SKU: 70180174762

Bach 351 Classic Trumpet Mouthpiece

$51.29 $56.99
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Description

Bach 351 Classic Trumpet MouthpieceGet closeout pricing on remaining sizes of the Bach Classic trumpet mouthpiece. Choose from the drop down menu. Final sale. The Bach 351 trumpet mouthpiece collection is the archetype for most modern mouthpiece designs. The vast range of sizes available allows any player to choose a Bach mouthpiece and improve their comfort, efficiency and sound. The sizing system illustrated here is used by many other brands and has become a standard for comparison.

Get closeout pricing on remaining sizes of the Bach Classic trumpet mouthpiece.  Choose from the drop-down menu.  Final sale.

The Bach 351 trumpet mouthpiece collection is the archetype for most modern mouthpiece designs. The vast range of sizes available allows any player to choose a Bach mouthpiece and improve their comfort, efficiency and sound. The sizing system illustrated here is used by many other brands and has become a standard for comparison.

Most of these descriptions are culled from the Vincent Bach Mouthpiece Manual, which is worth a look. The manual is a treasure trove of information. The last sentence in each, comparing the size to the adjacent mouthpiece, is based on viewing the Kanstul Mouthpiece Comparator.

The Bach mouthpieces below and those in the drop down menu are the models we stock. There are a few other sizes readily available. If you wish for a more obscure size of Bach mouthpiece, please call or email. Most sizes are available within 1-2 weeks. We also stock a selection of Bach cornet and flugelhorn mouthpieces.

Bach Trumpet Mouthpieces

Model

 

Cup Diameter

Cup Depth

Backbore

 

1

17.50mm

Deep

24

 

Deep cup, medium thin rim, extra large cup for players with a robust embouchure, produces a great volume of tone. Rounder rim than the 1C with the high point toward the middle of the rim, less inside edge bite than 1C, may feel wider, more cup volume.

 

 

1C

17.00

Medium

10

 

Medium cup, medium wide rim. Large diameter, medium cup, good for all-around use. Slightly shallower cup than the 1, more bite to the inside of the rim. Rim is rounded toward the outside.

 

 

1 1/4C

17.00

Medium

10

 

Medium cup, medium wide rim, large cup for powerful trumpeters. Compact tone of great carrying power. Rounder rim than 1C, high point of the rim is much wider, towards the center of the rim, smoother transition from rim to cup, less verticle drop, less cup volume than 1C, similar depth.

 

 

1 1/2C

17.00

Medium

10

 

Medium wide rim, not too sharp. Large diameter, medium cup, good for all-around use. Very popular classical mouthpiece for advanced players. Close to 1 1/4C, slightly less cup volume, rounder rim profile.

 

 

2 1/2C

16.40

Medium

10

 

Medium wide rim, lowered toward the outside, large cup, brilliant, heroic, crisp C trumpet tone, for players with strong muscular lips. More bowl shaped cup with more defined shoulder at the bottom, rim edge has more bite, faster more vertical drop into the cup.

 

 

3B

16.30

Medium Deep

7

 

Medium wide rim, medium deep cup, fairly large cup with a warm and full tone. Round rim, less cup volume than the 2 1/2C, slightly more conical cup profile.

 

 

3C

16.30

Medium

10

 

Medium wide rim, fairly large cup, good for all-around use. Very popular mouthpiece. Flatter rim than 3B, shallower cup with less cup volume.

 

 

5B

16.25

Medium Deep

7

 

Medium wide rim, lowered toward the outside, medium sharp edge, precise rim and medium deep, fairly large cup, full and vivid tone. Similar rim profile to 3C, more drop to the outside of the rim, deeper cup.

 

 

5C

16.25

Medium

10

 

Medium wide rim, well rounded towards the inside and outside, fairly flat, medium cup, for players with a strong embouchure who do not like a sharp edge. The tone is lively and rich. Very subtle difference between 5B and 5C. A tiny bit less cup volume compared to the 5B.

 

 

5MV

16.25

Medium Deep V

25

 

Medium wide rim, lowered toward the outside, medium sharp edge. Medium deep V style cup with #25 throat and #25 backbore. Deep, good commercial sound. Rimn is slightly narrower than 5C, more rounded toward the outside edge, steeper drop from the rim into the cup, then it transitions to a V cup with less should above the throat.

 

 

7C

16.20

Medium

10

 

Medium wide rim, lowered toward the outside, medium sharp inside. Well-rounded edge with a perfect grip. Probably the most widely used model in the world. Its brilliant tone is preferred by school musicians and by artists. Similar to 5C, but with slightly more bit to the inside of the rim, steeper drop into the cup, slightly more bowl shaped. Rim is wide and rounded towards the outside edge.

 

 

7E

16.20

Shallow

117

 

Medium wide rim, similar to 7C, shallow cup, this Eb trumpet cup produces a crisp, sparkling tone in the extreme high register. Widely used for piccolo trumpet. Also available with cornet shank.
Shipping Notes
  • Free Standard Shipping on $100+ Orders to the USA.
  • Except Preorder products are shipped in 48 hours.
  • Delivery to the USA:
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Exchange/Return Notes
  • We offer a 30-day return/exchange service after receiving.
  • Final sale items are not eligible for returns or exchanges.
  • To process your return/exchange, please contact us at [email protected]
  • Please click here for more details>>> Return & Exchange Policy
SKU: 70180174762

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L.m
Boise, US
★★★★★ 5
Get it!! You won't regret it
I don't know what to say but if you are considering buying this,do so... I've been using it a little bit over a week and to be honest I have used all kinds of makeup and lotions and I was never impressed even with experience brands, This stuff I'm already noticing a difference in wrinkles and it's so soothing. Just buy it and try it for yourself, I'll definitely be buying more
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Reviewed in the United States on August 27, 2025
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MB
Waukegan, US
★★★★★ 5
Hydrating
New fav. My teenager loves it
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Reviewed in the United States on January 10, 2026
R
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Ruth
West Palm Beach, US
★★★★★ 3
It’s okay
I use it for a month. I saw no difference. It does give you a glow for a few minutes and it does hydrate. No scent and it didn’t break me out.
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Reviewed in the United States on March 19, 2026
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Lana
Whiting, US
★★★★★ 5
Good
Good
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Reviewed in the United States on January 22, 2026
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dra
Natrona Heights, US
★★★★★ 5
Fractured pop art masterpiece
Walker (Lee Marvin) and Mal Reese (John Vernon) stage a robbery, stealing a bag of cash from some crooks conducting a delivery by helicopter in deserted Alcatraz. Reese double crosses Walker and leaves him for dead, taking off with the cash and Walker's wife. Walker survives, escapes from the island, and comes after Reese, and all the rest of his criminal organisation, with the mantra, "I want my $93,000." On this third or fourth viewing, I was struck less by what an exemplary action film this is (Marvin, the hardest man in the history of the movies, was at least as mean and relentless in The Killers), and more by how deeply artiness is infused into its structure and design. The recurrent flashing back and forward in time, especially at the start between the planning - not in the traditional meticulous heist film set up, just a series of fractured, barely linked brief meetings and conversations - and the robbery, but also Walker's thoughts returning to his betrayal, feed the predominant critical interpretation that Walker was fatally wounded on Alcatraz, and the whole film is his trying to process this and his fantasy of revenge. Boorman addresses this directly in the commentary, to the extent that he refuses to commit and says it's intended to be ambiguous. I'm now firmly in the dying-flashback camp, because of Walker's almost magical powers. (On reflection, it's like the question of whether Deckard is a replicant - you can enjoy debating it and looking for clues, but in the end the answer is yes.) He appears in new scenes and locations with no evidence of having travelled, and generally in a spiffy new outfit (more of this later) despite carrying nothing but his revolver, and, particularly in the central sequence, he evades being apprehended either by coincidence (the lift he's in opens and closes while the baddies waiting for the same lift are distracted by a commotion) or by the sheer application of cool (waiting immobile but scarcely invisible in an underground car park while his pursuer is gunned down by police). He also has an advisor/mentor, played by Keenan Wynn, who pops up in scenes like a cartoon character (he looks like a sort of dome shaped, bristle headed man in a suit who might appear in Ren and Stimpy) and gives Walker his next mission, while the two of them assiduously avoid eye contact as if one or both aren't really there. From Walker's re-emergence in the first of a series of natty suits, Point Blank is constructed as a series of set pieces. The first is the oddest, continuing the flashbacks and playing with chronology. Walker is seen striding intently down a corridor, and we hear the sound of his footsteps over a series of scenes of his meeting his wife, and the two of them sharing innocent good times with Reese. He confronts his wife, fires six shots into her bed before realising Reese isn't there. A scene later, she's dead after an apparent overdose. A scene after that, the body is gone, the apartment is bare, and Walker has boarded himself inside. Did Walker even see his wife? Had she died already? A messenger arrives from whom Walker extracts a name, and he's off chasing the next link. Walker meets care dealer Big John, whose yard has enormous signs in a jazzy '50s font. He asks for a test drive, buckles his seatbelt, and smashes the car between pillars (c.f. The Driver) until John spills the next name. The most self-consciously art-directed scene follows, in which Walker visits a nightclub which features both a bikini-clad go-go dancer and a trio playing something between jazz and James Brown. Tipped off by a flirtatious waitress that he's being followed, he ducks behind the stage, and fights two baddies while giant faces are projected on a huge screen behind him. In a moment that suggests Tarantino watched this while writing Inglourious Basterds, Walker pulls down a rack of celluloid canisters to trap one pursuer, and then returns things to some kind of action movie orthodoxy by subduing the other one with a haymaker to the groin. In the centrepiece, Walker meets his sister-in-law Chris (Angie Dickinson). Grief and his mission of revenge don't mean he misses the chance to share her bed, and emerge, manhood serenely unthreatened, in her borrowed yellow shortie robe. The colour scheme gets turned up to 11 at this stage, with Walker in a mustard shirt-sports jacket combo (his outfits get truly creative whenever he's bedded Angie - later, he sports a shirt somewhere between salmon and ruby grapefruit - which I guess is the wardrobe equivalent of Joseph Gordon Levitt's post-coital dance routine in (500) Days of Summer), Angie in a rockin' yellow shift dress and matching '60s mid-length coat (let down soon after by wearing something striped like a bee), and Reese in a light tan, crushed velour t-shirt that might be the least flattering male garment in cinema until Borat's mankini. Walker even finds a sightseeing telescope painted lemon yellow, which he casually dislocates from its moorings to scope out Reese's penthouse lair. Once Reese is dealt with, the movie shifts into an early example of crime-as-big-business. Reese's boss is Carter, whose sleek Mad Men-style office and threads are matched by his resemblance to that series' Ted. According to IMDb, Lloyd Bochner, who plays Carter, was doing voice-over work from age eleven, and between him, Vernon's baritone (you know how it sounds - like Dean Wormer: "Fat, drunk and stupid is no way to go through life, son."), and Marvin's basso profundo, there's a meeting of male voices unmatched until, say, Brideshead Revisited. Around this point the architecture of LA attracts more and more focus, both modernist glass towers and the concrete culvert of the LA River, where a sniper lurks who might have inspired the climactic shooter in Get Carter. The commentary is conducted as a dialogue between Boorman and Soderbergh, who, if you've seen this, early Nic Roeg (Performance and Don't Look Now), and were already acquainted with the colour yellow, seems less original than he otherwise might. He has the decency to open by talking about how many times he's stolen from Point Blank. He's not the only one though. Point Blank deconstructs and toys with the action film as knowingly as anything in the 45+ years since, up to and including Archer and the entire oeuvre of Shane Black. Just when it's in danger of becoming too clever to be satisfying as a genre piece, it gets your attention with a pistol whipping, a punch to the groin, or the rarely-shown actual end result of the villain-takes-a-long-fall thing. And of course there's Marvin, who, whether dressed like a dandy, wearing a robe, or looking baffled when the next corporate criminal explains that they just don't have $93,000 to hand over, can't be beat. Seriously, you're not obliged to love it, but you have to see it at least once.
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Reviewed in the United States on May 3, 2014

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