Choosing a mouthpiece

The most wonderful thing about mouthpieces is the extension of endless amounts of time as you try them, switch them, then switch reeds each for the other. The process can go on endlessly.
After breaking what was an apparent crystal from heaven or the environs thereof, I stumbled on Van Doren mouthpieces. They are a playing mouthpiece however they share a certain high frequency which we tend to call bright and while the facings differ, they all have that quality, or call it edge. I know this because of so many years of playing different Van Doren mouthpieces, including most of them. Then I stumbled on a mouthpiece, an old one that I received inadvertantly , a Gennusa, which seemed to me to be much less edgy or bright than any other mouthpiece I had played. Investigation of this mouthpiece showed that Mr Gennusa,esteemed Principal of the Baltimore Orchestra for many years had experimented with the mix he used for the hard rubber resulting in a quality that is different than either Van Doren or the Zinner, and for me, preferable. This mouthpiece I had copied for me by Ben Redwine, himself a student of Gennusa and now owner of the Gennusa Company. For me, an excellent copy and with a sound that is never objectionable and a mouthpiece that accepts more reeds than any I have played. These criteria then are mine, for those who
who seem to suggest trying this and then that I offer them to the readers of this site. Sound, Response, Reed acceptibility, and Range. (There are others, but one must choose)
Perhaps these criteria may be something to consider in choosing which one. But do not keep switching because life is simply not that long.

Stay well, all

Sherman Friedland


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