Denis Wick 4AL

[DutchEupho]

Hi All,

I always played a SM3 on my euphonium (Prestige and more recently a Geneva Symphony). People always commented on me having a big sound. Now i've played the last few concerts on the Wick 4AL and I'm getting more and more compliments on my sound being beautifull / warm / and singing.
The strange thing is that when I'm playing i feel that the SM3 produces a more resonant sound. My audience tells me the complete opposite (including conductors and people who's opinion i really value). Recording myself doesn't really help because i feel it's difficult capturing the real euphonium sound on a recorder.
Does anyone of you have the same experience?

[davewerden]

That has generally been my experience as well. The 4AL has a really open, singing sound, and I can't seem to get that from the SM series.

[daruby]

Tim, same here. On my Prestige 2051, the 4AL wins hands down (I would expect the Geneva to be similar). On my Sterling, people like the sound of my Alliance E3 just a bit better. I even had Roland Froescher (who plays an SM3) listen to me and prefer my sound with the 4AL (warmer, more singing),

Doug

[DougElliott]

If a mouthpiece (rim size in particular) is too big for YOU, it will sound big from your perspective but will not get a focused sound that projects. Moving down into the size range that DOES work for you will make your sound more focused and sound better (and bigger) from a distance.

For some players, a 4AL will be too big. For others it may be too small. Sounds like it's just right for you.

[Jhnthn]

I had this problem too. I've switched between an sm 3.5 and a 4al. I feel the 4al is more comfortable and i fight the mpc less, but I enjoy the extra weight. I recently tried an sm 4 and I feel like it's a good medium for what I want, however I only get to hear one side of the horn (and not for that long when I tried it). How do ya'll feel about the switch between a 4al to an sm 4, is it in my head or is having a good amount of time on it recommended?

[warumtobendieheiden]

Doug Elliott's advice resonates with me.

When I was searching for the right-sized mouthpiece, I assembled a cohort of pieces, buying some used, borrowing others from a trombone teacher I'd known for decades. As I recall, I had a 5G, a 51D, a Yam 53H, a Warburton 4GD, an SM4, a 4G, a 3G, and a Greg Black JA2 (that GB was a real brute at almost 27mm with a .295 throat).

I had plenty of time to try them out, but my sizing sweet-spot emerged quickly: the 51D at the small end, and the Warburton at the other. It was clear that nothing beyond 26mm gave me any appreciable benefits in terms of volume, or tonal focus/color, or ease of note production in high and low ranges.

So I decided not to fight against my physiology and selected the piece in my sweet-spot that gave me the best-balanced tone with the least effort. I will not say which one I chose, except to note that my choice runs against the prevailing current among euph players.

Doug is essentially saying, "if it's right, don't put up a fight." I agree.