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Discussion Starter #1 (Edited)
I need to find a loud, edgy mouthpiece.

I currently have a Carlsbad-era Tonalin.

I don't know much, but is metal the way to go?
Do I need something with a large chamber?
What size tip opening should I use?
 

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Umm... In my experience, you don't want to stick out in a concert band setting. All that will do is p*** off the director, and ruin the balance in the band. If you are talking about jazz, you still have to be able to blend.

Only time I can think of wanting a piece like you describe would be playing lead horn in a funk band, and you would STILL have to be able to blend at points.

Don't think that you have to stick out to be noticed, because if someone hears the band, and then one random alto sticking out over the rest, there goes the balance, and then it is just bad. Basically, stick with the carlsbad, it's a fine mouthpiece.
 

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Discussion Starter #3
The main concert band I use my Tonalin, but for symphonic and jazz where I am the sole player of my part I was hoping for something a little more stand out-ish, since I play my part against about ten other altos using two separate parts different from mine, I need to stick out more, since they can (and have) drowned out my solos.
 

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The material doesn't make the difference. The chamber and baffle are what will make it loud and edgy. The two most raucous alto pieces I have, an Ernie Northway and a Jewel, are both hard rubber. PM me if you have any interest in either because they are both too edgy for me.
 

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Don't you get a microphone?
 

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Discussion Starter #7
Martinman said:
Don't you get a microphone?
No, the mic is for anouncers. All I get is aim. I pivot my torso, I can't stand up.

I tried that last year, standing up. The situation didn't help that we were invited to go somewhere across the country, and I was playing the 3rd alto piece.
 

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martysax said:
I suggest lots of sit-ups, push-ups, and jogging.

You'll stand out with abdominal support, and lots of it.

Worked for me with a Meyer 5 on a Mexiconn!

Yep. Try some breathing exercises too. I could play a C* on alto in a jazz band and get away with it because I can move a lot of air.
 

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Discussion Starter #9
So I don't really need to get a new mouthpiece then? I'll get the "edgy" tone w/o the mouthpiece?
 

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Jazz43 said:
So I don't really need to get a new mouthpiece then? I'll get the "edgy" tone w/o the mouthpiece?

You really don't want something edgy for concert band. I'm a little confused though...why are you the only player of your part in concert band when there are ten altos? I can understand on solos, (and in jazz band) but that doesn't make sense in concert band. Seems like the band director needs to really work on balance in the band.
 

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Jazz43 said:
So I don't really need to get a new mouthpiece then? I'll get the "edgy" tone w/o the mouthpiece?

No, just more volume, but like JMax said, you don't want edge for concert band.
 

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Discussion Starter #14
J.Max said:
You really don't want something edgy for concert band. I'm a little confused though...why are you the only player of your part in concert band when there are ten altos? I can understand on solos, (and in jazz band) but that doesn't make sense in concert band. Seems like the band director needs to really work on balance in the band.
I'm looking for the edge in jazz and symphonic bands. In concert band I would stick out too much.

bruce bailey said:
What is the opening of your Brilhart?
It's a 3, but I've been told not to go by the numbers.
 
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