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Neal Bennett

Neal Bennett - Endorsing Wedge Artist

Endorsing Artist

The science behind the Wedge is the best compromise between narrow and wide rim designs. I have seen consistent improvements in range, flexibility and attack in my own playing and in my colleagues. I highly recommend the Wedge to anyone as a revolution in mouthpiece design that can have real advantages to your playing. Dr. Dave suggested blowing air through an unmodified piece and then the Wedge. The same air and lip produced a solid core buzz on the Wedge. The efficiency of the Wedge is truly astonishing.

Neal Bennett

Biography

Dr. Neal Bennett is best known to Canadian audiences as a founding member of I Tromboni "The Team Canada of Trombones". For almost a decade I Tromboni has toured the country performing to rave reviews. Their second CD "The Bad and the Beautiful" is an homage to friends and mentors of the last 5 years. I Tromboni are known for their stylish and often humorous delivery of virtuosity. Whether it's "Flight of the Bumblebee" spun from the bells of trombones or the sweet serenade of "I'm Getting Sentimental Over You" the team can be counted on for a ravishing performance. Dr. Bennett completed his research for his DMA thesis in the monasteries of Austria, Czech Republic and Hungary where he successfully sought out new 18th century repertoire for his instrument of choice the beautiful, yet less well known, alto trombone. Recently 20th and 21st century repertoire has become a focus for Dr. Bennett. The RedShift label will produce a CD in 2011 featuring recent Canadian compositions for solo trombone and choir with all parts performed by himself. He is also the President of Beethoven at Home and director of the Northern Conservatory of Music.
Founding Member of I Tromboni – "The Team Canada of Trombones

More

www.itromboni.com
www.beethovenathome.com

 

Wedge Heads

Testimonials

"This new Wedge Mouthpiece came to me just at the right time. I'm the Second Horn player in the Calgary Philharmonic, and we had a Beethoven Festival coming up. You all know how the Second Horn plays everything, and Beethoven can be brutal on the lip. Well, our orchestra had this idea to do the symphonies consecutively, and the last three concerts were the Fourth through Ninth Symphonies on consecutive nights, with dress rehearsals every morning. On top of it all, we were recording the Fifth and the Eighth, with recording sessions after the concerts. Crazy, right? I knew how this was going to cut up my lip, and I wasn't looking forward to it.

I'm not an equipment changer. Before this I had been playing a Holton MC for about thirty years. Then two weeks before the festival Dr. Dave provided me with one of his Wedge Mouthpieces. The bottom of the rim looked so fat and round I immediately thought, "Hey this won't cut me up as bad as what I'm playing", but of course I had to check out how it played first. It took a couple of days to get used to it, but it felt good. I played the Wedge for the festival, and I played fine. I still got cut up, but not as much as I expected. Those big skips that Beethoven liked to write were not a problem. I'm happy. The Horn section is happy. My Music Director is happy. I'm not going back to my Holton MC. I play the Wedge from here out.

Now, can Dr. Dave make a wooden Wedge Mouthpiece for my Alphorn?"

William (Bill) Hopson

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