Phone Number

Posted October 28th, 2013 by Christan Griego in Uncategorized | 3 Comments »

We are changing services and the porting has left us in no man’s land. Please call (414) 698-3803 this week while we work out the details. Texts are also accepted.

Beth has taken a week of vacation so we will not be processing/shipping mouthpiece orders the week of 10/28/2013-11/3/2013. Thanks for your understanding.

3 Responses to “Phone Number”

  1. Jean-Francois Thibeault says:

    Hi! I am curious about the Griego Steve Wiest Model. It seems like there is no specs available on the page or maybe I’m just looking wrong…
    Also, if I was to buy one, is there a return possibility in case it just not the right fit for me?

    Thank you!

    JF

  2. John Bayne says:

    Hi Christian, if you really want to extend your playing range you need to take care of the food for the artistic virtuosic side of your playing, which is not the dimensions of the mouthpiece but the data fed to your lips from the vibrating material of your mouthpiece much like a player uses a monitor in a band which is too loud for him to hear and even feel what he is doing sufficiently, without the monitor. As it stands most mouthpieces are like ribbon microphones that have not built in pre amps and no pre amps available inadequately weak signals to your lips so you need the equivalent of a pre amp, or signal boost. In my opinion, and a lot of recording engineers’ opinion, who record top orchestras, grand pianos and expensive Guernarius cellos etc… ribbon microphones are the best, but this approach to microphone design involves the weakest signal. Wind instruments are like ribbon microphones compared to say string instruments but their signals are the weakest. Try a Giddings and Webster titanium mouthpiece in the design nearest to your taste and compare it to brass. Also, mouthpieces should be cast not milled from extruded bar because the molecules will not allow the mouthpiece to oscilate as a whole unit because extrusion draws the molecules out linearly. I play both euphonium, and Ebb bass (I am a vintage B&H Imperial fanatic because of the 1.5mm bell which sizzles, compared to the limp handshake modern 0.9mm Bessons. But I am fundamentally a tenor sax player and the only mid range mouthpiece which I could hit triple high C (concert Bb two semitone under four octaves above middle C on the piano, was a cast bell metal mouthpiece (78% copper/22% tin) (I also made the same design in cast stainless food grade, copper and sterling silver, and the brass was the odd one out, so dead that you would not want to make a fat walled mouthpiece in brass, stainless miles better but still inferior to copper but spun cast sterling silver, the tops in the normal range and bell metal unbeatable in the altissimo register. Try it and make as thick a shell as you can, just look at James Morrison’s latest Bb trumpet mouthpiece that he uses on his Shagerl instruments, and how much better his tone is for it. It will take a lot of the fatigue off your lips. I take it that you are talking about lip fatigue but if you want to play high or extend and improve pedal notes, as far as I am concerned it is really all about diaphragm technique, strength and endurance. I most strongly advocate the most natural one step diaphragm technique sacrificing the costal and sternum areas of the chest for diaphragm alone. Why? so you can breathe exactly 24/7 the same way you play, thus exercising one diaphramatic unconsciously taken breath, of identical process, around 9,467, 280 times each year, on average. How do I know this? First I timed how many breaths I took in a relaxed state in 10 seconds, 3x, then multiply 3600 (sec/hr) x24 (hrs/day) x365.25 (how many times the earth revolves around itself to one orbit of the sun) divided by 10 multiplied by 3. My stomach is one of the hardest I have ever seen, (when I harden it that is), because of this and my diaphragm is my pride and joy of my 46 years playing of the saxophone this February, but I spend 1961-late 1963 using this natural technique which my St Mary’s Cathedral, Sydney, choir master caused me to retain which I still had not lost out of mental laziness. There is not the slightest movement of my chest when I tale even the deepest or fastest breaths or pant like a dog on a not day. I hope this advice solves your upper range and fatigue problems once and for all. Regards
    John Bayne

  3. mustafa says:

    Hello I want to order the mouthpiece. Please reply you have a delivery in Baku Azerbaijan? Thank you, Yours faithfully, Mustafa.

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