Equipment

The Soprano Cornet is a volatile and lively beast at the best of times.  Add to that the inherent intonation issues of the instrument and the versatility required, from playing soft, delicate, lyrical melodies to high, technical, powerful fireworks, sometimes within a few bars, and the choice of equipment becomes a difficult one.  Today, there are many options available to the player who has some money and time to dedicate to trying out different combinations.

First, I would like to explain what I use and why.  The most important thing to consider is the instrument.  For twenty years or so Schilke has become the standard in the brass band world.  It is a good instrument and offers great intonation, and is based on the industry standard E3L E-flat Trumpet that every professional trumpet player in the world uses, or has used at some time.  There is good reason for this.  It is a well made instrument and has lots of versatility. 

However, for me I have never got on with Schilke.  I have tried half a dozen at different times.  Never been a fan.  The instruments bore is listed as .453, which is small.  I can feel that.  For a lot of players, this resistance is perfect.  For me, I like the room to blow through.  In January 2005, I bought the soprano I now play.  Its bore is .459, which is more like a standard ML bore trumpet and has a much fuller tone for me.  I can blend better, can mellow the sound out, but can really step on the gas and give some zing when I need to.  This instrument is a Courtois 107, partly designed by Alan Wycherley, soprano legend.  The intonation isn't as good as on a Schilke, I have actually had the first valve slide shortened a little which has been a big help.
I have also tried a Yamaha Xeno soprano, which is very similar to the Courtois, in my opinion, but I prefer the Courtois.  I have recently tried the new Besson Sovereign Soprano, which is similar to the Schilke, but for me is better.  I still prefer my Courtois.  I would recommend every soprano player to try as many instruments as they can.  As many as they can of the same brand also.  I have played three Courtois instruments and loved them all, especially my own.
Next, then is the choice of mouthpiece.  For cornet players there are a few standard Denis Wick models that people use.  They are all great.  For me, I like the 3B for playing cornet.  I love the sound of the deeper 3, but the control and security above the stave is less than with the 3B.  However, for soprano, there is only one Denis Wick to choose the "S".  This leaves the majority of soprano players, who have moved from cornet, struggling.  The "S" produces the richest, warmest sound, however, high register work is difficult.  The power and control needed in today's repertoire calls for a shallower mouthpiece.

When I bought the Courtois in 2005, I played a Warburton 8SV mouthpiece, which has a backbore size 10*.  The Warburton mouthpiece system is in two parts.  I like this.  They are expensive though (around £120 for the two parts now).  I was never 100% happy with the sound this mouthpiece produces.  Quite a thin, bright sound.  Difficult to blend.  I switched to an 8MC in 2008, which helped a little.  In 2009, I experimented with different backbores, bigger and smaller.  Still not happy.  In early 2010 I changed to a Schilke 11Ax, which is a great mouthpiece, I would say it should be the standard for most players.  I loved the change in my sound, and the range and control were still there.

However, I was finding the cup a little small.  So in June 2011 I tried a few Warburton tops at the Music Cellar in Preston and settled on a 5M with 10*, then changed to a 9* in September.  That was great, but the cup was a little shallow.  A 5MC and 5MD came up on eBay at the start of the year fairly cheap so I picked them up.  I have been on the 5MC since, and I love it.  I hope to graudally progress to the 5MD because that sound is rich, mellow and warm.  I will try this over Summer, when band is less busy.

Really, the key to all of this equipment and finding the equipment for you is to try as much as you can and see what you like and why you like it.  Is it the feel of the instrument or mouthpiece?  Is it the sound you produce?  For me, these are the only questions you need to ask.  I don't worry about the range or flexibility or tonguing that a mouthpiece or an instrument will produce differently to another, I can work on these to suit the equipment.  Sound and comfort cannot be learned.  They are there or they are not.  Simple.

I would also recommend taking someone with you when you try equipment who knows your sound, or at least has a critical ear.  I take my wife, which I know she hates.  She is very honest and often has a different opinion to mine, in music as well....  The key, though, is that she hears what I don't.  Behind the bell is one sound, in front of the bell is what everyone else hears.

I hope this helps.  Please feel free to ask me questions on equipment, its one of my favourite topics!