DC3 v. SM4U/X

[Euphjuwan]

Alright I see. We have an auditorium rehearsal coming up soon, so I’ll arrive early and test this out, thank you very much

[JP]

Hello Mike (Taylor),

PM sent.

JP

[highpitch]

One thing I've learned about sound & MP selection is to listen to what others say about your tone. I favored the sound of a Wick SM4 over the 4AL, but to a person (and I played for plenty) they ALL said the 4AL sounded better across the board. So...

Don't be your own judge on how it sounds, rather dwell on how it works best for your chops, slotting, & intonation.

After all, you are playing for their ears.

DG

[Euphjuwan]

I’ve grown fond of my 4AL now. I had to make a decision on what to play on quickly because my friends’ truck was robbed and our backpacks were taken. Convenient for me (said sarcastically), my Dennis Wick pouch with my SM4X and 4AL was inside of the backpack. I could only purchase one new mouthpiece after this considering I had just bought the 4AL that was stolen about a week prior. I was loaned a Schilke by my band director, but decided to re-purchase the 4AL rather than the SM4X primarily for comfort reasons.
I am very pleased with that decision, and have received good feedback on my sound from clinicians, my private instructor, and director. It took me time to adjust, but now that I have, I am making great sounds.
Admittedly, I am still very intrigued with K&G mouthpieces and will look to try that out in the near future, perhaps in a smaller size such as the 4.5 or 5. But I know that the 4AL is reliable as any and I’ll always hold on to it.

[Simes]

As an addition I find it telling that this plethora of new “evolutions” of the SM mouthpiece range come as Steven Mead ages, and presumably playing is not as easy as it once was. (Not a criticism, the man is one of the best in the business).

I’ve tried all the new models and they all emphasise one thing - ease in the upper register at the expense of everything else. Certainly it seems tonal quality is not the primary consideration any more.

[MichaelSchott]

As an addition I find it telling that this plethora of new “evolutions” of the SM mouthpiece range come as Steven Mead ages, and presumably playing is not as easy as it once was. (Not a criticism, the man is one of the best in the business).

I’ve tried all the new models and they all emphasise one thing - ease in the upper register at the expense of everything else. Certainly it seems tonal quality is not the primary consideration any more.

I don't think this is true at all. Steve plays on an SM4X (maybe U) these days and his tone is as nice as ever. He's always had great range in both registers. I believe he once played the SM3U and went to the 4 size but that's the only change I can recall. When I last spoke with him, in December of 2018, he was not using the R model.

[Simes]

Personally, I think his sound has got brasher with age, certainly since going from an older Sovereign to the new Prestiges.

Listen to some of his early 1990s recordings, and doesn’t sound like that any more.

[MichaelSchott]

I’m sure he’s getting the sound he wants. It has nothing to do with his age. He’s in his early 50’s I believe. That’s far from old.

[Simes]

No doubt you’re right, but over here these mouthpiece revisions are being greeted with no little cynicism. Rather than go all out on the “money making” angle I try and reason through that. As it would appear that there are only nominal differences between the mouthpieces, designed to help in one single area, for a specific player, that’s the conclusion I’ve reached. Denis Wick being an inveterate money grabber doesn’t put these theories to rest either.

As for being in his fifties, that’s positively ancient for a British euphonium soloist. With a few exceptions, most world class players move into conducting around their forties. I can think of more that have retired from top class player at that age, than haven’t.

[mbrooke]

Personally, I think his sound has got brasher with age, certainly since going from an older Sovereign to the new Prestiges.

Listen to some of his early 1990s recordings, and doesn’t sound like that any more.

I have one of his recording from that period. It may be just the quality of the recording, but the terms that comes to mind is "blatty". So, I'm glad he doesn't have that sound anymore. Regarding the various mouthpieces, i think there is now a tendency to move away from really large cup volumes, i.e., a combination of very deep and wide, which I think this is a good idea. Although having too many choices isn't necessarily a good thing either. But, that is another discussion.

Mike

[MichaelSchott]

No doubt you’re right, but over here these mouthpiece revisions are being greeted with no little cynicism. Rather than go all out on the “money making” angle I try and reason through that. As it would appear that there are only nominal differences between the mouthpieces, designed to help in one single area, for a specific player, that’s the conclusion I’ve reached. Denis Wick being an inveterate money grabber doesn’t put these theories to rest either.

As for being in his fifties, that’s positively ancient for a British euphonium soloist. With a few exceptions, most world class players move into conducting around their forties. I can think of more that have retired from top class player at that age, than haven’t.

Sorry but I can't agree with any of this. What does age have to do with any of this? Steven is a world class euphonium player, one of the very best. He travels the world and plays his ass off. I don't understand your point of view at all.

As far as the Wick (or other brand mouthpieces), they each have their own strengths. I've played on an SM4M then switched to the SM4MX after comparing it to the SM4MU. There are significant differences between the X and the U. And the R as Steven has pointed out is there to help with fatigue in the high range. As I pointed out earlier, that's not what he's using. There's nothing wrong with adding to the product line.

[mbrooke]

Sorry but I can't agree with any of this. What does age have to do with any of this? Steven is a world class euphonium player, one of the very best. He travels the world and plays his ass off. I don't understand your point of view at all.

As far as the Wick (or other brand mouthpieces), they each have their own strengths. I've played on an SM4M then switched to the SM4MX after comparing it to the SM4MU. There are significant differences between the X and the U. And the R as Steven has pointed out is there to help with fatigue in the high range. As I pointed out earlier, that's not what he's using. There's nothing wrong with adding to the product line.

Interpreting Simes posting in the best possible light, you could say that some players, after achieving a high level of success, get bored with simply playing and seek other challenges such a conducting or teaching. Of course, when they do that their level of playing drops simply because they aren't playing so much. However, this really doesn't have anything to do with a loss of skill due to advanced age, which I guess is around 40 yrs old.

Mike

[MichaelSchott]

Interpreting Simes posting in the best possible light, you could say that some players, after achieving a high level of success, get bored with simply playing and seek other challenges such a conducting or teaching. Of course, when they do that their level of playing drops simply because they aren't playing so much. However, this really doesn't have anything to do with a loss of skill due to advanced age, which I guess is around 40 yrs old.

Mike

Another reason some euphonium players move to conducting or teaching at a university is the limited earnings potential as a soloist. Steven apparently has found a way to do so. He also does not mind frequent travel.

[Simes]

Ok guys! I only interpret on what I see! The days of really top class British brass band soloists over 40 are gone. The likes of Trevor Groom, John Clough, Lyndon Baglin et al, playing into their late sixties at the highest level is gone. I stress this is only brass band, which I have a great interest in. Morgan Griffiths doesn’t play at a high level any more. David Thornton does more conducting than playing as far as I can tell. David Welsh has vanished, Stephen Singleton I haven’t heard of for years, Michael Dodd doesn’t play at a top band any more. Bob and Nick Child’s didn’t go far last forty before the lure of conducting took over. There are lots more, but I’ve selected the best known.

Steven Mead has done brilliantly. He’s a great ambassador for the euphonium. I deeply admire his longevity and his enthusiasm for all aspects of playing. However that does not make him immune to criticism. It is perceived in this country - UK - that he’s only in it for the money. Releasing mouthpiece model after model after model, along with “silly gimmicks” like the plates, don’t dispel this perception. I don’t use SM mouthpieces because they’re crap, not because I dislike Steve Mead.

I think I might just wind my neck in 😂

[MichaelSchott]

Ok guys! I only interpret on what I see! The days of really top class British brass band soloists over 40 are gone. The likes of Trevor Groom, John Clough, Lyndon Baglin et al, playing into their late sixties at the highest level is gone. I stress this is only brass band, which I have a great interest in. Morgan Griffiths doesn’t play at a high level any more. David Thornton does more conducting than playing as far as I can tell. David Welsh has vanished, Stephen Singleton I haven’t heard of for years, Michael Dodd doesn’t play at a top band any more. Bob and Nick Child’s didn’t go far last forty before the lure of conducting took over. There are lots more, but I’ve selected the best known.

Steven Mead has done brilliantly. He’s a great ambassador for the euphonium. I deeply admire his longevity and his enthusiasm for all aspects of playing. However that does not make him immune to criticism. It is perceived in this country - UK - that he’s only in it for the money. Releasing mouthpiece model after model after model, along with “silly gimmicks” like the plates, don’t dispel this perception. I don’t use SM mouthpieces because they’re crap, not because I dislike Steve Mead.

I think I might just wind my neck in 😂

Let’s just say that there a lot of people on this site that happily play Wick SM mouthpieces. And some use the plates. I have close friends who play all manner of brass instruments that use the plates. Is Steven affiliated with LeFreque? He does not use them on his new horn.