Great for:
 

• Playing in extreme temperatures, such as outside gigs in the winter. The wood never feels cold on your lips even in an extremely cold climate.

• Players who are looking for the warmest tone possible.

• Players who want a higher maximum volume capacity.

 

Not so good for:
 

• Players who don’t have a well-developed control of their airstream. The same effect that makes the tone warmer and sweeter when you play softly can diffuse the sound and make articulations too fluffy or undefined for beginners or intermediate players.

• If you have a diffuse tone quality and want it to be more “centered,” you’ll likely be better off with a mouthpiece made in Brass, Bronze or Nickel Silver.

• Not many classical players have chosen a TurboWood mouthpiece for traditional Classical repertoire so far. However, we’d be happy to be proven otherwise!
   

Adam Rapa and Ashlin Parker have been our long-term playtesters. Here are their experiences:

 

• The material feels very comfortable on their lips, especially after extremely long days of playing. For example, Ashlin played an intense 18 gigs in 10 days exclusively on his TurboWood 3M. He says that this was the first time he didn’t develop some kind of blisters on his lips after such an intense period of playing.
   

• The lower register is even more open and rich, with a remarkable vibrating quality that you can literally feel in your bones. The material vibrates much more, and it actually transfers more vibration into your skull. This added form of physical feedback makes it even easier to hear and feel your sound in a loud environment.
   

• The spectrum of tone colors is even wider across the volume range, giving you the ability to make micro changes in tone color for added drama and even greater artistic nuances.​

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