James Markey and I have worked together on instrument setups since the 1990s. Back then, Jim was the Associate Principal in the New York Philharmonic, playing tenor trombone full time. Then Jim decided to audition for the open bass trombone chair in the orchestra and asked me to build an instrument that would be audition capable. We worked together on an Edwards B454 setup that he not only performed on in the New York Phil, but one he also used to win the Boston Symphony bass trombone audition. ...
James Markey and I have worked together on instrument setups since the 1990s. Back then, Jim was the Associate Principal in the New York Philharmonic, playing tenor trombone full time. Then Jim decided to audition for the open bass trombone chair in the orchestra and asked me to build an instrument that would be audition capable. We worked together on an Edwards B454 setup that he not only performed on in the New York Phil, but one he also used to win the Boston Symphony bass trombone audition. ...
James Markey and I have worked together on instrument setups since the 1990s. Back then, Jim was the Associate Principal in the New York Philharmonic, playing tenor trombone full time. Then Jim decided to audition for the open bass trombone chair in the orchestra and asked me to build an instrument that would be audition capable. We worked together on an Edwards B454 setup that he not only performed on in the New York Phil, but one he also used to win the Boston Symphony bass trombone audition. ...
James Markey and I have worked together on instrument setups since the 1990s. Back then, Jim was the Associate Principal in the New York Philharmonic, playing tenor trombone full time. Then Jim decided to audition for the open bass trombone chair in the orchestra and asked me to build an instrument that would be audition capable. We worked together on an Edwards B454 setup that he not only performed on in the New York Phil, but one he also used to win the Boston Symphony bass trombone audition. ...
James Markey and I have worked together on instrument setups since the 1990s. Back then, Jim was the Associate Principal in the New York Philharmonic, playing tenor trombone full time. Then Jim decided to audition for the open bass trombone chair in the orchestra and asked me to build an instrument that would be audition capable. We worked together on an Edwards B454 setup that he not only performed on in the New York Phil, but one he also used to win the Boston Symphony bass trombone audition. ...
James Markey and I have worked together on instrument setups since the 1990s. Back then, Jim was the Associate Principal in the New York Philharmonic, playing tenor trombone full time. Then Jim decided to audition for the open bass trombone chair in the orchestra and asked me to build an instrument that would be audition capable. We worked together on an Edwards B454 setup that he not only performed on in the New York Phil, but one he also used to win the Boston Symphony bass trombone audition. ...
James Markey and I have worked together on instrument setups since the 1990s. Back then, Jim was the Associate Principal in the New York Philharmonic, playing tenor trombone full time. Then Jim decided to audition for the open bass trombone chair in the orchestra and asked me to build an instrument that would be audition capable. We worked together on an Edwards B454 setup that he not only performed on in the New York Phil, but one he also used to win the Boston Symphony bass trombone audition. ...
James Markey and I have worked together on instrument setups since the 1990s. Back then, Jim was the Associate Principal in the New York Philharmonic, playing tenor trombone full time. Then Jim decided to audition for the open bass trombone chair in the orchestra and asked me to build an instrument that would be audition capable. We worked together on an Edwards B454 setup that he not only performed on in the New York Phil, but one he also used to win the Boston Symphony bass trombone audition. ...
This mouthpiece is very well balanced. I work with a lot of bass trombonists, so I'm quite sensitive to the needs of you guys. While we all love big bass trombone sounds, a bombastic low register usually equates to a wide-open, "false ringing" upper register. This piece addresses that with a big bass sound in the low register that also works great in the upper register. And it does that without being overly bright. - the manufacturer Now for the specs. This GP model has a 28.58mm cup diameter a...
This mouthpiece is very well balanced. I work with a lot of bass trombonists, so I'm quite sensitive to the needs of you guys. While we all love big bass trombone sounds, a bombastic low register usually equates to a wide-open, "false ringing" upper register. This piece addresses that with a big bass sound in the low register that also works great in the upper register. And it does that without being overly bright. - the manufacturer Now for the specs. This GP model has a 28.58mm cup diameter a...
This mouthpiece is very well balanced. I work with a lot of bass trombonists, so I'm quite sensitive to the needs of you guys. While we all love big bass trombone sounds, a bombastic low register usually equates to a wide-open, "false ringing" upper register. This piece addresses that with a big bass sound in the low register that also works great in the upper register. And it does that without being overly bright. - the manufacturer Now for the specs. This GP model has a 28.58mm cup diameter a...
This mouthpiece is very well balanced. I work with a lot of bass trombonists, so I'm quite sensitive to the needs of you guys. While we all love big bass trombone sounds, a bombastic low register usually equates to a wide-open, "false ringing" upper register. This piece addresses that with a big bass sound in the low register that also works great in the upper register. And it does that without being overly bright. - the manufacturer Now for the specs. This GP model has a 28.58mm cup diameter a...
Similar to the original Pagano but larger. Compares to a Schilke 60. The GP6 was created for those old-school fans of the 60 that like a thinner rim and wider cup diameter. If you like the GP but desire a larger bottom and more room for your face in the cup, this is probably the mouthpiece for you. How does it differ from a 60? The rim shape on the inner bite is the same as the GP, as is the overall cup depth and shape. The throat is also the same size as on the GP. As with the GP, the upper reg...
Similar to the original Pagano but larger. Compares to a Schilke 60. The GP6 was created for those old-school fans of the 60 that like a thinner rim and wider cup diameter. If you like the GP but desire a larger bottom and more room for your face in the cup, this is probably the mouthpiece for you. How does it differ from a 60? The rim shape on the inner bite is the same as the GP, as is the overall cup depth and shape. The throat is also the same size as on the GP. As with the GP, the upper reg...
Similar to the original Pagano but larger. Compares to a Schilke 60. The GP6 was created for those old-school fans of the 60 that like a thinner rim and wider cup diameter. If you like the GP but desire a larger bottom and more room for your face in the cup, this is probably the mouthpiece for you. How does it differ from a 60? The rim shape on the inner bite is the same as the GP, as is the overall cup depth and shape. The throat is also the same size as on the GP. As with the GP, the upper reg...
The Orchestral Model mouthpiece was arrived at after several years of trying various mouthpieces with the goal of a big, warm sound that can hug the low brass in resonance. This mouthpiece truly fits that description in every way. It naturally provides the breadth of sound needed to provide a solid foundation in the bottom of any trombone section. It's sound can carry through the orchestra without protruding from the ensemble's overall sound. On this mouthpiece, I feel that I can achieve any dyna...
Similar to the original Pagano but larger still. Compares to a Griego .25. The GP7 is essentially a GP6 with a larger cup diameter. • Cup diameter: 29.28mm (1.1525 inch) • Throat: 7.77mm (0.306 inch) • Rim: 39.50mm (1.555 inch) • Standard weight blank • Gold plated California Residents Only: WARNING: Cancer and Reproductive Harm - www.p65warnings.ca.gov
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Similar to the original Pagano but larger still. Compares to a Griego .25. The GP7 is essentially a GP6 with a larger cup diameter. • Cup diameter: 29.28mm (1.1525 inch) • Throat: 7.77mm (0.306 inch) • Rim: 39.50mm (1.555 inch) • Standard weight blank • Silver plated California Residents Only: WARNING: Cancer and Reproductive Harm - www.p65warnings.ca.gov
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Similar to the original Pagano but larger still. Compares to a Griego .25. The GP7 is essentially a GP6 with a larger cup diameter. • Cup diameter: 29.28mm (1.1525 inch) • Throat: 7.77mm (0.306 inch) • Rim: 39.50mm (1.555 inch) • Light weight blank • Gold plated California Residents Only: WARNING: Cancer and Reproductive Harm - www.p65warnings.ca.gov
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Similar to the original Pagano but larger still. Compares to a Griego .25. The GP7 is essentially a GP6 with a larger cup diameter. • Cup diameter: 29.28mm (1.1525 inch) • Throat: 7.77mm (0.306 inch) • Rim: 39.50mm (1.555 inch) • Light weight blank • Silver plated California Residents Only: WARNING: Cancer and Reproductive Harm - www.p65warnings.ca.gov
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