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Thread: What does a tapered throat do to a mouthpiece?

  1. What does a tapered throat do to a mouthpiece?

    I'm looking to purchase a D5.3* Symphony Schilke, it is described as:
    Standard Cup with tapered throat. More open than D5.3.
    What exactly does a tapered throat do when compared to a standard throat?
    Thank you.

  2. #2
    The throat of a mouthpiece is one of the key characteristics in design. First, everyone is different to a degree, so this may be good or bad or so so for you. A straight throat, is just like a tube. Based on size, it can give more or less back pressure to the player. This can give more or less control. The tone of the mouthpiece can change by this change in size, thus it is a balance between control and tone. A tapered throat usually is smaller at the base of the cup and gradually gets larger as you get to the insertion end of the mouthpiece. A tapered mouthpiece throat tries to give the tone of the more open throat while giving enough back pressure to aid in control. In short, a tapered throat tries to provide the middle ground, giving the best of both worlds. At least one manufacturer has marketed a reverse taper. (changing where the taper is in the throat). He has been very successful with his tuba mouthpiece designs. I do not know if the same design is available for euphoniums. I've found the reverse taper to actually work very well on tuba mouthpieces. I do not know if a taper is as noticeable or effective on euphonium or smaller mouthpieces.
    Last edited by opus37; 08-01-2017 at 07:18 AM.

  3. #3
    According to the Bach Mouthpiece Manual, throat SIZE has the following effects:

    Large:
    Increases blowing freedom, volume, tone;
    sharpens high register (largest sizes also sharpen low register).


    Small:
    Increases resistance, endurance, brilliance;
    flattens high register.

    They don't talk about throat taper. Generally I've heard "taper" as a term for backbore characteristics. My understanding has been that the throat is the narrowest part of the mouthpiece interior. In the typical diagrams of a mouthpiece's interior, the throat is identified as a very short section (perhaps 1/8") of the overall length.
    Dave Werden (ASCAP)
    Euphonium Soloist, U.S. Coast Guard Band, retired
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  4. #4
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    According to the description on the Dillon site, the function of the taper appears to be to provide less resistance.

    The impression this description gives is that if you aren't quite man enough to use the D5.3 ("ideal for the principal player") and bend it to your will, then the D5.3* with the tapered throat may be just the ticket for you (who obviously aren't a "principal player"). I paraphrase here to some degree.

    I suppose that, given that, the tapered throat version might also likely be described as "more responsive" or "more efficient"? There are likely some decent analogies to the taper in the venturi of trombone lead pipes. But if so, then it seems to me that the more highly tapered throat should make for a somewhat "tighter" sound and more resistance. However, I suppose this depends on where the taper is (i.e., "going in" or "coming out"). It seems a bit confusing.

    Also, as Dave said, most such discussions focus on the backbore and not the throat, which is very short.

    There also appears to be an excellent description of Schilke tapered throat behavior here: http://www.dallasmusic.org/gearhead/...at%20size.html (about half way down the posting) by someone who should know, since he designed them.
    Last edited by ghmerrill; 08-04-2017 at 05:57 PM.
    Gary Merrill
    Wessex EEb Bass tuba (DW 3XL or 2XL)
    Mack Brass Compensating Euph (DE N106, Euph J, J9 euph)
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    1924 Buescher 3-valve Eb tuba (with std US receiver), Kelly 25
    Schiller American Heritage 7B clone bass trombone (DE LB K/K10/112/14 Lexan, Brass Ark MV50R)
    1947 Olds "Standard" trombone (Olds #3)

  5. #5
    This is a review I wrote a couple of years ago on the Trombone Forum about the Symphony Series mouthpieces. Prior to this review, I had done a trial with all three models, ultimately keeping none of them. I now know that the 51D has a different rim and diameter than the rest of the 51 range, and that the 5.1 mouthpieces are modeled after those and not the 51D. Relevant to the tapered throat discussion, I vividly remember that I disliked the D5.1* for feeling too open.

    ********************************************

    I was curious about these mouthpieces as well, and read this thread while considering whether to try the Symphony Series mouthpieces. Even though this thread is almost a decade old (!), I thought I'd post my opinions on the D5.1, D5.1*, and the M5.1.

    All of the 5.1 pieces are slightly wider across the inner rim than the 51D. The M5.1 has a much shallower cup that the D5.1 or 51D, but that shouldn't be a surprise as that's clear from the specs which, for me, results in a brighter sound and takes less effort in the high register. Between the D5.1 and D5.1*, I feel that the D5.1 provides a little more resistance than the * model, which for me is a more comfortable feeling.

    I have played a regular 51D for almost 25 years, and find that I really prefer a mouthpiece with a deep cup. Neither of the D5.1 models 'feel' as deep as the 51D, but both 'feel' (and are) wider across the inner rim diameter, which for me results in a sound quality that seems shallower than what I get out of a 51D.

    I'm not sure of the technical differences between the rims of the 51D and Symphony Series, but I could feel no significant difference in comfort between the 51D and any of the Symphony models.

    While all three were nice mouthpieces, I ultimately stuck with my original 51D as I feel it provides me with more flexibility moving high to low and in coloring the sound between dark and clear. Also the price difference between the standard series (~$70) and the Symphony series (~$110) is steep, and nothing in the Symphony Series really gave me enough of a 'wow-factor' that was worth the price tag.

    YMMV, and I'm sure there are those who love being able to shift between three similar mouthpieces with the subtle changes that each can lend to one's playing.

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