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When I ship these mouthpieces to players, I ask them to, "stay in touch"; many of them do. Less than 1% of these say that they can't play the Asymmetric, usually because, for some reason, they are unable to use the required 1/3, 2/3 vertical mouthpiece position. The remainder, who either use this position, or have adapted to it, appear to be having remarkable success.

I have listed a few of their comments here. But before you read them, you might want to read an especially relevant appraisal by one particular and very prestigious player who is not only qualified as a highly respected and competent musician, but who speaks with authority from a scientific point of view because of his background and degrees (Physics). His name is Nick Drozdoff, and he lives in the Chicago area.

Nick has very impressive credentials. Let me sketch just a few here. He's played with Maynard Ferguson, he writes, records, teaches and is a free lance lead player, clinician and lecturer. He has a recording studio, and not only plays Lead, but Jazz as well.* Also he is an accomplished legitimate player and plays all of the Brasses from Tuba to Piccolo Trumpet. This is a man who knows what he's talking about. When you visit his website, you'll see something called a "Virtual Textbook on the Physics of Brasses". Here he has written several essays, the ninth and tenth of which are devoted to the Asymmetric mouthpiece and essentially duplicate my own analysis, thus providing independent analytical validation of the Asymmetric. Nick and I have never met (except over the phone a few times), and are not commercially connected in any way; i.e., he has not been compensated for his comments. Please visit his sites. I'm sure you will enjoy them.

Nick Drozdoff

 

 

 

 

 

 


* Nick uses Asymmetric mouthpieces and has made several recordings using them. Search 'Nick Drozdoff' to listen to Nick's recordings.

A few more comments are as follows. With very few exceptions, these are unsolicited and have been submitted by Asymmetric users. You may notice that they are all positive. We did receive some negative ones. But since the mouthpiece returns are less than one percent, I felt that the negatives were statistically not significant. They are important, but not as important as the 99+% approval group. This is a sample taken over a few years. I stopped putting them on, because there were so many that I'm sure no one would read them all.

    PLAYER FEEDBACK

  • I got my new Asymmetric Operas a few days ago and I just love them. I wish I had these for my little concerto performance a few of weeks ago. I only had some prototypes that weren't buffed right and were a little scraped up. I wasn't comfortable using these at that time. The new ones are just great! I used them over Easter and I couldn't have been more pleased with the results. The extremely deep cup allows for a VERY dark tone and sweet sound. The wedge on the bottom allows for this same sweetness and control in the upper register. This was particularly nice on Easter Sunday AM as we had a smaller chorus. The brass quartet and percussion had to really hold the volume down but we still had to keep a certain sense of energy and control. The Opera model made this seem quite easy to me (IMHO). . . . FWIIW coming from me. Also, I am planning on a legit piece for the mp3 site in the next week. I have to get down into the studio and record it as soon as I can. Hopefully it'll be up next week and it will feature the Opera model. I hope I do the piece and the mouthpiece justice. TTFN -- ND (Chicago)(tpin-digest V6 #801)

    John, . . . BTW, I used your new finished Operas on my Easter gigs. I got RAVE reviews, and I just love them! I am getting ready to finally record my first Moto Perpetuo effort, though this one will be an etude based on the Paganninni piece. It's truncated and has some eigth note rests edited in for breaths. I'll be double tonguing the whole thing so circular breathig is out. It will be up in a week or so. It will give credit to the Opera. Also, look for a post today on TPIN. Thanks for your hard work!
    Peace. -- Nick Drozdoff -- Chicago.
     
  • Mr. Lynch,
    I got the mouthpiece I ordered from you. All I could say – UNBELIEVABLE. Now that I’ve been playing it a couple of days it only amazes me more… my high register has increased quite a bit, and it’s become very easy to play up there. I thought the mouthpiece would sacrifice some low register playing but it didn’t once I figured out where to position my lips for different frequencies to optimize the sound (took a couple of hours to really get it). Now I actually prefer the sound this mouthpiece gives for my entire range. I hope you’ve patented this because I wouldn’t be surprised if we started seeing copies from the large manufacturers!
    Sir, you are a genius.
    Thanks,
    Colin (Gerhard)

  • Mr. Lynch,
    I have attempted to contact you by email. I bought a Lead back in September and just love it. I am a soloist for the Gulf Coast Sound Drum and Bugle Corps. I am buying the Opera for a Mellophone. After increasing my range from a double G to Triple G within a week, all of the leads from the corps purchased the Lead mouthpiece. We will have one of the strongest lead lines i n Senior corps thanks to your mouthpiece.
    Tomas Huntley

  • Mr Lynch,
    Now that I have a moment, let me reply.
    Gulf Coast Sound is a Senior Drum and Bugle Corps from Houston. We play on "G" bugles. my range is a triple "G" on Soprano, not trumpet. My goal this year is to play the highest audible not in DCA ( I hear a Triple "A" was played a few years ago). Thing is, our lead line (all playing the Asym. Lead) will not be the best lead line at DCA, but we will be the only lead line to be playing your mouth piece exclusively. We all love it.

    We had camp this past weekend and all of us were still jamming on Tarkus after 11 hours. The stamina, and range were effortless. Thank you for making us not only a better line, but a more consistant line that can get it done longer. You may make our season this year. I will get every lead player from this point forward, in any line I deal with, playing your mouthpiece. Thanks again.
    Tom Huntley - Gulf Coast Sound Soprano/Mellophone/or whatever Jason tells me to play that day.

  • Hello Mr.Lynch,
    You have solved the problem!!!! I am getting high notes right away and I have only been playing the trumpet for a few months. Fantastic. The tone is nicer also and I get low notes no problem. The mouthpiece feels like it wants to go high, NO FORCING!! ---------
    Avery in Montreal

  • Mr. Lynch
    My name is Brice Keazer. I am 16 years old and am currently a senior at Augusta High School. I recently purchased Your lead 342 model mouthpiece and was really pleased. I have always had a good range with my lead playing. With my schilke 15A4 mouthpiece, I can play an F above high C on any day, and a G about half of the time and they sound like notes rather than squeaks. I play with a lot of air and I am proud to be heard in my jazz band or marching band. With your amazing mouthpiece, I have improved my range to a solid B and a squeaky double C. Also, my tone has always been good, but with this mouthpiece i notice no difference in my tone, even in the low register. I used to switch from my Schilke in jazz and marching to a Bach 1 1/2 C mouthpiece for concert band. With this mouthpiece's tone I no longer have to worry about that. I am very happy with my purchase and will tell all of my friends to look into this mouthpiece. I can't wait to see what I can do in the future with this mouthpiece. I recomend this mouthpiece to any one who wishes to increase their range with little to no difference in tone. Thanks again for your wonderful product,
    Brice Keazer

  • Hi John, Mouthpiece is excellent
    I received your Lead 342 mouthpiece yesterday and am amazed by the results. I will send more detailed email of my progress after I've gained a bit more experience with the mouthpiece. - - Thank you again, John and congratulations to you on an outstanding achievement.
    Ron Gillespie

  • Hello John,
    I've had the opera and lead for quite a while now and am enjoying them very much. I have tried going back my previous mouthpieces as an experiment and have to say I still think yours are superior! I emailed you last year regarding flugel mouthpiece , how are things progressing?What will be the specs.? I really would like one soon!!
    Regards.
    Mark Blackwell-U.K.

  • Mr Lynch,
    I cannot to start to describe how your mouthpiece has made me a more proficient trumpet player. I got a 3C+544 mouthpiece in the first week of July (earlier this month). I adjusted to it right away, and I could notice a huge difference in the ease to play high notes (higher than the g above the staff). Before I was playing with a Bach 7C and could play a high F just below the double C. After receiving your mouthpiece, I have increased my range to the High A below the double C!! I know that I will increase range the More that I use it. But the biggest difference that I see in your mouthpiece from the other ones is a matter of tone. The tone production and quality is absolutely amazing. It helped me when (I had to play) a trumpet solo in our High school Marching Band, and everyone was impressed on how much my tone has improved especially my band director. I do plan on getting both the opera 545 and the Lead Jazz mouthpieces this year, because I now know that they will work. Thanks again for making such a good mouthpiece,
    (name withheld)

  • Hi John,
    I have played trumpet for about 25 years. I think I have tried about every "new" mouthpiece i could find searching for that perfect "mix", range , intonation , low register sound quality etc. I purchased an Opera 545, giving another mouthpiece a try . I am absolutely amazed at the awesome mouthpiece you have created here. The high range is nice , double C's plus (on good days), BUT for me I got great intonation in the upper register, a very dark full rich sound down low, endurance I have never had and I dont seem to give up anything to gain it all. What you instruct to do as far as playing is right on the money, I do have to make an effort to think of what I need to do, lots of air , keep the soft center , you are right on the money John. I am very pleased with this piece and I am done looking for a better one , its not out there !!!!!!! A Million Thanks !!!!!!!!!!!
    Craig Jones parts@johnsonmotors.com

  • John -ummm, yeah.--So i've been practicing more on the 545 and have noticed significant improvement. This is definitely a keeper. More than anything, what improved my playing was proper technique! I didn't realize how much the Bach was letting me get away with (even after 20 years). When i was in high school, i had a teacher explain proper embochure setting by having me say the syllable 'tu' but to use a french pronunciation of 'tee-ee-yooh'. He explained that it helped to align the jaw, lips, etc., for ideal playing. When i do that now with the asymmetric, it does all of the embochure suggestions on your site - shock absorber lips, rolling the bottom lip in a little, etc. - and voila, it all comes together (relatively speaking). And, the open backbore on the mouthpiece is helping a lot, too. The Bach horns can tend to be 'stuffy', and the freeblowing mouthpiece helps to compensate for that, particularly through the more technical pieces. I've also noticed that my chops feel significantly less 'butchered' after an extended heavy practice session. The soft upper rim and broader lower rim really help to greatly reduce teeth pressure into the lips; my lips retain their suppleness and flexibility right up to the end. And, I feel hardly any of the effects when i wake up the next morning - almost unheard of with my Bach! Now I feel as though i have to grow into the mouthpiece - improve my own playing to be able to use the mouthpiece effectively. This will take some work, but i can already see that this will take my playing to a whole new level.
    Thanks for a great product. - Roger Strong

  • My Opera Mouthpiece. John, thanks for a great mouthpiece!
    I received it a couple of weeks ago, and went to work on it. There was an adjustment period, naturally, but in only a couple of days it was starting to work. My warm-up consists of buzzing arpeggios, from low register and gradually extending into the upper, to concert e or f above high c. I continued this practice with your mouthpiece without problem. When I plug the mouthpiece into the horn I repeat the exercises to the highest notes I can reach, usually getting up toward double Bb and B. The oddest problem I had was at F# and G above high C, where I couldn't center the pitch and would slip up to the next partial. That seems to be resolving with time spent with the horn.

    As a young trumpet player I went through a great deal of struggle trying to develop my range, and eventually became a professional piano player because I couldn't seem to resolve the range and endurance problem.

    I continued practicing and studying because I love brass playing. One summer I studied with Don Jacoby, who helped me resolve many problems. Eventually, I became so busy with gigging, taking care of elderly parents,and all that life stuff that the horn mostly stayed in the case for 15 years.

    When I went back to school in 2001, I had one semester of my major instrument to complete, so I pulled my horn out and started practicing. Fortunately, the teacher (Rick Bogard of the University of Texas at Arlington and the Dallas Opera Orchestra) proved to be one of the best teachers of my life, and started me on warm-up routines that had me going up to F and G above C within a couple of days. Not little squeals but good notes with good tone.

    At the end of the spring semester, I recorded one of my arrangements (an arrangement of a Lew Soloff tune, to be released on an upcoming album featuring him) with the UTA Jazz Orchestra, played the feature on trumpet, and pulled an F# on the end.

    What all this leads up to is that your mouthpiece seems to be the answer to an old quest. The benefits I'm experiencing after only a couple of weeks are: increasing ability to hold the high note when I'm on it without it closing off, always a problem before; better flexibility, and I think my flexibility was pretty good; great sound, well centered and in tune; better endurance, with less tendency of the lips to collapse into or around the mouthpiece when tired; increasing ability to pick the high notes out of the air. I used the mouthpiece on a college concert last night, and it worked great. I even put a high F on the end of the last tune.

    In the coming months I'll be ordering the other mouthpieces to experience their benefits in other situations. I already love the Opera for it's solo sound for jazz and legit, but I'd like to see how the others work in section or lead situations. Thanks again!
    Mike Loveless

  • Dear Mr. Lynch:
    About two weeks ago, I received your Asymmetric mouthpiece. This is definitely the perfect mouthpiece for trumpet players. I was able to adjust without any problems, and I haven't played an instrument for about 10 years. The first thing I thought when I tried it out was "why did I ever settle with mouthpieces that came with the instrument?" I wish you nothing but continued success with your product and hope for the day that musicians in the entire brass family from beginner to professional can reap the benefits of the Asymmetric mouthpiece. Sincerely, Randolph Murphy

  • John,
    I have been using your Lead and Opera's for almost a year now and really love them. My son plays in a high school band, and I have really been extolling your praises to all of those trumpet players as well. Do you have any plans on making other models? Do you plan to develop a Fluegel model? A trombone model? Thanks, Rick Nash

  • Hi John, I just received my Lead 342 mouthpiece yesterday at my office. I couldn't wait to get home and try it out. I was like some kid on Xmas Eve anticipating opening presents. What a break through!! The mouthpiece didn't really feel any different on my chops but I I was playing notes with relative ease that I had never hit before. I popped out a high G and even eked out a double octave A flat. This is a truly an amazing mouthpiece. Of course I'll need some time to learn to control it. It's kind of like getting into the cockpit of an F-15 fighter jet after spending all your time in a little single prop Cessna airplane. The dynamics seem to change. I think I know what they mean by the phrase "peel the paint off the wall". That is exactly what I felt like last night. I'm 42 years old and play in a Seattle area jazz orchestra as a hobby. I can't wait to get control of this thing and blow my horn section away. This is truly a remarkable mouthpiece and I feel fortunate to be able to own one. Keep up the great work John. > Best Regards, Victor Ross

  • John, hello! 2/29/04 I had a trumpet lesson yesterday with Nick Drozdoff, who turned me on to your mouthpieces. I am thrilled to have just placed an order for a Lead model. I was able to play Nick's, and it felt great. I was able to play it with no problem at all, and I would love to be able to play on it for a gig I have on Saturday. If you could possibly overnight it to me, I would really appreciate it (so that I can adapt to it before the gig). I'm going to tell all my peers about your mouthpieces! Thanks! --- Dale Rideout

  • Hi John,
    Thanks again for sending the mouthpieces I ordered (3C+, Opera and another Lead as backup). Okay, after 10 years of playing them, I took my Schilke mouthpieces out of my mouthpiece bag and put them back into their original cases. I will never need them again, because I have the best ones now. These are really the best pieces of brass I ever had in my hands and at my lips. Also 3C+ and Opera are incredible good mouthpieces. They are much better than I expected. Unbelievable. Absolutely easy to play with in all registers. You made me an Asymmetric fan.  That's really fun to play with them.

    After my immediate success with the Lead 342 in Jan. I am surprised what happend playing it for 3 months now. I still have daily improvements. More power in all registers (especially the altissimo) with the greatest of ease. And with much better sound than with these usual shallow cup lead mouthpieces. Playing makes more fun than ever before. And I always had fun playing the trumpet.  I prepare making a homepage for myself ( will be www.kinle.com ). Do you allow to set a link to your page? I also told other players about my experiences.  Many thanks again for your work  --  Best regards,  --  Manfred Kinle

  • Hi John,   Do you want to read a little Asymmetric-Story? A few months ago I told trumpeter Bernhard Münchbach about the Asymmetric and he ordered a Lead from you.  2 weeks ago we met playing together in France with a very good french Salsa group. Next day I substituted for him playing with that band at the Jazz Festival, Montreux on the "Salsa-Boat".  You can imagine what happens if two power trumpeters play together in a Salsa band? We really had very much fun.  He also tried my Opera, and because he does lots of classical music, I'm sure he will order one the next (few) days. In Montreux it was beautiful playing on that old paddle steamer, and after the concert I was asked a lot, "What kind of mouthpiece do you play?" I gave some of your cards to the guys. So, don't wonder if you maybe receive some orders from Switzerland.
    I'm still very happy playing the Lead342. It's the best I ever had. I have my own website now ( www.kinle.com ) where I put some links to your Asymmetric Page.
    Thanks, --- Manfred

  • Mr. Lynch, 
         Over the weekend the trumpet player at church came up to me in Sunday School and asked me if I had ever seen one of these before. He was holding one of you Lead 342 mouthpieces. I told him that I had read a lot about them on the internet and seen them on ebay but that was about as far as it went. Anyway, he sent it home with me to try for a couple of days, weeks to see how it worked out for me and maybe give him a few pointers on how to use it.  What an experience. The first 30 minutes or so with it I almost wanted to throw it out a window. Tone was terrible, anything below about a middle C sounded airy and flat. Instead of giving up I got on the internet, went to your site and read everything you had to say about it. What a difference!

        I am 56 years old and have been trying to take up the horn again and play after 35 years of layoff. To say the least it has been a bitter sweet experience up to this weekend. Very little endurance, highest comfortable and sustained note was about an F above staff. Tone was very good but not sustainable. Then I discovered how to use the Asymmetric mouthpiece. From the time I began playing the trumpet in the 6th grade I had used the 2/3 upper lip, 1/3 lower lip in the mouthpiece. When I was young it wasn't as much of a problem even though my high range was limited to a high b flat or c. Really wanting to do this, I decided to adjust to the 1/3 upper lip, 2/3 lower lip that your mouthpiece almost forces and WOW what a difference. I can now sustain the high c and even lip up to the e and g above if I push it. I think I can get the tone sorted out with a little work in the lower range with the Opera which I just received. My greatest challenge now is getting the wind power redeveloped and lip flexibility. I am already getting ready to put an assortment of Bach conventional mouthpieces that I had purchased in my search for a comfortable fit. My friend doesn't think he can adjust to the required embouchure needed to effectively play the lead 342 so I will probably purchase it from him to use on pieces that really need that extra bite. I love the wide flat rim ( much less focused pressure on the lips ). I know that it has been every trumpet players quest to find the perfect miracle mouthpiece and that there really is no such animal but your Asymmetric comes as close as anything I have ever tried. Even in my limited experience with the mouthpiece I will assure anyone that what you say about the increase in range, endurance, etc. is absolutely true if the mouthpiece is used properly. I do know that thanks to your work I am now going to be able to do this.
    Phillip A. Case Tulsa, OK.

  • Dear John,
    I'm Gabriele Zeloni from Florence, Italy and I have received your lead version of asymmetric-mouthpiece. I'm an "old learner" and I have not been able to play it in a good way. So I brought it to my master (a good musician, testimonial by a big trumpet producer in Italy). He has a limit: super high notes. Well, now he has resolved his problem by your, excellent for him, asymmetric-mouthpiece!  ...Excuse me for the bad english.  GZ

  • John, I received my 342 last week, and wanted to tell you how pleased I am with it.I was playing with a Jetone Al Hirt model and was happy with it until I played the 342. My range has increased from an F to an A above high C.Maybe the double high C is possible for me.The 342 has also given me a notable increase in endurance. I am currently playing a Selmer Bach trumpet in an R&B,blues type band.I am curious to know if you have any recommendations on trumpets to use with the 342 for range and endurance purposes.Thanks for all the hard work that went into making a terrific mouthpiece. Sincerely, Dave Campbell

  • Hi John, I was just surfing the web and I found this site about these asymetric mouthpieces. All I really wanted to say is that I read your book about 5 years ago & it changed my life as a player. I always had a good high range but after this book playing double high C is normal for me & I can scream a whole lot higher. This has got me a good reputation as a pro player. I can play longer & harder than ever before & some of the gigs I play are like 6 hours of lead trumpet. I also use the techniques with my students which helps a lot especially the pressure problems using the pistol grip. Most people know immediately who my pupils are just by seeing them play. Once again thanks for a great book that makes brilliant sense....If you ever want to quote any of this text please feel free. Nigel Moore Freelance Trumpet Germany.

  • John, Just to inform you that as anticipated I received one of your Lead 342's in the post this morning. Quite nice product I must say, not only looks great but sounds it. Certainly eases the pressure on the mouth in the higher reg, I've had recent dental problems hence why I purchased the product, so thank you. Anyway. I may also be in contact with you in the next few days again, as one of the guys in a swing band I play with would like an Asymmetric as well, so I shall probably be ordering another for him in the next few days. Once again, many thanks. John Pillar

  • Hi I am an italian trumpeter and i have got an Lead 342 gold plated for trumpet by ebay and i like it so much. I had to spend about 3 weeks to acclimatize and now i feel good with it. My position was 50% up and 50% down but now i have the right position and i have got 3 semitones. In fact with standard MPC i can get the D upon (above) High C and now i can touch F upon High C. I stopped to find high notes 'cause this MPC is more confortable and high notes are more easy to play so the power needed is smaller. So when i want to play an high note, the note really played is higher, and i need extra time to study....with regards, Paolo Frattoroli

  • John, --I had only had the mouthpiece 2 or 3 days and could sound pretty good notes a couple higher than what I could accomplish with the standard 7C. Now keep in mind that this is after 38 years since even having a trumpet in my hands. Thank you so much for this great concept in mouthpieces. --- George Ison

  • John, -- Today, I received my asymmetric 3C+-544 mouthpiece; I purchased it following the advice on your web site to band directors. I am a 53 year old Emergency Room physician who played trumpet in grade and junior high school many years ago. Throughout the years I taught myself to play guitar and piano though not an expert, I play good enough for me. Walking through Wal-Mart some weeks ago I saw a trumpet that they were selling, and the light bulb went off. Rather than purchasing a cheap pop out, I proceeded to go to an instrument store and rented a beginning trumpet, not knowing if I would be able to play it! Well, long story short, reality soon set in. I never remembered it to be so difficult . I got a teacher and started taking lessons. I was using a 7C mouthpiece that came with the instrument and was told that I needed to master it first. I am not interested in becoming a concert trumpetist, but I do want to play well, and I do PRACTICE every day. Being a beginner I found the 7C to not feel right, regardless of what I was being told. I had to keep moving it around my embouchure to play the notes and really had to struggle to hit middle C. Don't forget, I am a beginner! When I got the asymmetric, I just popped it in the horn and started blowing. Iinitially, I couldn't make a note, but after several minutes of experimenting, the most beautiful G that I have ever played came out; then A, B, and C, pure notes { I checked them with a tuner), with 3/4 of the effort that I had to use with the 7C.

    I am pumped; I can't wait for my next lesson I can play that first octave, and the horn sounds so pretty. I want to thank you, because I was about to quit. Now all I want to do is play and play and play. Even my wife was surprised . Yes, I still miss notes, but that will get better with practice, and now practice is fun. I want to again thank you . Sincerely, --- Luis Galano, MD
     

  • John, I have had the 3C model for about a month now and I have had great success. When I was using my Bach 7C, I was only able to hit a high C and a high D occassionally. With this mouthpeice I am able to play up to the high E above high C with incredible ease. The high F is becoming easier and easier to play each time I pick up the trumpet. As a matter of fact, I even squeeked out a High G above High C! ------- What I like about this mouthpiece is that it forces me to use the "1/3, 2/3" lip positioning. I can't wait until school starts again so I can show off my new enhanced range. In the school jazz band I am fifth chair out of five trumpets and play the fourth trumpet part. I am hoping that this mouthpeice will give me a better part. I know for a fact the three of the other four can not hit any higher than a High D above High C. If they are impressed, I will be sure to tell them about your mouthpeice. Once again, thank you for a great mouthpiece. David Durham
    P.S. I hope that you could somehow come out with a mouthpeice like this for other brass instruments like the French Horn and Baritone.

  • Mr. John. H. Lynch, -- My name is Marty Charleville. I am the current music director at John F. Kennedy Catholic High School in Manchester, MO. I am also a professor of music at Lindenwood University in St. Charles, MO. Though my background and my Masters is in vocal music, I have dabbled on trumpet some. On a lark, and because I was curious, I purchased an asymmetric mouthpiece in January of 2003, practiced methodically with it for six or seven weeks prior to our spring musical ("Cinderella") i n March, and then used it throughout the performance dates. In a relatively short amount of time, I have extended my range up a 4th to a confident and resonant Bb5. My tone in the lower register continues to be full and rich. I really like this mouthpiece! My opinion is that you've got a definite winner in this mouthpiece and I've told several of my students about it. --- I'm certainly convinced of the effectiveness of the asymmetric mouthpiece design. I highly endorse it.

    By the way, after reading the literature that came with my mouthpiece, I got to thinking about the asymmetry of most people's teeth. This gave me an idea, so during one rehearsal I deliberately placed the shank of the mouthpiece loosely enough in place on my trumpet so that as I played the mouthpiece would be allowed to rotate. By the end of the first act I noticed that the mouthpiece had turned very slightly clockwise. I then took my pocketknife and scribed alignment marks at the interface of the mouthpiece shank and trumpet. Every time I play now I align the marks to insure consistency. You might include that idea into your literature. Thanks for a great mouthpiece! --Marty

  • Dear John,--(The following) is a post I made yesterday on the Trumpet Herald Forum about my Opera. "The first time I played the Asymmetric I couldn't get much out of it. However, after an hour or so things started happening. At this point the Asymmetric feels very different from the B4, but fairly comfortable. It has added about 4 or 5 semitones to my range, and more importantly, makes the range in which I am usually required to play (only up to high C or D in a chamber orchestra or in church) *much* easier and fuller sounding. Even in the mid and lower range the sound is very nearly as dark, although not quite as big, as with the B4 Prana. Really a very similar sound. It is brighter than the standard B4 or the WT3. Most striking is the fact that I can play at least twice as long in any range on this mouthpiece. The response is good even when playing very quietly. Actually a cleaner attack than any of the other mouthpieces. I do find that when I really pour it on the sound gets a bit more edge than I might want in the orchestral setting, but I suspect that with time I will have more control over this. I also find that the sound breaks up a bit when playing loud on low D or C#. Again, I hope I will be able to control this with more experience. I am looking into having an Asymmetric lead model adapted for my pic. Now that would be interesting.  If this mouthpiece works out the biggest problem might be the reaction of my trumpet teacher, who is a bit of a traditionalist when it comes to equipment, and who also conducts the orchestra." .....Dr Dave Harrison

  • Hi John, My name is Neil Champagne, and I'm a freelance trumpeter in Florida, playing lead and jazz parts equally well. The reason I am writing to you is this: I bought, used, one of your lead 342 mouthpieces, and I must say, I am truly, deeply happy with my purchase. For everyday use, I used to use a Monette B2, or a B1-1, the B2 is fairly large, and the B1-1 is huge. I also used a Schilke 6a4a for lead work. I never EVER liked the lower register of the 6a4a, and the upper register was stuffy. I can play the FULL range of the horn on any of the mouthpieces I own, but the sound on the Monettes for lead work isn't, as you would put it, "brutal" enough. Anyway, your Asymmetric is amazing, it has a sound as full and dark in the lower register as my B2 Monette, but bigger and fuller in the upper register than the 6a4a Schilke. Also, I feel NO backpressure in the upper register with the Asymmetric like I do with the Schilke. It's like it gives me the openness and free blow of the Monette B2 in the full range of the horn, and a better upper register sound than the 6a4a. My approach to the trumpet is sound first. If it sounds thin and ugly, it doesn't matter how high a person goes. If it's uncontrolled and "reaching" it just doesn't matter if they play a double high C (my opinion). The Asymmetric is exactly what I've been searching for. Also, when I do play the upper register, it doesn't feel any different than the lower register, doesn't feel like I'm "working". I just love it. On a side note, my endurance, which has always been good, has gotten even better. I found, at the jazz festival this weekend, at the end of the last set, last tune, I felt like I cold hold the high G# for any length of time that the alto player wanted. I am very, very impressed with your work. Can you please tell me when your other two models are coming out, because I would like to get them also, ASAP. I am going on a mission to get these things popular around here. - Neil, Florida

  • Dear John, I have only had the Opera for two days and I am already veryimpressed. My range and endurance are significantly improved. The sound is a bit brighter than my Monette B4, more similar to my Monette B4 Prana with a dark centre and brighter overtones. I am using it with my Monette B993 and Wild Thing trumpets. I already like the sound of the asymmetric better than my Wild Thing 3 mouthpiece. I am sure than when I really learn to play this thing it will be dark enough, even for the chamber orchestra where I do most of my playing. I have a couple of questions. Is it possible to order the Opera in gold plate? If not do you think it would harm the playing characteristics to have it plated myself? Secondly, I would LOVE to get a small shank asymmetric to play in my Schilke pic. Any plans to make one? Many thanks, Dr.Dave Harrison Vancouver, BC Canada

  • Hi John, Thanks for sending me the Asymmetric Lead342 so quickly, I got it on Monday, Jan. 6th. You can imagine: I was like a little boy who got his christmas present (and that with age 45!). Very good quality. After the first touch to my lips we got friends. It works very good for me, could play all my range until (to) DHC and higher after a short warm up. The following sunday I played a entire bigband concert (lead and solos) without any problems. I could also switch to my Bach 1c flugelhorn mouthpiece and play "Ballad for a friend" without any problems. My girl friend told me that I had much more power and volume as with my Schilke mpces. So, thank you for designing such an interesting and fine working tool (I think that was a lot of work?!). Especially the range between High C and G above High C is so powerfull, centered and easy to play, unbelievable! I needed another few days practicing with it until 2 or 3 days ago, where I think I found the really right spot on it and can play now easier and higher than before. So, I'm very happy and, for sure, I want to try the other two models you have plus another Lead. Please send me 1 Lead 342, 1 Opera 545 (and) 1 3C+544.You will get another check from my bank with the amount of $219 (208,50 for the mpces + 8,50 shipping + 2,00 Non-U.S. Order). Is that o.K.? I will do that next week. My address again is, Manfried Kinle,.....Germany. Thanks a lot and Best regards. --- Manfried

  • John, Got the Opera 545. Nice MP! I played it an hour on my choral tunes and it was great on my vintage King Symphony. It is really unique looking. I am sure to get a few second looks from fellow trumpeters. The cup depth is perfect. It even sounds great on my Jupiter pocket trumpet. Thanks for building a great MP. Bill Anderson

  • Hi John! You may remember (or not) that I e-mailed you a couple of months ago (Tim Hughes, 15 year old from England), and I was very frustrated with my endurance, and my high register playing as I was playing 1st trumpet in my big band, and you told me that a lead-342 mouthpiece would enable me to get a high G and that it would increase my endurance (and I thought it was too good to be true) but I told my mum about these mouthpieces, and she thought the same. But in the end she ordered me a lead-342 asymmetric mouthpiece. I got it about 3 weeks ago, and it was the very best decision I have ever made, and ever will make!! When I was only just being able to get a D above high C, I can now consistently get a G and on good days a G# or even an A (once ot twice).

    Thank you very very much, the mouthpiece has revolutionised my playing, and I am now much happier, and everyone in the band is so positive about it, but especially the director!!! I love it, and I have my first gig using it tomorrow, I am so looking forward to it! Thanks alot for making me a content player! --- Tim Hughes


  • Hello John First of all I'd like to say that the asymmetric mouthpiece came as a shock for my teacher. After a few minutes of blowing he was amazed. He had never seen something like it before. he was surprised by the great sound and reach. I've been using it now for six months and can't do without it. I play the lead in a big band and this mouthpiece is just the right one for the job. I also play in a symphony orchestra, so my question is, when will the opera 545 model be available. I'm looking forward to it. I use the lead 342 mouthpiece with a Schilke X3 and that combination sounds great in a big band. It cuts like a knife....Greetz, Anton Lenders (Netherlands)

  • John, I am 30 year old trumpet player having played on a regular basis since 4th grade. I ordered your asymmetric mouthpiece from Woodwind and Brasswind Catalog. I must admit I did not expect any range advantage having tried numbers of other mouthpieces with no luck of playing anything easily above a “high C”. Yesterday for the first time I’m playing solid D’s and E’s with ease! I played notes yesterday that have never before sounded from my horn. I can’t wait to get home from work and see what I can play today. I will be sure and tell all my acquaintances why I can play those upper register notes now. Thank You! Mark Cody

  • I am very interested in your 545. I purchased and use the 342, and I can say nothing but good about the mouthpiece. I have always had a "block" on conventional mouthpieces that prevented me from having anything stable above a high C. Your mouthpiece has enabled me to extend my range to a very good high E and sometimes F on a good day, plus the added endurance that gives me extra chops to use that high range in concerts with consistency...... Robin Gould , Indian Hills Community Church , Lincoln, NE

  • Hi John! My normal position in my band is 2nd trumpet. After the first set on a 3 hr gig last nite, the 1st trumpet guy gave me his book.! "What a sound!" quoth he! This after a week on the Asymmetric! Cool mouthpiece! I haven't realized its full potential yet. Still too soon and the "honeymoon" is not over. But I realized much better endurance right off the top. Early on, the range went up ......... By and large, I'm happy with this mouthpiece. It's the first change I've dared to make in years, and happy I did so. Other guys in the trumpet section of this 21 pc band remarked all nite about the clean sound and good timbre! You have a good thing going! Thanks! Bill Crawford
     

  • Hi John! Good gig last nite, the first on which I've played the Asymmetric. The whole section had good comments about it! I felt that endurance had increased remarkably, even though only having played it for a week before! Take Care! Bill Crawford

  • Dear Mr. Lynch, Just bought one of your mouthpieces for my daughter who plays the trumpet. Absolutely fantastic. She is a freshman in high school and has a Bach Strad - the sound is loud, clear, open and she can really sing in the upper register. Doug -- Aliso Viejo CA

  • Mr. Lynch, I was just writing to tell you that your mpc works great on my Bach Strad for marching band. I can cover my full range on the trumpet with any mouthpiece I play, including the Asymmetric, but I can seemingly last an eternity - while marching with your mouthpiece while projecting my sound over the band like hell Your mouthpiece IMO is worth far more than I paid for it. BTW, how's that Opera 545 coming along? I absolutely cannot wait any longer for it. - Mike Dellert

  • I was wondering if you had any pictures of the Opera 545. I've been getting really excited about the release of this mouthpiece. I fell in love with the Lead as soon as I tried it, almost a year ago... I am sorry if I went on many tangents during this e-mail, I just would like to show you how much your mouth-piece has helped me. Thank you for developing such a product. -Draper Carter

  • After a week of putting holes in the walls with my fists trying to get used to this mouthpiece, the lead 342 is about as deadly in my hands as a magical sword. The sound and playing characteristics of the lead 342 perfectly allows me to execute my style of improv which goes to about every extreme of the trumpet you can think of. Obviously, this is pretty hard to do while playing on a Bach 3C like I had done for some time!!! I had also tried such mouthpieces as the Schilke 13A4a (bottomed out easily), Bach 7DW (limited my range with the cushion rim), and the Wick 5E (this mouthpiece I could have stuck with, but it doesn't perform as well as the lead 342). Also, I was reading where someone liked this better than a Monette, and something definitely has to be said for that for a mouthpiece at 1/4 the price! ------ Finally, I purchased the mouthpiece, and I can suddenly do all my MF/Hargrove stuff that I like to do with perfection. ------ Anyway, I will recommend this mouthpiece to everyone in my trumpet section. BTW, please put me on the update list for the opera 545. I will appreciate that a lot! Thanx. Regards, Mike Dellert

  • I just bought your mouthpiece used from Dillon's music. After playing it, I can't imagine why anyone would ever sell it. It is the best that I have ever tried. A truly revolutionary design. Thanks. The mouthpiece came without the instruction sheet. Could you please email a copy to davidbross@rocketmail.com I am looking forward to seeing what happens when I really know how to use it! David

  • Dear Mr. Lynch, I just got my "Asymmetric Mouthpiece" in the mail today. As an engineer myself I appreciated the research and technical information available on the web concerning this mouthpiece, but frankly it was Nick Drozdoff's Asymmetric Jump and his endorsement that convinced me to give it a try. Honestly I was pretty skeptical. So when I found the mouth piece in the mail I made a B-line for my trumpet and put it right to the test. On my first attempt I immediately discovered my top range was extended by about a fifth. I had music that I had simply given up on playing for the time being because I simply couldn't hit the notes, and suddenly I could hit those notes! OK... I don't think I'm ready for Carnegie Hall just yet, but my first impression is that your mouthpiece performed as advertised, which I didn't really expect to happen. I am very pleasantly surprised. I know the endorsement of a middle aged engineer has been trumpeter trying to recapture his youth may not count for much, but you asked for people to stay in touch and let you know how it's going, so I am just following your request. First impressions are often correct. Based on my first impression, I'm very pleased! Best regards, Richard B. Cory, Chesapeke, VA

  • Hello John, I thought that I would write and tell how much I'm enjoying my new mouthpiece. I've had it for about 3 weeks now . It's taken that long for me to get used to it , although it sounded ok from the begining, I can tell now that I'm really settling into it properly. I'm a pro' player here in the UK. A and have been playing for 30 years now , mainly on Bach 1, 1c 1 1/4 c etc. Although recently I've been trying out Schilkes. It was while I was on the Brasswind web site that I first came across your mouthpieces. It made fascinating reading. I printed out all the info. and studied it. It all made perfect sense in theory and now playing one confirms that all that research you did and all your calculations certainly paid off bigtime. I trained classically but after leaving college I've always struggled as a freelance when it came to light music and theatre work. I was on a constant search for " the mouthpiece ". and ended up with a selection, never really getting it right . I've always admired the good players who have great tone and a large range but never thought I could be one of them. I have slightly offset embouchure due to my teeth and thought that this was my handicap. Now things are changing !! I have a very secure range now and have increased my range buy over a fifth !! ( super C is so comfortable ). All the notes seem so much more secure and require less " effort ". As you can tell I'm very excited by your mouthpiece and extremly delighted at what it's done for my playing and my confidence. Thank you so much for coming up with this marvelous product. I should like to know about the other mouthpieces that you have under development. Thanks once again for making it possible for me to play thre way I've always wanted to but was unable to achieve with conventional mouthpieces. regards, Mark

  • Mr. Lynch, I am writing you back to let you now how well the 342 Lead mouthpice works. Put frankly, it is the best lead mouthpiece I have hever played. My potential on this mouthpiece is limitless. Please put me on your update list because as soon as the 3C model and Symphony model are out I am definetly coming to purchase them. I am a trumpet player in the U.S. Army Band stationed in Korea. In July I will be stationed in Hawaii Playing lead and Jazz trumpet for the band there. Your mouthpiece has so impressed me that if I would love promoting it. I think it is going to take the limits of the trumpet to new heights and concepts of trumpet playing in new directions. Again thanks for a great mouthpiece. Specialist Jason Bemis

  • Hello, I am an eigth grader from Iowa, and I have recently bought your asymmetric mouthpiece from "recommendation" of the all state trumpeter in our high school. He's said that he was very impressed with your mouthpiece so I bought one. WHAT A SIGNIFICANT CHANGE! The highest note I could play before, on my Bach 3C mouthpiece, was a D above high C. now that I've gotten used to your mouthpiece I've extended my range to a G below double high C!!! And I've only had the mouthpiece about 5-6 days!!! I thank you for taking the time and effort to create a mouthpiece that lets you play in the high register, but also gives you incredible tone! And my endurance has also showed great improvement!!! Thanx a bunch- Jacob Phipps

  • Hi, I tried your mouthpiece a second time, and this time, after about a week, BOOM! F above high C, which I never reliably hit before. It took a bit of playing, but without conscious changes, the low range went from just hiss to solid, and thicker than with my other mouthpieces. Better attack, too. Thanks! - Eric

  • Hello John! We had talked via email before concerning your mouthpiece. Well, I broke down and purchased one. My gosh, what a difference! The mouthpiece, though quite unusual in looks, was not at all uncomfortable!! I picked it up and started playing well with it in a matter of a couple of days. As you indicated, my range did improve, significantly! I am now playing up to F above the staff with regularity, and have gone up to as high as double B. Thank you for such a wonderful product! I will be using this product on my next album, which should be completed by the end of February! - Rev. Michael Guevara

  • Dear John, The (Lead) mouthpiece works just fine. The 342 is so powerful it tends to overpower younger players in the band I am involved with, especially with the large-bore Wild Thing I play. Best wishes and good luck in 2001. - Nigel Goodman, Sydney, Australia

  • John, I've been playing on my Asymmetric Lead 342 Mouthpiece for almost two weeks now, and so far, I love it. I've been playing trumpet for many years (35 and counting with lots and lots of lead playing) and have never been one to mess up a good thing, but when I saw your write-up on the Asymmetric mouthpiece, I just felt I needed to try it. I recently joined a big band where one of my roles is the "screamer". I also back up the lead player on the high note stuff on occasion. - - wow - - what a sound that mouthpiece helps me to produce! As you so aptly state in your write-up, it's no orchestral mouthpiece, but it seems to live up to your claims. - - I can peel paint up to a high G, - - I've also ordered your text on Altissimo Trumpet playing and am looking forward to incorporating most if not all your methods into my lead playing. I've already seen that if I trust the new mouthpiece, the high notes come easily and powerfully with virtually no effort. I'd like to offer another compliment here: My "legit" mouthpiece is a Schilke 13C4 which gives me the dark, full sound I need for concert and quintet playing. So far, I've seen no problems switching between mouthpieces since the Lead 342 seems to have about the same I.D. (at least 2/3 of the circumference of it) as the Schilke. I like that. I just can hardly wait for you to develop a "legit" mouthpiece that works as well as your jazz (lead) mouthpiece appears to. You're doing great things! Keep them up. I'm a fan forever. - Tim Wygant

  • Hello Mr. Lynch, three days ago I received your asymmetric mouthpiece thru the Woodwind and Brasswind cataloge. Wow! This mouthpiece far excedes my expectations! In only three days I have gone from using a Marcinkiewicz model 9, producing a shallow G above high C, to a strong G and now A. By complete accident I produced a B-flat!! I have studied your altissimo trumpet method for a few years now. I do believe that this previous study increased the ease of producing such quick results on your new mouthpiece. I e-mailed you a few weeks ago about whether your new mouthpiece rim would pose a comfort problem. This simply was not a problem. Your mouthpiece is extremly comfortable, if not more comfortable than the mouthpiece I have been using for the last six years. Thank you for putting such much thought and effort into making a fantastic mouthpiece! The tone quality is excellent in both the high and low range. As for the size of the cup , as compared to what I was using before, it did not take long to get used to. Great job Mr. Lynch!!!! - Ted D. Schumacher

  • John, I just got the modified version of your mouthpiece for piccolo. As I suspected, it is FANTASTIC! I have never played a picc mpce. that works as well as this does! The Michael Haydn concerto is downright easy to play. The double B's lock right in. Octave skips are clarinet like. Lyrical and soft stuff come out with a silken sound. Now I am using a Warburton 80 series S10 cornet shank backbore. Of the several I used, that one yields the best results for me. The S10 is a big backbore designed for Schilke piccs and the 80 serices has a big weight integrally machined onto it. - Nick Drozdoff, Chicago IL

  • Hi Mr Lynch, This e-mail is specially to thank you about the asymmetrical mouthpiece: it's amazing! The first week was really really hard but after that is incredible: Right now I'm getting tones (double high A and B) that were impossible to me to reach them. My range was a miserable high A. I pratice every day, and more I pratice, more I discover. I really really thank you! - Leonardo Vasquez, Montreal Canada
     

  • Dear John: I received the mouthpiece. It's amazing! Today, I had a lesson on trumpet. I played the trumpet from the F in low register to E above the high C. The teacher was astonished. i explained your theory on the mouthpiece. He is interest in it. Then I gave him my word to purchase the mouthpiece for him. - Yuji, Japan

  • Hi John, Thanks for the Lead mouthpiece - I've been using it for about 6 months in a Big Band, and it works wonderfully. It gives a powerful, cutting sound, great endurance and range, and without being too thin - I can now soar over the Big Band at almost any volume. Thanks again for a truly revolutionary mouthpiece. - Michael Camilleri
     

  • John, Great mouthpiece! My up register is sitting at a double G right now with some more work I'll be lightin' it up! What impressed me is the lower register, it plays clear and clean, no weak tone or airy sound. Very nice mouthpiece, I'll be ordering the Opera in a few months. - Mark Stallins

  • John, I received my asymmetric opera model mp a few days ago. It is truly incredible in construction and mass. I love it. I will report later on its use. In the meantime the 342 is working better and better for me. I very much appreciate the work you are doing and the great products you offer ( including the leather cases! ). Your mouthpieces are one of the best bargains in the trumpet markets. Thank you very much, - Mike Teague

  • Dear Mr. Lynch, I've been playing the lead 342 mouthpeice ever since the beginning of marching band season in late summer. I want to tell you that this is the absolute most fantastic invention ever made on a trumpet mouthpiece. As a lead trumpet and section leader, playing in the upper register can be nearly easier then playing in the lower register. As a senior, I'm advising my 2nd trumpet player to buy your products for marching, concert, and jazz band. ---- Just to comment that my band director also owns the lead 342. Thanks. Kevin Cook-Arlington, VA

  • John, Just dropping you a line to let you know how well I'm making out with the new mouthpiece. It's been just over a month now since I received the Asymmetric Opera 545 and I am really enjoying my trumpet again. I've only been playing for about 1 & 1/2 years, but I still consider myself a beginner. I have been trying to teach myself to play from books (etc.), without taking lessons, and I had reached a plateau several months ago, mostly due to lack of discipline but also due to my frustrations with my mouthpiece and embouchure. .... After switching from a Bach 7C to a 3C with some (albeit, inconsistent) improvement,I finally decided to take the plunge once the 545 was ready.

    When I tried the 545 for the fist time, I noticed a difference within the first 5 minutes, and it wasn't really hard to get used to, since I was already using a 1/3, 2/3 mouthpiece position with my Bach 3C. The weight of the mouthpiece was unexpected, but really surprised me was how comfortable it felt - my endurance increased drastically the first time using it! At the same time, I think this mouth piece has forced me to be much more disciplined with my embouchure, due to the asymmetric cup design (i.e. - I can't get away with sloppy mouthpiece positioning.) This has led to a better, more consistent embouchure and ultimately, an improved playing range.

    What took some getting used to was how easily, and almost effortlessly, I can now hit (and sustain) notes that previously I had to work very hard to reach with my Bach 3C. I can even sustain a high C, which was almost impossible for me to hit before. My attack has approved, and notes slot very easily. My pre-owned student trumpet (a Bach TR300) never sounded better than with this mouthpiece - I love the dark, warm sound I get with this mouthpiece, as I am a jazz enthusiast. However, I'm now seriously considering getting the Lead 342, just to give some of my playing a harder edge (I'm listening to a lot of Lee Morgan these days, trying to teach myself some of his "simpler" tunes). I have even found my trumpet easier to play with my mute, using the Opera 545.

    I still haven't parted with my two old Bach 7C & 3C mouthpieces - every now and then I switch back to my 3C for a few minutes to see how much more difficult it is to play - but I keep going back to the Asymmetric. Not sure if I'll sell my old Bach mouthpieces or maybe just get them bronzed!

    The difference is so significant that it really feels like I'm cheating...now I know what the first tennis player to use an oversized racket head must have felt like!

    All I know is that if even I have benefited from using this mouthpiece (with no formal instruction), I'm sure that any student or accomplished player would also benefit - you really have to experience an Asymmetric to appreciate the difference it makes! Thanks, John R. MacLean, Halifax, Nova Scotia, Canada


  • John, -- Got the 3C+ today. I love it!! Clearly, the Lead 342 has a little more range, lots of flexibility, and a bright lead sound. The Opera has a very big trumpet sound and seems to be very precise and centered. For me, the 3C+has more flexibility than the Opera,... perhaps a touch more range, but still has that round trumpet sound until I want the edge to come on. I can get louder without edge with the Opera, though I don't really have the need to do that very often. I played parts of a bunch of songs with both mouthpieces, and the family consensus was I sounded better on the 3C+ on all except perhaps one passage where the Opera's tone just seemed to fit it better. However, I'm sure as I get in more practice and get used to the 3C+ I can make it do pretty much anything I want.

    I think you have winners with all three, but 90% of amateur trumpet players like me will probably do the best with the 3C+. Of course, it is fun to drag out the Lead 342 and nail folks to the wall with that nasty "F" above "C!" I can get the F with the 3C+ and sometimes with the Opera, but it isn't as spectacular. .... Thanks, Blaine Painter

     

  • John, I got the new 3C's the other day. As with the others, I love them! I have put a full endorsement on my mp3.com page with a link over to your site.

    I'll be making a post later this evening regarding the new 3C. This one is a great compromise to the Opera and Lead models. It isn't as hot sounding as the Lead, but it gives me more edge than the Opera.

    BTW, I used the Lead model to play the Arutunian trumpet concerto with the Bensenville Band last February, and the guys in the section were shocked to find out! They felt the sound was just fine for a soloist legit performance. Interesting, huh? Thanks again. -- Nick Drozdoff

     

  • John, I'd like to take a few moments of your time to describe my experience with the Opera 545. I first contacted you in October 2001. I had just finished the last of four performances of the musical, Call Me Madam - a 50's Irving Berlin Big Band extravaganza, and my chops were dragging on the floor. I was using an older Schilke J mouthpiece that helps in the upper register, but tends to produce extreme fatigue at about the 2 hour point. Not a good effect for the audience of the second show that night. A -- player in Atlanta suggested that the fatigue had nothing to do with the Schilke, but with the way set I my embouchure. With his help, over the next 6 months, I changed my comfortable 1/3 top, 2/3 bottom embouchure to a more traditional 50-50 position. Sure enough, endurance improved, but range and tone suffered. I knew this new embouchure was not going to work for me. --- The physics behind the Asymmetric made sense to me, but I wasn't sure that the original Lead 342 would be a fit for my style. I'm not a lead player ---.I held out for the Opera 545. I've been playing the Opera for about a month now, having easily adjusted back to the 1/3 - 2/3 comfort zone. It has taken a while to forget everything I thought I knew about how to play range with conventional mouthpieces. Within a few days of using the Opera, I noticed a 4 semi-tone increase in range. The notes were there, but thin. When I figured out how to maximize the Asymmetric (I now relax more, use more of a cushion and tank up on the air and support the horn under the valves), -- the notes started popping crisply out of the horn so high that I actually got a tuner to make sure I heard what I heard.--- I was so impressed with the improvement in range, I didn't really notice that my endurance increased until last night when the -- director -- saved the swing medley for the end of the 2 hour rehearsal, and the lead player (asked) me to finish it for him. I finished with a 12 count E and a valve gliss up, then went home and played another 45 minutes. The Asymmetric also has an interesting behavioral effect. -- I'm much more confident in my abilities, sight-read cleaner, and take more daring chances in improvisations.--Maybe I am a lead player after all. Thanks, John. Keep up the good work. Mark Pavlovich

  • Hello from a satisfied customer. I recently sent for a lead (Lead-342) mouthpiece and recieved it earlier than the four weeks mentioned. Thank you. I also made a trip from northern Michigan to South Bend Indiana to the Brasswind and Woodwind store and tried all three mouthpieces. I purchased a 3C+ (3C+ -544) and now have two of the three offered. ....Thanks again for the great idea of these mouthpieces. Joyce D'Hondt

  • Dear Mr. John Lynch, -- LEAD 342 GREAT!!! I purchased an Asymmetric Lead 342 last October after having a couple of phone conversations with you about it. I diligently "broke it in" the first three months I had it, and am now using it full time. This mouthpiece has truly revolutionized the way I play. I am able to play up to a double F (up a good third of an octave), and it has noticeably increased my endurance. A four hour gig is "no sweat" -- anymore. I would like to thank you for your innovative approach and sharing it with me and the many others whom I am sure are reaping similar benefits. It is especially refreshing to me to have been able to make this mouthpiece work after years of trying countless others. I have today ordered another Lead 342 as I now definitely can not afford to be without a backup. Again thank you. Best Regards, John DeLoach -- San Francisco Bay Area

  • John, -- I've had my new 3C+544 for almost two weeks now, and I love it. If your mouthpieces had been available 20 years ago, I may never have quit college. I'm just coming back now after a lot of arm twisting by my son. I've been playing sporadically since the 1st of the year. I have a fairly natural talent for playing in the upper register even on the Bach 1 1/4C I switched to in my college days. I was back to playing high C's by early spring. I was even squeaking out an F or two now and then. In just a week or so with your mouthpiece, the F above high C is pretty solid and without all the pressure and effort I always had to use before. I actually feel as though when I'm finally back in shape, I'll be able to play super C's again. I'm truely very impressed.-- Dennis White
     

  • Hi John, I'm a 50 year-old weekender - I play 2nd chair 1st Trumpet in our church orchestra. We see the occasional E-F above high C, but high C is the usual limit on most pieces. However, with limited time to practice, my range and endurance has been pathetic. I had reached the point that I regularly dropped G above the staff down an octave. Playing was becoming a real chore without my having solid command of my upper register. I often had to let the first chair player carry my load, it was depressing. Ten minutes of serious playing pretty much wiped me out.

    I have a 15A4A Shilke (sp?) and pretty good selection of Bach mouthpieces. I always went back to my 3C Bach, though. After hearing about the Aymmetric, talking to one trumpet player, and doing some reading I decided I would give one a try. With both kids married & gone I have a little extra discretionary cash and figured I had nothing to loose. I couldn't find one locally so I ordered a 3C+544 from your web site.

    Initially, I had to really work at positioning the 3C+, but within 2 weeks I was not only impressing everyone else in the group but I was in shock at my range and endurance. Last Sunday our first chair was out of town, and our director, who is a middle school band director during the week, praised my playing. A couple of weeks ago, my 26 year old son, who is an accomplished trumpeter, tried the 3C+ for about 20 minutes and was having trouble getting a high B flat. He handed my horn back and asked me to show him how it was supposed to sound. I ripped up to a D above High C and played in my upper register for 15-20 minutes. His eyes bugged out! He even complemented the timbre of my sound, something nobody had ever done before.

    What I love about the mouthpiece is that it forces me to use the techniques that I should use for proper playing. Lip position, support, air flow. If I don't, I can't play it. For the first time I get a real workout when I practice. I can feel muscles in use that I never noticed before. I love the sound. I love having a full range, not just the upper register. I love the endurance it has produced. I can't say enough about it - and I am not easy to impress. It has lived up to everything on your web site. I have been telling all the trumpet player I know and even the local instrument dealer. If you could have known me before and after you might make me the "poster child" for the Asymmetric mouthpiece. It is a wonderful feeling to again hear people say, "WOW" in response to my playing.

    Tonight, I ordered a Lead 342. I think I could die a completely happy man if I were able to have command of E & F above high C. If I can't accomplish it with the Lead 342, then I am still further ahead than I dreamed was possible just a couple of months ago. And I completely agree with your philosophy that band directors should start their students on your mouthpiece. Band directors and students alike will benefit. Yours is the first truly revolutionary product for trumpet players that I have seen since beginning in 1964.

    At the risk of sounding like a "Treky" (which I'm not): May you live long and prosper, Victor Caine


  • Hi John, (Follow up from a Happy Customer) I recently wrote about my delight with my 3C+ as the 2nd chair first trumpet player in our church orchestra. Well, the first chair player has been so impressed with the change in my playing (and after trying the mouthpiece a couple of times for himself) that he is (or already has) ordered his own. Also, I received my Lead mouthpiece yesterday and am even further amazed! (I expect to keep the 1st chair on his toes).

    I stopped by the Art's Music shop in Dothan, AL today and left one of your cards with the store manager, who is a former trumpet player. In addition to hearing my glowing praise, he said that he had recently had a discussion about the Asymmetric with a trumpet instructor at Troy State University who also affirmed its virtues to him. I told the store owner that if he could get one Asymmetric into the hands of one mediocre trumpeter in each school band that all the other students would want one. I told him that it is the best investment that I have ever made for my music. I have never been excited about a mouthpiece before (though I have purchased quite a few). I've been excited about a few horns, but this the first time over any mouthpiece. I am enjoying playing again and am no longer embarrassed to be heard. MANY, MANY THANKS and the very best success to you! -- Sincerely, Victor Caine
     
  • John, Last night I gave my 29 year old son a lesson using a brand new Asymmetric 3C+…on a vintage Benge trumpet.  It went great!   Far beyond my expectations, he was able to play up to F on top of the staff with no effort and a great tone to boot! I think we could have kept ascending but we decided to stop there. He hasn’t touched a trumpet since 10th grade band, over 12 years ago. Now I am even more convinced that I will be using the Asymm’s with all my beginning trumpet strudents.  Enjoying trumpet in the learning stages seems almost a contradiction in terms, but it is wonderful to know it is now possible.  It encourages me.  I plan to teach it exclusively.  I especially look forward to seeing the unlikely students jump ahead of their cohorts.  Thanks again for all your research.  Bill (last name witheld)


  • Kia or John, Even though I read much positive feedback on your site, the asymmetric mouthpiece received mixed reviews on other sites. I chose to order one anyway, and after many frustrated weeks of trying to get a consistent
    sound, I worked out how to use it and the results are
    amazing. Not only can I play for longer with the asymmetric but my lip doesn't get mashed anymore either, and playing higher notes seems to require less effort. The trumpet is not the easiest instrument to play but the asymmetric mouthpiece helps me to keep up with the rest of the band for far longer than if I had been using an ordinary mouthpiece. Cheers, Marc -  Auckland, New Zealand

  • Dear Mr Lynch: I am an amateur (54 years old) who had to stop playing in his mid twenties due to lower lip trouble.  My two lower front teeth are slightly rotated out on their outside edges and playing for any length of time caused a significant swelling of the lower lip.  This was very hard for me to accept at the time and I never stopped trying to find a way to play.  Well, I found it.  I have used your 3C+544 mouthpiece now for 2+ years, commonly get in ~ 2 hours playing time (more if possible) a day and my lip is great.  I can also attest to an increased and increasing range and flexibility and a very satisfying sound.  Several times I have tried my old 13A4A schilke mouthpiece and the lip problem returns almost immediately. ......I don't want to give the impression that I used exessive pressure - as a twenty-something year old student of Donald Reinhardt at the time I experienced trouble, I would like to think that I approached playing in a reasonable if physical way. 

    Anyway, I could never thank you enough.  I might be older (I'm a drug discovery scientist in the pharmaceutical industry) but with the help of your mouthpieces I'm going to give it everything I've got.  (One last point - I think Don Reinhardt's 'pivot system' may have the effect of decreasing the mass of vibrating upper lip, as you suggest in your analysis). I hope your mouthpiece is a great financial success.  You deserve it!!  I continue to tell trumpet players about your mouthpieces and you website. Peter Spacciapoli - Newbury, MA


  • Hello John. I've been using the Lead model for several months now and like it for my lead work with the big band I play in. I also play in a very good community concert band (Central Kentucky Concert Band). We have just started our new season and I have been moved up to second chair, beside the principal player, who has a masters degree. As a result, I feel I would like to try the Opera model for a more mellow sound. I really think the mouthpieces you have designed are working well for me. My upper range has extended. I am almost 65 and I get a lot of , "How the heck is that old guy doing that!" looks from the younger (and older players. In other words, I'm having a great time and that is what it is all about. I really don't need another brush if you don't want to include it...an aid to your bottom line...chuckle. The order went out just a couple of minutes ago. Thanks and best regards. Dave Sublette, Winchester, KY

  • John - As a come back player I experienced the frustration of trying to recapture some of my glory days of playing lead trumpet in high school and college. The limited range has been the biggest hurdle and after playing for some time with a Bach 7c I wondered if I should switch back to my old 3c. I just couldn’t imagine losing more range. WHAT WAS I DOING WRONG? I was struggling to play a high C and was quickly fatigued after every practice session!

    I got your book and read it two times, some parts over and over. I realized my old embouchure was not working for me and better served me when I had several hours a day to practice. I needed greater efficiency. I ordered your mouthpiece with great skepticism, because the pictures looked like it just wouldn’t work!

    I was surprised to find an immediate comfort with the mouthpiece. I noticed an immediate difference in the ease of playing the upper register. After playing the exercises in your book for 3 weeks I am now progressing to being able to solidly hit an E above staff, and for two days in a row I was able to play scales up to G above staff! This has been sheer joy and exhilaration for me, and I feel like maybe I can play this piece of metal again.

    I am grateful for your product and can’t wait to see what will happen after 3 months of practicing!? To other players I would say, don’t try to use this mouthpiece without the manual, “A New Approach To Altissimo Trumpet Playing.”
    Thank you!  -  Sincerely, Robert Highley

  • Hey John.  I'm a 14-year-old high school student and I just received the Lead 342 today. I am usually able to play a shaky *high* G, but after practicing with the mouthpiece for an hour, I was able to hit a high C with no problem. It's a great mouthpiece, even for students like me. At first I was unsure whether or not it would really improve my endurance and tone, but after hitting that C and holding it for 10 seconds, I was convinced. It's much more comfortable than my old Yamaha 14B4, allowing me to play for much longer periods of time. The only thing that disappointed me a little was the tone in the lower notes. I could produce a much more beautiful sound with the Yamaha 14B4 from C to C than with the Lead 342. This might be because I've only had a few hours of practice with it. Thanks for making such a great mouthpiece! :D Johan Mickos
     

  • Mr.Lynch - Attached is a picture of some of the lead trumpets of the University of Central Florida Marching Knights. I say some because we are the select few who use your asymmetric lead trumpet mouthpiece. It started off with just one person then gradually increased to five. We all love your product so much that we tell many other trumpet players to switch to it because of its easy use. Thanks for coming up with such a great product and we look forward to seeing more in the future! - Steve Noto

    University of Central Florida Marching Knights

    From Left:
    BJ, Myself, Brian Hall, Lisa Bonadonna, Devin Phillips


     

  • Dear Mr. Lynch:  I received the replacement mouthpiece today. All I can say iy WOW! Thank you so much for making this exchange. When I put it on my Yamaha Xeno trumpet, it took virtually no getting used to! The ease of the high notes is phenomenal! It will take some practice now since it does blow slightly different from conventional mouthpieces; but I know I will love this one, and it will probably become my mouthpiece of preference. Even on my C trumpet, it performs beautifully! I will certainly spread this "good news" to fellow horn players.

    Again, thank you so much for taking the time to make this wonderful suggestion and for exchanging the mouthpiece for me.

    Sincerely and gratefully yours,
    Marshall Boulet

     

  • Hi John.  A little feedback on the Asymmetric. My son has found the Asymmetric mouthpiece easier to play than the standard mouthpiece that came with the school trumpet. As he was teaching himself to play it was important to get off to a good start. He has certainly done so, and only after 2 months he has now joined one of the lower graded school bands playing the trumpet. It was an excellent purchase and delivery was super fast.  Thank you for keeping the shipping price low.

    Regards,
    John M Payne

     

  • Hi John,
    I received your mouthpiece in November and have been playing it for 2
    months now. I've seen Maynard 2 times in the early 80's, and talked to Alan
    Wise after the last show. I haven't played for 30 years; I joined a drum and
    bugle corp for this summer. They gave me a (c) trumpet to practice on and
    standard "3c" mouthpiece to use. It didn't work for me. I found your
    website, read your reviews, and the rest is history. Also, your articles on
    breathing and embouchure were very important.

    Hitting high "c" is very easy, and I'm up to high "g" now. I wish I would
    have known this 30 yrs ago, I would have never quit playing. Thanks for
    your time.

    Steve Wiercinski
     

  • Hello John,
    I rec'd the Opera 545 today. I lightly hit low CDE and laughed; it was clear as a bell. I played a scale and it was on the money. Five minutes later I went for high C with no problem, then hit C#DandEb, hardly a strain; my highest on other mouthpieces is D with a real strain. The quality of sound got better and better and within 45 minutes I was flying, a totally open sound and sophisticated to boot making my Olds Ambassador a real singer carrying sound so easily even in the whisper area. I love it. I started switching back and forth and instantly realized what I read about endurance improvement is 100% correct. My endurance is way up, there's less wasted breath, when I get intense I get it all back in big beautiful sound. I had a pretty good sound before but now get outta the way man. I played my tough song, Lee Morgan's solo of I Remember Clifford: there's a middle B that follows a middle E that should not be difficult but I never hit the exact tone and with the Opera 545 it is effortless. This mouthpiece is not about a few extra notes over high C but the overall quality of sound and ease of playing is out of this world. The sound to me projects more linear than my other mouthpieces. This Opera 545 allows me creative freedom in the upper register that is new to me, now I have a true musical instrument. I can't wait to try this with my silver French Besson Classic. I will be ordering your 342 Lead in a couple of days.
    Many thanks,
    pete m.

  • John,
    I received the 3C 544 today and messed with it for about an hour. After a warm up I reliably and clearly could hit high C about a fifth above my highest note previously. Although my tone is not as good in the lower range with the 544 I'm sure that will come with time. If the tone improves as it should I will be ordering the Lead and Opera models as well. Thank you for the excellent product and keep up the good work.
    Steve Seibert
     

  • Hi John:
    I bought both the 545 then the 342 from you about a month or two ago. I'm writing again to you because I can't contain my enthusiasm for these magnificent mouthpieces. After switching back and forth almost daily, then practicing a week with each and after a while I must say I am an Opera buff, the Opera 545. The sound I'm producing and the ease of producing that sound just overwhelms me with joy. This sounds corny of course, but I am ecstatic about the Opera. The darkness of sound is so on the money for my kind of music: jazzy torch songs, ballads. Ha, if it were food I'd say it would be 90% pure cocoa bean and 10% sugar, highest quality to be sure. I've got to say John, you've got to be credited with bringing the trumpet up to where everyman can play it, not just diehard athletic young guys. I'm sure 70% of trumpet players quit after a while because the trumpet is one tough instrument to play well, but this Opera and Lead is a "revolution" to freedom of expression with trumpet. I hope to play something on youtube one of these days and I will send you an invitation to hear. Thanks again for all the real joy your products have brought me. Please make somethin' for the cornet. And please put me on your mailing list for any new products or updates, thanks.
    Sincerely,
    pete m.
     

  • Hey Mr. Lynch,
    Just giving you another update about your mouthpiece! It is still doing it's job, and that's for sure! My range is still increasing, and the sound quality of those notes are just getting better! When I play a double G-C, the sound is really full now, not so airy! Whenever I get a lead chart in jazz band, I pull out my lead mouthpiece now! I can play them on my 3C, but the sound is just so different! It's much louder, and has a really bright, lead sound! Thank you once again!

    Kody
     

  • Hi again John,
    I must say after a while of playing on it now, what a great mouthpiece!  I did not find results immediately and was a bit skeptical if it would work, but after a week or so playing on it I found my range had improved not only on my Trumpet, but on my Cornet as well with just my normal mouthpiece! I have reached a double high C several times on both Cornet and Trumpet which was one of my ambitions to be able to do! I think with some upper register work I might be able to actually play it consistently, but to be able to get there once I find a miracle!
    I think it took time for me to adjust a bit because of the flat and fairly wide rim. It certainly feels wider than the Kelly 7C i was playing on before anyway. Now i am used to the flat rim and the extra bite the mouthpiece gives I think its great.
    I like the sound I get from the mouthpiece, the Lead 342 seems to sound purpose built for Big Band playing and the sound that comes out the end of the instrument when your playing above the stave is brilliant!
    Thank you for developing this mouthpiece, it is really well designed and a great idea!
    All the best,

    Peter
     

  • Hi John,
    I am Toni Wiens from Paraguay. Several weeks ago Tim Shelburn ordered a 544 mouthpiece. I have been wanting to tell you that I am quite satisfied with it. Unfortunately, I don't practice a lot each day, but your mouthpiece for me makes playing more effortless and my tone is more singing! I did not expect that! The traditional mouthpiece have a row, harsher, harder sound. It takes a time to get used to it, but I have a good sound in all ranges, including the deepest notes. It makes trumpet playing more enjoyable. It is also a good thing I can switch back to traditional without problems.

    Best Regards.
    Toni Wiens, Paraguay
     

  • John:
    I got your books. I am a professional trumpeter, and have played lead for many dance bands from the 40's and lead for Maxene Andrews of the Andrews Sister, Stars of the Lawrence Welk family and many in town. My teachers include Mel Broiles of the Metropolitian Opera, Uan Rasey and Bob O'Donnell on the West Coast. and Carmine Caruso on the East Coast. Best to you and your new line of mouthpieces. Love the book you put out!

    Mike Phillippe-Chicago
     

  • John,
    From a hobbyist trumpet player from 8th grade to now (44yrs old) who has quit this instrument 2 or 3 times (3 yrs here, 5 there) - frustration!!  I just want to say THANK YOU - bought lead 342 last week. 3 days I got almost no real sound out of it - was ready to throw in the towel.  The last 2 days I have the whole thing - low F# to the elusive triple (I think he means double.) C - previous high was a squeaky double G (good sound from low F# to double D, sometime E) - now the G,A,B, and triple C are definite tones - not the best - BUT they are AVAILABLE to me now. I've got to work on lots of stuff -- but the major goal was the scale up to the triple C
    Technology!!! - at 44 I'll take that - and a forte triple C just around the corner - don't think I will be quitting anytime soon.
    Thanks again,

    KEN SWITZER
     

  • Hello Mr. Lynch,
    I recently ordered a Lead-342M, and have to say, I am very impressed. I have always naturally had a "messed up" embouchure. Many professors have attempted to fix it, but of course, I am very stubborn. This mouthpiece happened to be a PERFECT fit for my embouchure. Playing lead trumpet in a Division 1 basketball pep band requires me to play way up in the stratosphere for 2 hours straight. With this mouthpiece my range automatically increased from high G *one octave above G on top of the staff* to the B natural above that, and I imagine with a little working that C will be attainable. Endurance is somewhat weird however. I feel almost no fatigue for close to an hour, then immediately fall into failure. This can be alleviated with just a little more practice. Thank you for designing this wonderful mouthpiece.
    Cheers,

    Aaron

      > Hello Aaron,
      > Thanks for your email and for your kind words
      > concerning your Asymmetric Lead-342M Trumpet
      > Mouthpiece. With your permission, I would like to add
      > your email to the others on
      > www.asymmetric-mouthpiece.com in the Player
      > Feedback of that site. Your full name will not be
      > disclosed. I hope you don't object.
      > Cheers,
      > John Lynch

    By all means, go right ahead, the mouthpiece is amazing.
     

  • Hi Mr. Lynch,
    I bought the Lead 342M and I love it. In high school I was in the marching band and I was the guy that played the screaming high notes. I used to play on a Bobby Shew Lead mouthpiece, and in order to get the notes that I played I had already adopted the 1/3-2/3 technique. When I had the chops I used to be able to hit triple high C and squeeze out a quadruple high G. I have not really played for about seven years. I played on the Asymmetric mouthpiece for about twenty minutes and was back up to a double high C. I just have to say where was this mouthpiece when I was in high school.
    Thank you,

    Matt Salazar
     

  • Hi John,
    I just wanted to give some feedback on your mouthpiece from a non-professional player. I’m no expert; I play for fun and I doubt that I will ever be perhaps even a good player let alone a great player. My observations come from the heart with no vested interest other than honest commentary.

    I originally played using a Yamaha Bobby Shew mouthpiece. The shallow cup gave me access to high notes relatively easily, but I found that I tended to tire quite quickly. I originally bought your asymmetric because I’m always looking for the edge that gives me an advantage to make me look good against more talented players. Not being the best of the bunch tends to make you think that way, so I took a chance and gave the Asymmetric a go. I’m pleased to report that the other players in the section, now look to me when it comes to sustained high range pieces, and the Musical Director of our concert wind band now gives me solo’s that I would never had access to before.

    I have to be honest and say that this is a mouthpiece that you need to persevere with, originally I left it in the case simply because it felt too alien to me at first, but after my other mouthpiece got stolen I took another look at the asymmetric lead. I am really glad that I did. My (range) has extended and even after an 8 hour session, I’m still able to hit those altissimo notes that I couldn’t sustain for 10 minutes before.

    I would never have believed that such a simple change would make such a major difference! I just wish I had discovered this mouthpiece when I was a kid. If so I would have probably been a professional now!

    Anyway thanks John for your product and best regards,

    Chris Neary Bsc (hons) mBcs
    Torquay England
     

  • John,
    Love the mpc's. 3C+-544 is my favorite. Have been cracking the DHC (double high C) barrier, and lightly up to triple G on good days. Might even make it to triple C by mid- year, and that's with the 3C+. Anyways, that's better than I could ever have imagined. NEVER thought I would ever get DHC, of course that was Pre Asymmetric days.

    Ken *******, Rockstream, NY
     

  • Hi John,
    I am a sax player and have learned trumpet "after the fact" and applied my jazz knowledge to the trumpet, and I believe with the HELP of your mouthpiece have succeeded!
    I just love this piece! helped my range and overall sound in only a few short weeks.
    Thanks!

    PS, I have a big band that I rehearse every Tuesday at the Lambeth Legion and have passed out your cards to all the trumpet players that I know. Yes, forgot to mention that, "YES" my uncle is the famous Don Lusher trombone player from Ted Heath's band in the UK if you were wondering ...
    Thanks again,

    Andrew
     

  • Congratulations John,
    My, My! If I could just tell it all.  Thank You as well as your "team". After trying as well as reading your instr. I felt the flugel as well as the trumpet pcs. could be an asset to any player, and were pleased with my purchases.  However at the time I was acclimating to another MPC, so I put yours aside for awhile, but was so very much impressed with your instructions that I right away applied that knowledge to my embouchure and found to my great pleasure: It works.  So today after a week or two I tried the assym. for flugel, realized even greater success.  Gives me the feeling that I've received much more in value, than that which was spent by me for the purchase.  Now I believe I can understand more clearly those who did not speak favorably of these pcs. I only wish that I could somehow persuade them to take the time to get the understanding of your instrs. and apply them.  And when they "make the connection" state their experience in a new "review". For its just the right thing to do. GREATLY PLEASED ! keep up the good work.  Am looking forward to more from you & "team".

    "pops"
     

  • Hi John,
    I recently purchased 3 Mouthpieces from you the 342 545 and the Poet. I have found they do give increased endurance and my range has instantly gone up from high C to F in just a short time. I play all the Reeds plus the Trumpet and Flugel in my jazz quartet. I found out about your mouthpieces from Nick on You Tube so thanks to Nick for that. I will be looking forward to even higher notes in the next few months, I will pass your cards onto other brass players I know, thanks again for a great mouthpiece.
    Best Regards,

    Brian Taylor
    Clitheroe Lancs UK
     

  • Thank you for designing and producing a great product. I bought my first Asymmetric mouthpiece seven years ago. I can say with out a doubt it is the catylist in rediscovering my enjoyment of playing my old silver Yamaha trumpet once again. I've played Bach mouthpieces for years but with pure agony. The Asymmeteric changed all that and now it is a pure joy and delight to play once again. Why? Because, believe it or not, it is more like the mouthpiece that Maynard Ferguson played; flatter cup rim, deeper cup and larger bore. However, your design in the Asymmetric surpassed that with other great features that I value.

    I took lessons with Ed Lewis (brother of Fred Lewis trumpeter with Blood Sweat & Tears) in my university days and he taught me MF's playing technique called the "upstream" blowing method. However, when I placed my lips on the Asymmetric 342 for the first time, I immediately discovered that the Asymmetric and the "upstream" techniques were made for each other, wow! I am playing better and with greater pizzaz then I have ever played back in the sixties when I started as a teenager.

    Thank you John Lynch for your efforts on a great design. You have made a lot of fellows like me very happy. Thank you.

    Best Regards,


    J. Dan Mende
    A pleased Sephardic Hebrew Gospel musician
     

  • Mr. Lynch, Loving how the Asymmetric is playing now! The tone on it is great, and it's quite comfortable. I have a very powerful high F that I can sustain for hours on the Lead 342. This is a great mouthpiece design, and I'm glad I tried it.

    Best Wishes,


    Mark Kindy

  •  
  • Hi "Sal Pinx", Thank you for your kind comments regarding your Asymmetric mouthpieces. Without objection,(If you don't object), I will include them with some other player remarks in the "Player Feedback" section of the Asymmetric website, www.asymmetric-mouthpiece.com. Yes, we will be introducing a Picolo mouthpiece soon. I think this will be even better than using your Leads for piccolo (see Nick Drozdoff's comment in Player Feedback).

    Cheers,


    John Lynch
     

  • Hi John, Are you ever planning on making a Piccolo Trumpet mouthpiece, Alto Horn mouthpiece or Alto & Tenor Trombone mouthpieces? I have a Piccolo Trumpet and when I play it I use the Asymmetric Lead and Lead M, being more constrictive than the other Asymmetric’s (3C+ and Opera). I mostly use the 3C+ for my Trumpets and Poet for Flugelhorn. I have been very pleased with how they work for me, having the “ideal” embouchure required for proper Asymmetric use. I took to them in about 10 minutes! I do not swear by much, but I do swear by Asymmetric mouthpieces (!) and have been giving and/ or lending them to some Trumpet players and the difference in quality of their playing is proven in the use of Asymmetric’s! I have acquired 2 Lead’s, 2 Lead M’s, 4 3C+’s, 1 Opera, 1 Virtuoso and 1 Poet. They really do work as advertised and I always have 1 or 2 with me whether or not I have a Horn with me and always show them to anyone interested in knowing about them, but just showing them creates instant interest due to them being unusual! Plus, I am always buzzing on any of them when driving or do not have a Horn out ready to play! It really helps getting used to and maintaining proper embouchure required for these mouthpieces! I also tell John Lynch’s testimony of how Asymmetric’s came to be conceived, designed and finally made! Thanks, and please get some other voiced Horn mouthpieces made for those of us who play a multitude of Brass instruments!

    Sal Pinx (my Trumpet name)
     

  • Good morning John,

    For the last 2-3 years I have loved your aymmetric mouthpiece, website and technical explanation. As a scientist and semi-retired professional-union musician, I wish you were around 25 years ago. I became a scientist because I was having armachure problems due to trumpeter's syndrome - excessive triple tongueing led to slight protrusion of my upper front teeth and caused pain and lost endurance. The only aspect you may need to reconsider in your recommendations is dentation and placement of the mouthpiece for a minority of players like myself - it is far better to place the piece upside down to relieve pressure and get notes 2-3 higher (high-high G). With my old Bach 7C and 3C pieces even high C was shaky for me. With the asymmetric in normal position, it was very strong and even the high-high E. Upside down, with numerous days of side-by-side replication, high-high G is great and brings new joy to my playing (especially rock). I noticed now as I am in the process of purchasing my 3rd piece from you that you are becoming aware of this contradiction. This comes at my relief as I thought I was using your system incorrectly - but that works for me.

    Best Regards,

    Bill Sciarappa, Ph.D., Rutgers University

    Hi Bill,

    For the past few years we at Asymmetric have been aware of the effect of the inverted position, and have in fact formally announced this on www.asymmetric-mouthpiece,com. The thing that brought clarity for me was the experience with Maurice Andre. We now formally say that the Asymmetric mouthpiece can be used by both upstream and downstream players. How you elect to position the mouthpioece is the defining feature. The tilt of the horn, when reaching for the highest notes, is also inverted for downstream players. Once all these facts became known to me, the solution was obvious. We now say that the mouthpiece problem has a complete and definitive solution for all players of brass instruments Henderson had part of the solution. Leno had part of it with his directed airstream. And Reinhardt with his horn tilt, I merely managed to couple these elemental ingredients with the essential ones expressed by the Asymmetric mouthpiece to arrive at a theory that satisfys all theories and data and as such will define the problem and its solution for all time.
    If you want help selecting an Asymmetric, the short writeup about how to do this appears as the firsty page of the ORDER link.

    Cheers,
    John H. Lynch

    Thanks for the quick reply John,

    Yes, I was surprized to see your upsidedown notice on the website last night which prompted me to add in my belated experience. As you say, horn position/tilt is affected as well which to me is an advanatge with better sound projection forward rather than downward and better posture. While trumpet angle is not as important as higher range/endurance increase - some players will like this small change. I'm glad your informed theories can support his upside down approach as well. I just went to my practice room and compared the Bach 7C, the Opera and the 342 on a pocket trumpet, selmer K47 and Bach - all with the same result for me - your 2 models are far better high range than the Bach with only slightly less pedal tone below low C when played as the recommended standard way. Also, your 2 models both play better for me upside down by 3-4 notes higher than Bach and the 342 1-2 notes higher than the Opera with both being better with low notes/tone as well upsidedown.

    Cheers as well to you guru,

    Bill Sciarappa, Ph.D. Rutgers University br>  



  • Dear John,

    I’m a freelance trumpet player (next to my “real” job) and have been playing now for over 40 years. I always had an unreliable range above high C or D - sometimes there, sometimes too much work. I realized over time that I had developed bad habits, namely excess pressure, in order to try and compensate. I was skeptical at first when I heard about your asymmetrical mouthpieces, even after reading your (very informative) web site. I was concerned about sacrificing other important aspects of my trumpet playing, such as lower notes, overall tone and flexibility, in order to get a more reliable upper register. Since I had normally been using a Bach 3C as my primary trumpet mouthpiece, I decided to try the 3C+544, which arrived a few days ago. I must say that, although I was an upstream player for most of my trumpet years, I recently found more success by moving the mouthpiece position slightly higher and using more top lip. This being said, I actually play your asymmetric turned upside-down (as I read that Maurice Andre also did). I was extremely impressed and excited with the immediate results! I’m not only talking about an increased range, but also the ease of playing in ALL registers. I am now able to play with incredibly less pressure and strain, even in the upper register. Flexibility has not suffered at all. The only difference for me was that the tone was a bit darker than I was used to with the traditional Bach 3C, but therefore richer. I also have to get used to the ease of it all – as I said, I was used to playing with a lot of pressure and actually working too hard. I performed with the asymmetric yesterday in public after only having the mouthpiece for two days – that’s how confident I am with it, and the performance went splendidly.
    I am so impressed with your mouthpiece that I have additionally ordered a Lead 342, the Poet for my flugelhorn playing, and the Virtuoso for my cornet playing. I also play piccolo trumpet and was wondering if you have any plans to offer a piccolo mouthpiece. I imagine the Lead will likely work well for my Selmer Paris, but I also have a Schilke P5-4 with a cornet shank.
    At any rate, thanks for a wonderful mouthpiece, and I wish you much continued success!

    Sincerely yours,

    Dana T. Furrey  


  • Hi John, I have been using a Poet mouthpiece for over two months now and have gotten so accustomed to it that I find it almost impossible to play a ‘traditional” mouthpiece. So I am probably going to buy a trumpet and will need another Asymmetric. Which one would you recommend for me knowing that I am playing a Poet on my Flugel? Feedback for you on the Poet.
    Endurance – much better. Range – much better. Tone – richer and fuller. Comfort – outstanding.
    By the way, I have found that more upper lip in the cup works better for me with the Poet ala Claude Gordon not Arban’s recommendation. Any idea when you might produce the Piccolo model?

    Tom Blawn, Daytona Beach

    Hi Tom, Thanks for your note. Both the VIRTUOSO and the POET are manufactured using a two piece construction (mouthpieces consist of an appropriately large cup with a seperate rim and lip restrictor that is -0.001 shrunk fit to the shank much like a two liter coke bottle cap The rim is first heated, and then fit and allowed to cool before plating). The reason for this is to enlarge the cup for sound considerations). This is not required for the Trumpet mouthpieces that naturally produce a spectrum that favors the higher partials. Incidentally it also allows these mouthpieces to be played upside down with either mouthpiece set, because there's no metal inside the cup to obstruct the airflow. The piccolo mouthpiece is next, and I have it on good authority that it will be magnificent. For all around trumpet work I think the 3C+-544 will be your best fit.

    Cheers, John Lynch

    Hi John, Thanks for the input. I got impatient and ordered a Lead 342 from Musician’s Friend. Hope this works for me. I will be using it to demo trumpets. Can’t wait to get one for the piccolo. Your asymmetric is so much better than anything I have used before. It is amazing.

    Tom

    Dear Mr. Lynch,

    I have been dreaming of owning one of your wonderful mouthpiece for a long time but having problem of acquiring. Tried to purchased from The Woodwind & Brasswind (www.wwbw.com) but they do not mail their online purchase product to Malaysia. I emailed Mr. Nick Drozdoff for mouthpieve consultation and his comment on your Asymmetric mouthpiece is very encouraging.

    Before purchase your mouthpiece, I tried to make an asymmetric mouthpiece just for trial and does works. Finally I received my owned Opera 545. 1st trial is very positive.. Thanks for your wonderful innovation and looking forward playing your mouthpiece in my local community orchestra.

    Yours sincerely,

    Mr. Chee Yewen