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Thread: Difference between Ultra Series mouthpieces?

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  1. Difference between Ultra Series mouthpieces?

    What is the difference between SM4X, SM4U, SM4MU, and SM4MX? They all seem to have the same specifications.
    In general, what is the difference between the different Ultra Series mouthpieces for large shank Euphoniums?

  2. The M means medium shank. The U and X are pretty similar. I think the X is a little less deep and has a slightly sharper rim than the U.

  3. Agree with Daniel the X is a little less deep and has a slightly sharper rim than the U

  4. #4
    Join Date
    May 2016
    Location
    Truro, Cornwall, UK
    Posts
    111
    I bought a 4X yesterday and even though I have only managed about three hours playing with it, would like to share some observations. My immediate reaction was that the rim seems a little more comfortable. Articulation seems a lot easier - intially I was really overdoing it but once I backed off a bit it seemed very responsive. The lower register seems slightly brighter and could generate undue edge without care. This ain't so good. I'm not worried about super register notes but from bottom C (TC) down is very important to me. Top A and Bb seem higher in pitch, which is good and top C / C# seem neither better nor worse, but as I loved them on this hooter anyway that's perfectly fine. Initial thoughts are positive.
    1983 Boosey & Hawkes Sovereign
    Denis Wick SM4 (original series)

  5. #5
    I love the SM4X. Additionally, this is an excellent bass trombone mouthpiece, when you have to play any solo. In bigband I play usually a Bach 1.5 G @ my besson bassbone, but the SM4X worked fine for my solo in the recent bigband concert.
    Jochen

    Boosey&Hawkes Imperial with SM4(U-X),
    YEP-321 with DW 4AY ...
    ... and my cello

  6. If anyone is interested, I have a SM4X in excellent condition which I would sell for $70, shipped (CONUS). PM me if interested.

  7. #7
    Join Date
    May 2016
    Location
    Truro, Cornwall, UK
    Posts
    111
    I have not long returned from a fairly heavy band practice using the SM4UX. I'm not in great touch but have recently been doing a decent amount of home practice, and for once doing the right stuff, rather than merely enjoying myself. However the meandering has a point - I have arrived at the conclusion that the 4X is a truly awful mouthpiece. No consistency of tone, and ghastly amounts of unwanted feedback through the instrument, as well as a total breakdown of sound at points, which extreme fatigue aside, I have never before experienced. the range involved of the pieces rehearsed is from bottom G to top Db (treble clef) but I seemed unable to centre anything. As I am guesting on solo euphonium it was both awkward and embarrassing. I do however now a dilemma - use the 4X for Sunday's gig or revert to my trusty battered 4AL?

    Getting back to the 4X - I cannot recommend it. It will be going on ebay very shortly.
    1983 Boosey & Hawkes Sovereign
    Denis Wick SM4 (original series)

  8. #8
    Quote Originally Posted by Simes View Post
    ...and ghastly amounts of unwanted feedback through the instrument
    Could you explain that in different words? I'm not sure what characteristic you are describing, but I would like to understand the usage. Thanks.
    Dave Werden (ASCAP)
    Euphonium Soloist, U.S. Coast Guard Band, retired
    Adams Artist (Adams E3)
    Alliance Mouthpiece (DC3)
    YouTube: dwerden
    Facebook: davewerden
    Twitter: davewerden
    Instagram: davewerdeneuphonium

  9. #9
    Join Date
    Mar 2012
    Location
    Farmington Hills, MI
    Posts
    472
    Quote Originally Posted by Simes View Post
    I have not long returned from a fairly heavy band practice using the SM4UX. I'm not in great touch but have recently been doing a decent amount of home practice, and for once doing the right stuff, rather than merely enjoying myself. However the meandering has a point - I have arrived at the conclusion that the 4X is a truly awful mouthpiece. No consistency of tone, and ghastly amounts of unwanted feedback through the instrument, as well as a total breakdown of sound at points, which extreme fatigue aside, I have never before experienced. the range involved of the pieces rehearsed is from bottom G to top Db (treble clef) but I seemed unable to centre anything. As I am guesting on solo euphonium it was both awkward and embarrassing. I do however now a dilemma - use the 4X for Sunday's gig or revert to my trusty battered 4AL?

    Getting back to the 4X - I cannot recommend it. It will be going on ebay very shortly.
    Interesting. I think it might have been better to say this mouthpiece is horrible for You. Mouthpiece choice is a very personal decision. Do you know that Steven Mead plays an SM3X? It certainly works for him. I also am quite pleased with my X model.

    Last, it takes a good amount of time to adjust to a new mouthpiece. I'd never consider using one if I were asked to be a guest soloist until I've had it for a few months.

  10. #10
    Quote Originally Posted by MichaelSchott View Post
    Interesting. I think it might have been better to say this mouthpiece is horrible for You. Mouthpiece choice is a very personal decision
    I agree with the general statement, but I took Simes to be making a personal decision and describing the factors that were unsatisfactory for him. You may have read my post recently about my personal transitions to get to the 4AL. In the early days the 4AL just seemed sooooo big and endurance-taxing, but that was of course from the perspective of what I was used to, and to some extent what my own concepts were.

    Quote Originally Posted by MichaelSchott View Post
    Last, it takes a good amount of time to adjust to a new mouthpiece. I'd never consider using one if I were asked to be a guest soloist until I've had it for a few months.
    Very true in some cases, less in others. It depends on the mouthpieces on either end of the transition. I adjusted to some very quickly; and quite slowly to others.

    That is what makes it hard to test mouthpieces. It really is best to play on one for a few months, but that is a commitment in a couple ways (including $$). I have purchased mouthpieces intending to switch to them, but after months of playing decided they were not for me.

    At present my own stable consists of only 2: my standard 4AL and my alternate SM4U. The latter provides a little clearer articulation but much less expanse of sound for me.

    As far as expressing things, I qualify most things. So I say, "The Adams is the very best horn for me." Now and then I get lazy and say, "Adams is the best horn on the market." That is how I feel, of course, but saying it that way is not accurate for all others.
    Dave Werden (ASCAP)
    Euphonium Soloist, U.S. Coast Guard Band, retired
    Adams Artist (Adams E3)
    Alliance Mouthpiece (DC3)
    YouTube: dwerden
    Facebook: davewerden
    Twitter: davewerden
    Instagram: davewerdeneuphonium

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