Tubas, euphoniums, mouthpieces, and anything music-related.
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King and Reynolds underslung cornets had a small patch that was on the leadpipe knuckle going into the block. It was ostensibly a reinforcement against dings. But it did have a stabilizing effect. When I need that due to a bad anti-node, I use a small strip of golfer's lead tape. Unobtrusive, gets the job done, and removable.
The wooden finger / knuckle rests you´ll find scrolling further down make A LOT more sense to me.
I´m using something to that effect on my Willson and am in preparation for another one on the Adams.
I might add: Figuring out the shape that will suit YOU and then carving a NICE piece of wood to make it happen contributes to all the fun.
Mine is made of snake wood https://www.feinesholz.de/de/neuigkeite ... ffen-.html
(The WOOD, in contrast to the OIL, is actually something to take seriously )
Whenever anyone came to the Thein shop with instrument problems (response, intonation, whatever...), they'd solder on a bit of brass in a 'crucial location' and charge 350 Euros.
UncleBeer wrote: ↑Thu Mar 21, 2024 5:20 am
Whenever anyone came to the Thein shop with instrument problems (response, intonation, whatever...), they'd solder on a bit of brass in a 'crucial location' and charge 350 Euros.
If I partially drilled into a brass mouthpiece on the outside a whole bunch of places and soldered on and send out pieces of 1/8 inch cylindrical brass rod out in all directions - and even back towards my own head (except to curve around to avoid hitting my head), not only would it "project the sound" but it would also protect the mouthpiece from getting dinged up - when it falls on the concrete at a football game.
And it would LOOK cool, too, if they didn't cart you off to the funny farm. Eight pieces and you could call it the Spider Cup.
Tom Greer made horn mouthpieces for a while that were ribbed on the outside. He tried to sell me one once, and while I didn't laugh in his face I said no thanks. He made good pieces, but that was nuts.