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Thread: Giving the Wick 4AL another chance:

  1. Giving the Wick 4AL another chance:

    Why?
    To my ears there is something (almost) magical about the sound I can create on the 4AL. Big, open and resonating are words that come to mind. Also when listening to other performers e.g. David Childs or David Thornton I preferred their sound when they still played the 4AL. (Now DC3 and K&G3.5D)
    If I listen to “older” recordings of David Childs (e.g. Celtic Charm) I prefer that sound to the “newer” sound on the DC3 (e.g. The Symphonic Euphonium Vol. 2) David still has a beautiful sound (don’t get me wrong) but to my ears it’s a bit more focused on power and high range.
    Am I the only one that hears and or feels this way about the 4AL?

    For some reason I always start loving the 4AL when playing it and after some time I feel the need to switch to something else.

    This time I have some major concerts in April and will play the 4AL for at least 4 months.
    Last edited by DutchEupho; 01-07-2020 at 02:30 AM.
    Euphonium: Adams E3 Custom Series (SS Bell)
    Trombone: Benge 175F


  2. I am back on 4AL on my Adams E3 which I am using in the New England Brass Band. I use my Doug Elliott on my Sterling. The Sterling is a slightly smaller bell (300mm instead of 12") and sound "warmer" with the DE, at the expense of a bit more effort.

    Doug
    Sterling Virtuoso 1052HS & Adams E3 Prototype 0.70 Top Sprung valves
    Sterling Virtuoso 1050HS baritone
    New England Brass Band
    Winchendon Winds/Townsend Military Band

  3. #3
    Because of the pressure I use, the K&G 3.5D gives me 90% of the Wick singing sound with 200% more endurance. Obviously I'd love to use the 4AL full time, but the K&G for me is a good compromise.
    Yamaha Neo w/Trigger, Lacquer
    K&G 3.5D

  4. #4
    I have never tried a DW4AL, but after discovering the K&G mouthpieces I have want I wanted and I don't want to try anything else.
    Besson Prestige 2052,3D K&G mouthpiece;JP373 baritone,T4C K&G mouthpiece;Bach 42GO trombone,T4C K&G mouthpiece

  5. #5
    I kept coming back to my 4AL, and for several years that is all I have used. I also agree about players who have switched to other mp's (David C being one) not sounding quite as good, tone-wise. HOWEVER, David, to continue using him as an example, used to play a very grueling schedule. Now he has other responsibilities that I assume mean he has fewer hours with a mp on his face. That might lead one to switch to something that sound not quite as good but enables them to keep their professional performance. I have the "luxury" of time to ramp up for gigs, and so far the 4AL is fine. If I get more busy playing in the future, I may need to re-think things.
    Dave Werden (ASCAP)
    Euphonium Soloist, U.S. Coast Guard Band, retired
    Adams Artist (Adams E3)
    YouTube: dwerden
    Facebook: davewerden
    Twitter: davewerden
    Instagram: davewerdeneuphonium

  6. I just received my own standard Wick 4AL, and I do have to say, I like it. I was using a Hammond 11L, and it just seems to have something that the Hammond doesn't. A Richer tone maybe.
    Sterling / Perantucci 1065HGS Euphonium, Yamaha YBB-631S BBb Tuba, and a bunch of trombones.

  7. #7
    Join Date
    Mar 2007
    Location
    Indianapolis area
    Posts
    798
    I've had dalliances with any number of pieces but always return to the SM 3.5--it's the only one with the cup width of the SM 3 with the cup depth of the SM 4.
    Fits my big mouth better than any other piece I've ever used...and my horn/mouthpiece journey has taken every great circle route detour known to man as well as several heretofore undiscovered dark alleys.
    Yamaha 642-II Neo, SM3.5
    Yamaha 321, Yamaha 621 Baritone
    Conn 50H trombone
    Blue P-bone
    www.soundcloud.com/jweuph

  8. #8
    Join Date
    Mar 2006
    Location
    Hidden Valley, AZ
    Posts
    680
    Said it before, will say it again: MP's are like underwear; we try several before making our choice, and very personal as well.

    DG
    We occasionally drink from the fountain of madness...

    1966 Besson 181 highly modified New Standard, early model Wick 4AL
    1918 Hawkes & Son euph 3&1 original
    1917 Conn C/D/Eb mellophone original
    1915 York Bb tenorhorn original, Bach 5GS

  9. #9
    Join Date
    Mar 2007
    Location
    Indianapolis area
    Posts
    798
    I'll refrain from re-offering the response
    I gave the last time
    to Highpitch's proverb above.
    Yamaha 642-II Neo, SM3.5
    Yamaha 321, Yamaha 621 Baritone
    Conn 50H trombone
    Blue P-bone
    www.soundcloud.com/jweuph

  10. #10
    Quote Originally Posted by Snorlax View Post
    I'll refrain from re-offering the response
    I gave the last time
    to Highpitch's proverb above.
    Which would that be, the underwear proverb or the "3 notes and the truth" proverb? Alas, I seemed to have missed your original response.
    John Morgan
    The U.S. Army Band (Pershing's Own) 1971-1976
    Adams E3 Custom Series Euphonium, Wessex EP-100 Dolce Euphonium, 1956 B&H Imperial Euphonium
    Adams TB1 Tenor Trombone, Yamaha YBL-822G Bass Trombone
    Wessex TE-360 Bombino Eb Tuba
    Rapid City New Horizons & Municipal Bands (Euphonium)
    Black Hills Symphony Orchestra (Bass Trombone), Powder River Symphony, Gillette, WY (Tenor Trombone)
    Black Hills Brass Quintet (Tuba)

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