TS 11 G — smaller bore trombone The TS 11 G is close in size to a Bach 11C, but with a larger throat. The TS 11 G plays more open than the regular TS 11 for me, while still keeping the focus of a smaller mouthpiece. I like it on smaller bore trombones like .485 to .490 and sometimes .500. The TS 11 G just matches the sound of this size horn better for me than a larger mouthpiece like the TS 6 Slap. The flexibility is great. Intonation is quite even across the entire range, and the projection is amazing. TS 6 and TS 6 S1 Slap — small bore trombone The TS 6 and TS 6 S1 are close in size to a Bach 6 1/2 AL, Schilke 50, or Wick 6BS. The TS 6 plays more open than the Bach without losing focus. The Slap technology on the TS 6 S1 makes the "slot" for each note wider and easier to target. This helps make flexibility more agile, accurate, and secure with a solid tone. TT 4 LT — large bore trombone The TT 4 LT is the lightweight model of the TT 4. The lightweight model has a quicker response for me on trombone and is not as heavy. It blows smoother and more freely for me than the TT 5 LT. Range and volume extremes are easier to control and more consistent. Intonation is very even across the entire range, and the projection is amazing. It has a wonderfully full symphonic tone. The TT 4 LT is close in size to a Bach 4G, Schilke 52E2, or Wick 4AL. BT 1 S — bass trombone The BT 1 S is a very open bass trombone mouthpiece, larger than a Bach 1G, close to a Schilke 60 in size. It has great projection and focus for such a large mouthpiece. The larger size with a slightly shallower cup makes it easier to play for me. BT 2 — euphonium The BT 2 is close to a Bach 1 1/2 G, Schilke 58, or Wick SM 2 in size. It works very well on euphonium, keeping a full tone throughout the range. At first I felt it might be too big, especially in the high range, but it is easier to play than a smaller mouthpiece. The large size improves the upper range and is great in the lower register. It is quite flexible as well, with amazing projection. The intonation is very even across the entire range of the horn. Sometimes trombone mouthpieces on euphonium won't have the right character of tone, but the BT 2 sounds just glorious. Tuba 94 — tuba The Tuba 94 is close in size to a Conn Helleberg but with a deeper cup and wider rim. It makes a great all around tuba mouthpiece. |
Monette Low Brass Mouthpieces “Monette mouthpieces are the most amazing mouthpieces I have ever encountered. Like anything truly original, there is some skepticism about them. My experience is that they absolutely deliver everything they claim in a big way! The extensive acclimation guide often makes players apprehensive about trying Monette mouthpieces. I tried applying them with my Bach Megatone mouthpieces and they were tremendously helpful. Even if you never use a Monette mouthpiece, try the acclimation guide! I have found it to be very sound brass pedagogy. The mouthpieces themselves play like no other mouthpieces you are likely to play. Their projection is unbelievable. Unbelievable! You won’t notice this as much in a small practice room. You’ll hear the focus, but compared to your current mouthpiece you may feel there’s about the same or less sound on the Monette. Go into a bigger rehearsal room, bandroom, or auditorium, and that will change by about a factor of 10!
When you do project, it sounds distant to you, like you are behind the sound. This makes many players uncomfortable at first, because they feel they hear themselves less than before. This is because the sound is now reaching the listeners from the player. They hear it as if it is where they are. When you hear yourself on the opposite side of the room, you are projecting. Monette mouthpieces magnify this to the max! Their response is precise and very even across the entire range. When played properly (acclimation!), they are less fatiguing to play than conventional mouthpieces. If you happen to experience the opposite, try the acclimation. The intonation on Monette mouthpieces is quite true. The pitch remains extremely even across the entire range and the dynamic spectrum, making it much easier to adjust the pitch where you need it without losing focus and accuracy. This evenness particularly helps in the extreme ranges, as the conventional problem tendencies are improved. This reduces fatigue and increases reliability. Monette mouthpieces have a clear, open tone that is very flexible, so you can easily make it your own. Projection, response, and intonation have so much to do with tone that it is hard to separate them. I’ve always looked for these aspects more in an instrument than in a mouthpiece. The Monettes improve these aspects in an instrument more than any conventional mouthpiece I’ve used. They are the first mouthpieces I’ve ever liked as much as an instrument.
Do be careful of mouthpieces that are just heavy. I don’t actually know why Monettes are so heavy, and I bet Dave won’t tell me, but there is much more to them than their weight. Just because a mouthpiece is heavy doesn’t make it like a Monette. There is only one Monette!”
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Intonation is quite even across the entire range on both, and the projection is amazing. The tone is easy to control, from smooth to gutsy with no problem. The TS 6 S1 has a bigger feel to me and I have found I like it more on .525 medium large bore trombones like the Bach 36, where I prefer the TS 6 on .500 and .509 small bore trombones like the Bach 16M. Hopefully Dave will apply the Slap technology to all of the other low brass mouthpiece models.
Often such a big mouthpiece will be great in the low range, but suffer in the high range. The BT 1 S plays surprisingly well in the high range and stays clear and focused without going flat. Intonation is quite even across the entire range.
The low range is quite responsive and open, yet the high range remains crisp and clear. The 94 has a fantastic balance of full, rich tone with very clean articulation. The intonation is quite even across the entire range, and the projection is amazing. It is an exceptionally versatile mouthpiece, easily comfortable for a variety of musical situations. 
What many players don’t realize about projection is that the concept is for the sound to be where the listener is, not where the player is. When you don’t project, the sound stays around you like a booth, so you feel like there is lots of sound because you are surrounded by it. That is because it is going nowhere. To a listener, it sounds distant because it is where you are, not where they are. 
The 24K gold plate is very comfortable as well. I never cared for gold plated mouthpieces until I played these. They also stay just as responsive over the broad spectrum of dynamics. Delicately light to hard and hammered, they respond exceptionally well.
Yes, they do cost more than most mouthpieces. How much did you spend on your instrument? $2000? $4000? $6000? $8000? $10,000? If you’re really serious about playing well, is another $300 too much? They are worth the investment! I have even found them to be corrective. Yes, very corrective. I really can’t imagine playing on any other mouthpieces now, and there are so many fantastic choices available today. 
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