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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 01:30 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
    804
    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, Wedge 103E, 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
    692
    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
    1966 Besson 181 highly modified New Standard
    1918 Hawkes & Son euph 3&1 original
    1917 Conn C/D/Eb mellophone original
    1915 York Bb tenorhorn original

  9. #9
    Join Date
    Mar 2007
    Location
    Indianapolis area
    Posts
    804
    I'll refrain from re-offering the response
    I gave the last time
    to Highpitch's proverb above.
    Yamaha 642-II Neo, Wedge 103E, 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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