Hope you enjoyed this review! This will likely be the only Denis Wick mention during the Scholastic Brass Special, but I’ve got plenty more Wick pieces to review in coming months!
The 4AL is the original Wick trombone mouthpiece. It was based on a Salvation Army euphonium mouthpiece that Denis had modified by Giardinelli when he was visiting New York. The reason he was experimenting was that the LSO had switched to large bore trombones and he found their Bach mouthpieces didn't work well with them.
I think you’ll find that if you go to 0:57 in the video you’ll hear more or less those exact words. :) With that said, I didn’t realize the LSO had only just made the switch to large bore trombones. I thought they’d been using the 88H/4G combo for a few years prior.
I can recommend the Ultra Series. There are multiple rim shapes available, also with a rounded inner edge. Alternatively there is the Heritage, which is kind of the opposite of the Ultra. The normal one is kind of in the middle
I haven't seen Ultra mouthpieces designed for general low brass use the way the Classic line is, but I did indeed spend a while playing on Wick's Steven Mead SM3X/4X on euphonium. I wish I'd gotten to try the "R" variant of the SM series so I could test out a better rim contour for my face. My euphonium pipeline (once I ditched the stock mouthpiece that came with my JP) went as such: Wick 4AL, SM4X, SM4, SM3X, back to SM4, Schilke 52E2, Bach Corp. 3G with slightly over-machined cup. Each mouthpiece was a step closer to (a) my preferred rim contour, (b) my personal sound concept, and (c) the low register response I was looking for, with the possible exception of the 52E2 having perhaps been a slight step backwards.
@@SamuelPlaysBrassYes, exactly! I mean since it is large shank, give it a try (if you get hands on it)! I have basically bought my Euphonium with the SM3U, which has been my main mouthpiece for years now. I also use the M version for European Baritone. For higher stuff I typically use the SM4U. Both have narrower and sharper rims than the Heritage series. But due to their weight it is easier to get a centered tone and to play louder. The Heritage on the other hand has better dynamic but needs more work on tone quality. I also have an 4BS for reference, which indeed has an wider and rim than the Ultra series. I have found the cup of the Ultra is „fairly similar“, kind of. I have started with trombone recently, where I basically started with the SM3U, and I am kind of deciding between the SM4U and Heritage 3AL for now (after 8 months). I guess I will try the standard version 4AL/BL soon. I was also thinking about giving a 6-1/2 or the 4,5AL a try. I am basically looking for the mouthpiece with the best comfort and sound. But I found that I need a little more clarity and sharpness with trombone xD
Great Video! For about 3 or 4 months I have been using a Denis Wick 5BL mouthpiece that I borrowed. before that, I used a 6BL, but I found the sound very bright and with little chance of "transforming" it, besides a small inner diameter, but I still liked it and it worked for me. but with the 5BL I noticed a change that I liked much more. it's still a somewhat bright sound, but it can be transformed much easier than the 6BL, plus the inner diameter is quite a bit larger, and it suited me perfectly for my embouchure, it must be said that my sound on the trombone is very bright, even with a large bore trombone that is almost entirely a classical trombone, but with the 5BL I can be more than just a bright and aggressive sounding trombonist, I can also be a symphonic trombonist more easily. It should be noted that I am the first trombone in a symphonic band, so I require both sounds; bright and dark because we work a lot of music. I know the 5BL is not entirely a Symphonic mouthpiece, but it works great for me.
I think your characterization of the 5BL is spot-on; I had one for a bit that until recently I didn't have the discipline to play on (due to overblowing and an oversized aperture) but once I finally got things to dial back in on trombone for classical playing I really did like the 5BL. I sold it because the rim shape wasn't for me, but you're right that despite being on the brighter end it does have a shot at a nice symphonic sound, particularly for principal chair. The principal trombone of my local symphony orchestra has a very bright and regal tone which I am doing my best to develop, and I realize that combining a Megatone 4G with a copper-belled 88H with a counterweight actually makes things more tiring if that's the tone I desire, because I'm fighting the inherent darkness of that setup. With that said, there are still many situations in which I prefer a darker trombone sound, so that setup still gets put to use frequently. The one thing I am left wondering is this: aren't the Wick 5 and 6 actually extremely close together in terms of ID, much like the Bach 5 and 6.5? You mention that you felt a lot more comfortable on the 5BL than the 6BL, but to me the 5BL felt very nearly as small as the 6BS I have used at times on small-bore tenor...
Great video, Sam!! I [foolishly] bought a 4AL heavytop without testing for my tenor. I don't play much these days but it is fun whenever I play low or just blasting it, or easing back into bass trombone. It feels a bit too wide on tenor, a bit too narrow on bass, but I do love how it slots so solidly.
@@SoVeryCynicalMe Thank you Sean! I’ve done a terrible job over the years of following my own advice of “try before you buy,” so I definitely know how it goes. What did you end up setting on as far as general purpose tenor playing goes?
@@SamuelPlaysBrass Thank you for the response! I've barely played tenor since graduating college so my chops are always very rusty so I'll often flip flop between my 6.5AL and 5G on my Conn 88H. (I also seem to have some neck/technique issues that probably stymie my development notwithstanding). I've also settled on a Yamaha 58 for my Conn 77H bass which fits really well.
thanks for this video, sam! i’m a tuba and trombone player who might switch to euphonium for a community wind ensemble! i’ll keep this video in mind when i’m trying to look for mouthpieces!
Indeed! I am curious, though - what sort of a baritone are we talking about here? I know of literally only one baritone that has a large shank, and it's the Yamaha YBH-301M marching baritone. Never once have I seen a concert baritone with a large shank receiver.
Excellent video Just one question, do you have a reference for the Dennis Wick 5ABL? I would like to purchase one for conservatory study at some point in the future. Regards.
@@Everygamer1 The reason the external appearance of Denis Wick mouthpieces reminds you of the Blessing 5 is because the Blessing 5 is a copy of the Denis Wick 5 mellophone/alto horn mouthpiece. I have a Blessing 5 myself and it’s a nice mouthpiece, but it definitely is just a Wick design with the Blessing logo on it.
Good question... honestly, most (reputable!) companies that make 'copies' of mouthpieces (think Blessing, Kelly, Arnolds & Sons, probably Faxx as well) do a good job of staying faithful to original specs, meaning if you don't care about the branding engraved on your mouthpiece, it really does the job about as well as the original! I've seen digital scans that show the Blessing 5 as being the *tiniest* bit deeper than the Wick 5, but I doubt it causes that much of an audible difference out on the field. Where it gets trickier is companies that copy Bach's specs, because Bach sizes are NOT consistent from one era to the next! Luckily the Blessing 5 is not a Bach design, so hopefully regardless of era it sizes up similarly to its Wick counterpart.
@@thetenorhorn I have unfortunately never gotten to try a Thomann instrument. However, from what I’ve been able to gather, I think Thomann may be using designs similar to that of John Packer, and I very much like my John Packer JP-274, a Chinese build based on a Sterling design. I rate it much more highly than other Chinese-made brands such as Wessex or Schiller that are copies of the old Yamaha 642 and typically not very durable or truly soloistic-sounding. By extension, if the Thomann is based on that same design, I would quite like it. I can’t confirm that for sure, though.
Hope you enjoyed this review! This will likely be the only Denis Wick mention during the Scholastic Brass Special, but I’ve got plenty more Wick pieces to review in coming months!
The 4AL is the original Wick trombone mouthpiece. It was based on a Salvation Army euphonium mouthpiece that Denis had modified by Giardinelli when he was visiting New York. The reason he was experimenting was that the LSO had switched to large bore trombones and he found their Bach mouthpieces didn't work well with them.
I think you’ll find that if you go to 0:57 in the video you’ll hear more or less those exact words. :) With that said, I didn’t realize the LSO had only just made the switch to large bore trombones. I thought they’d been using the 88H/4G combo for a few years prior.
Sam, I just ordered one before i even watched your video. Plus it came in Gold.
Very nice. I think you'll find it to be a treat if you have the right set of chops for its rim.
I can recommend the Ultra Series. There are multiple rim shapes available, also with a rounded inner edge. Alternatively there is the Heritage, which is kind of the opposite of the Ultra. The normal one is kind of in the middle
I haven't seen Ultra mouthpieces designed for general low brass use the way the Classic line is, but I did indeed spend a while playing on Wick's Steven Mead SM3X/4X on euphonium. I wish I'd gotten to try the "R" variant of the SM series so I could test out a better rim contour for my face. My euphonium pipeline (once I ditched the stock mouthpiece that came with my JP) went as such: Wick 4AL, SM4X, SM4, SM3X, back to SM4, Schilke 52E2, Bach Corp. 3G with slightly over-machined cup. Each mouthpiece was a step closer to (a) my preferred rim contour, (b) my personal sound concept, and (c) the low register response I was looking for, with the possible exception of the 52E2 having perhaps been a slight step backwards.
@@SamuelPlaysBrassYes, exactly! I mean since it is large shank, give it a try (if you get hands on it)! I have basically bought my Euphonium with the SM3U, which has been my main mouthpiece for years now. I also use the M version for European Baritone. For higher stuff I typically use the SM4U. Both have narrower and sharper rims than the Heritage series. But due to their weight it is easier to get a centered tone and to play louder. The Heritage on the other hand has better dynamic but needs more work on tone quality. I also have an 4BS for reference, which indeed has an wider and rim than the Ultra series. I have found the cup of the Ultra is „fairly similar“, kind of. I have started with trombone recently, where I basically started with the SM3U, and I am kind of deciding between the SM4U and Heritage 3AL for now (after 8 months). I guess I will try the standard version 4AL/BL soon. I was also thinking about giving a 6-1/2 or the 4,5AL a try. I am basically looking for the mouthpiece with the best comfort and sound. But I found that I need a little more clarity and sharpness with trombone xD
Great Video!
For about 3 or 4 months I have been using a Denis Wick 5BL mouthpiece that I borrowed. before that, I used a 6BL, but I found the sound very bright and with little chance of "transforming" it, besides a small inner diameter, but I still liked it and it worked for me. but with the 5BL I noticed a change that I liked much more. it's still a somewhat bright sound, but it can be transformed much easier than the 6BL, plus the inner diameter is quite a bit larger, and it suited me perfectly for my embouchure, it must be said that my sound on the trombone is very bright, even with a large bore trombone that is almost entirely a classical trombone, but with the 5BL I can be more than just a bright and aggressive sounding trombonist, I can also be a symphonic trombonist more easily. It should be noted that I am the first trombone in a symphonic band, so I require both sounds; bright and dark because we work a lot of music. I know the 5BL is not entirely a Symphonic mouthpiece, but it works great for me.
I think your characterization of the 5BL is spot-on; I had one for a bit that until recently I didn't have the discipline to play on (due to overblowing and an oversized aperture) but once I finally got things to dial back in on trombone for classical playing I really did like the 5BL. I sold it because the rim shape wasn't for me, but you're right that despite being on the brighter end it does have a shot at a nice symphonic sound, particularly for principal chair. The principal trombone of my local symphony orchestra has a very bright and regal tone which I am doing my best to develop, and I realize that combining a Megatone 4G with a copper-belled 88H with a counterweight actually makes things more tiring if that's the tone I desire, because I'm fighting the inherent darkness of that setup. With that said, there are still many situations in which I prefer a darker trombone sound, so that setup still gets put to use frequently.
The one thing I am left wondering is this: aren't the Wick 5 and 6 actually extremely close together in terms of ID, much like the Bach 5 and 6.5? You mention that you felt a lot more comfortable on the 5BL than the 6BL, but to me the 5BL felt very nearly as small as the 6BS I have used at times on small-bore tenor...
Great video, Sam!!
I [foolishly] bought a 4AL heavytop without testing for my tenor. I don't play much these days but it is fun whenever I play low or just blasting it, or easing back into bass trombone.
It feels a bit too wide on tenor, a bit too narrow on bass, but I do love how it slots so solidly.
@@SoVeryCynicalMe Thank you Sean! I’ve done a terrible job over the years of following my own advice of “try before you buy,” so I definitely know how it goes. What did you end up setting on as far as general purpose tenor playing goes?
@@SamuelPlaysBrass Thank you for the response! I've barely played tenor since graduating college so my chops are always very rusty so I'll often flip flop between my 6.5AL and 5G on my Conn 88H. (I also seem to have some neck/technique issues that probably stymie my development notwithstanding). I've also settled on a Yamaha 58 for my Conn 77H bass which fits really well.
thanks for this video, sam! i’m a tuba and trombone player who might switch to euphonium for a community wind ensemble! i’ll keep this video in mind when i’m trying to look for mouthpieces!
@@wilsoncompositions Sweet, happy to help!
Great video Samuel 😁👍👍
@@peternaryd_operasinger Thank you!
@@SamuelPlaysBrass You're so welcome
Very versatile mouthpiece. I've used it on trombone, euphonium and baritone.
Indeed! I am curious, though - what sort of a baritone are we talking about here? I know of literally only one baritone that has a large shank, and it's the Yamaha YBH-301M marching baritone. Never once have I seen a concert baritone with a large shank receiver.
@@SamuelPlaysBrass oh it's a Rossetti baritone.
Not sure it's still in production though
Excellent video
Just one question, do you have a reference for the Dennis Wick 5ABL?
I would like to purchase one for conservatory study at some point in the future.
Regards.
@@AndyJmz Thank you! I believe the 5ABL would be very similar to a Bach 5GS due to the smaller backbore.
reminds me of the blessing 5 mouthpiece for mello/flugelhorn
@@Everygamer1 The reason the external appearance of Denis Wick mouthpieces reminds you of the Blessing 5 is because the Blessing 5 is a copy of the Denis Wick 5 mellophone/alto horn mouthpiece. I have a Blessing 5 myself and it’s a nice mouthpiece, but it definitely is just a Wick design with the Blessing logo on it.
@@SamuelPlaysBrass I had no idea it was copy! would you say the Wick mouthpiece is substantially better?
Good question... honestly, most (reputable!) companies that make 'copies' of mouthpieces (think Blessing, Kelly, Arnolds & Sons, probably Faxx as well) do a good job of staying faithful to original specs, meaning if you don't care about the branding engraved on your mouthpiece, it really does the job about as well as the original! I've seen digital scans that show the Blessing 5 as being the *tiniest* bit deeper than the Wick 5, but I doubt it causes that much of an audible difference out on the field.
Where it gets trickier is companies that copy Bach's specs, because Bach sizes are NOT consistent from one era to the next! Luckily the Blessing 5 is not a Bach design, so hopefully regardless of era it sizes up similarly to its Wick counterpart.
hello! what are your thoughts on Thomann EP 906 Vintage Bb-Euphonium?
@@thetenorhorn I have unfortunately never gotten to try a Thomann instrument. However, from what I’ve been able to gather, I think Thomann may be using designs similar to that of John Packer, and I very much like my John Packer JP-274, a Chinese build based on a Sterling design. I rate it much more highly than other Chinese-made brands such as Wessex or Schiller that are copies of the old Yamaha 642 and typically not very durable or truly soloistic-sounding. By extension, if the Thomann is based on that same design, I would quite like it. I can’t confirm that for sure, though.
@@SamuelPlaysBrass thanks a bunch
How does the Wick compare to the Shilke 51D?
Larger inner diameter, shallower cup, larger throat.