-top mouthpiece. While not as heavy as the Bach Megatone, Wick heavytop, or PS Solo, it has noticeably heavier and places more mass in the rim and cup than my DE XT or the various Schilkes, Bachs, Wicks, Wick Heritages, Steve Meads, Yamahas, Perantuccis, and Joseph Kliers I've tried.
The DT matches well with my Virtuoso and produces an attractive, vibrant, singing sound. This came as something of a surprise since, as I have noted in other threads, the heavy-top mouthpieces I've tried previously have given a heavy, dull sound when paired with my Virtuoso. The DT sound has a sheen to it that I haven't gotten with any of the other mouthpieces I've tried to date: it sizzles without becoming bright, and has more presence. The additional mass does extract a price in terms of the speed of response in comparison to the DE and Heritage, though.
Intonation is pretty much a wash, except for the sixth partials (untriggered), where the DT is 4-6 cents better and is relatively easy to lip into tune.
The DT, however, is a more work than the DE. Owing to the wider throat (.290" vs. the XT-I's .273), it requires stronger chops and more air. This is especially evident below the second and above the sixth partials. As might be predicted, the lower resistance of the wider throat yields a fuller, more open sound in the low and pedal registers, at the expense of range in the high register.
Due to the additional mass, it takes more energy to initiate and sustain notes,. Soft attacks and entrances require more precise control of air, articulation, and buzz to initiate cleanly, i.e., without either an audible "pop" or "huff" on the front end; and soft dynamics (p and below) require more air and more support to sustain. I find myself fluffing soft entrances more frequently than with the DE, and sustained soft notes, and soft playing generally, require a higher conscious level of focus on maintaining an even air stream.
Finally - and somewhat surprisingly given the general tendency of heavy mpcs to improve slotting at the expense of flexibility - the slotting is looser than on the DE, so the DT requires more precise fine motor control of the embouchure at the point of attack to avoid scooping notes into pitch, and to avoid unintentional bending of sustained notes.
At this point, it's more-or-less a toss-up between the DE and DT: the DE has the edge in responsiveness and efficiency, but the DT edges out the DE in sound, endurance, and ease of articulation. At this point, I find myself reaching the DE in performance situations because I've been playing it longer and have more confidence that all the notes will be there when I need them, regardless of range or dynamic level, than I do with the DT. A secondary, though not unimportant, consideration in favor of the DE is the option to swap out the 103 for a smaller rim to address the double buzz; though it is possible to order a scaled down DT as a custom order, the cost is significantly greater than that of a DE rim.)
In the end, however, I keep coming back to the DT because of the sound. While the DT may not be the magic mouthpiece of legend, I find the sound I get from it sufficiently alluring to justify further, serious, woodshedding with the DT to attempt to overcome the size and responsiveness issues identified above.
As always, however, YMMV.
As a point of reference, I've been playing a Doug Elliott XT-I with a gold plated 103 rim (1.030"/26.16mm) since mid-Feb; prior to that, I played a Wick Heritage 4BL and a Perantucci PT4C. The DE is extremely comfortable, highly responsive, and very efficient. The 103 rim, however, is a significant step-up in size from the Heritage 4BL (25.90mm) and PT4C (25.85mm), which results in an occasional double buzz on the fourth partial F#-G-Ab (BC), which Mr. Elliott diagnosed as likely to be caused the combination of the 103 rim being a bit too large and the slipperiness of the gold plating as compared to silver.
The idiosyncrasies of mfgs' measuring practices notwithstanding, the DT is identical to the DE 103 in diameter. I get the double buzz with the DT as well, though when it does occur, I find it somewhat easier to regain control with the DT, possibly due to the wider rim.
The DT rim is noticeably wider (a good 1mm) than the DE XT-103 rim. Since I play with moderately heavy mpc pressure, the wider rim - which spreads the pressure over a wider surface area - translates into increased endurance, particularly in the upper register. It also seems to helps anchor the corners, which translates into a more controlled buzz. I also find that I don't have to shift as much to negotiate range breaks: a very good thing, since I have so many.
The bite of the DT appears to be and feels sharper than that of the DE and the Heritage, but is still very comfortable. Articulation has never been my strong suit, but the DT plays a cleaner than the DW and Wick Heritage, particularly from the second line Bb (BC) down.
The other physical characteristic worth mentioning is that the DT is a heavy-top mouthpiece. While not as heavy as the Bach Megatone, Wick heavytop, or PS Solo, it has noticeably heavier and places more mass in the rim and cup than my DE XT or the various Schilkes, Bachs, Wicks, Wick Heritages, Steve Meads, Yamahas, Perantuccis, and Joseph Kliers I've tried.
The DT matches well with my Virtuoso and produces an attractive, vibrant, singing sound. This came as something of a surprise since, as I have noted in other threads, the heavy-top mouthpieces I've tried previously have given a heavy, dull sound when paired with my Virtuoso. The DT sound has a sheen to it that I haven't gotten with any of the other mouthpieces I've tried to date: it sizzles without becoming bright, and has more presence. The additional mass does extract a price in terms of the speed of response in comparison to the DE and Heritage, though.
Intonation is pretty much a wash, except for the sixth partials (untriggered), where the DT is 4-6 cents better and is relatively easy to lip into tune.
The DT, however, is a more work than the DE. Owing to the wider throat (.290" vs. the XT-I's .273), it requires stronger chops and more air. This is especially evident below the second and above the sixth partials. As might be predicted, the lower resistance of the wider throat yields a fuller, more open sound in the low and pedal registers, at the expense of range in the high register.
Due to the additional mass, it takes more energy to initiate and sustain notes,. Soft attacks and entrances require more precise control of air, articulation, and buzz to initiate cleanly, i.e., without either an audible "pop" or "huff" on the front end; and soft dynamics (p and below) require more air and more support to sustain. I find myself fluffing soft entrances more frequently than with the DE, and sustained soft notes, and soft playing generally, require a higher conscious level of focus on maintaining an even air stream.
Finally - and somewhat surprisingly given the general tendency of heavy mpcs to improve slotting at the expense of flexibility - the slotting is looser than on the DE, so the DT requires more precise fine motor control of the embouchure at the point of attack to avoid scooping notes into pitch, and to avoid unintentional bending of sustained notes.
At this point, it's more-or-less a toss-up between the DE and DT: the DE has the edge in responsiveness and efficiency, but the DT edges out the DE in sound, endurance, and ease of articulation. At this point, I find myself reaching the DE in performance situations because I've been playing it longer and have more confidence that all the notes will be there when I need them, regardless of range or dynamic level, than I do with the DT. A secondary, though not unimportant, consideration in favor of the DE is the option to swap out the 103 for a smaller rim to address the double buzz; though it is possible to order a scaled down DT as a custom order, the cost is significantly greater than that of a DE rim.)
In the end, however, I keep coming back to the DT because of the sound. While the DT may not be the magic mouthpiece of legend, I find the sound I get from it sufficiently alluring to justify further, serious, woodshedding with the DT to attempt to overcome the size and responsiveness issues identified above.
As always, however, YMMV.
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