Buy a new Soloist E or reface an old D?

[RootyTootoot]

I am starting to think i'd like my Selmer Soloist D to be a bit more open at the tip. It's one of the old ones with the name on the table. I use it to play jazz and a bit of (relatively undemanding) classical. It doesn't really cut enough when playing against electric guitars etc (I don't think) so I end up using my Rousseau JDX (which I have now decided I don't want to do, I hate switching about on mouthpieces).

My options (as i see it) are:

1. Get the one i have opened up a bit.
2. Go ahead and buy a new Soloist E.
3. Wait around for an old Soloist E/F/reface.
4. Stop bleating and get better at playing the D with a bit more cut.

I did do a search but am quite happy to be referred on as necessary if my searching was somehow inadequate.

Advice?

[whaler]

I say 3. Or buy another old one and get it refaced. It might cost you a little more, but I don't think you should screw with an original D Soloist. They might be a little close but they play so darn good and the facings from the factory are very good, at least is was on the one I had.

[MM]

A more open mouthpiece does not not tend to be brighter, so going to an E would not be the right thing. Also Soloists tend not be "cutting" pieces. For these reasons I would recommend NOT to buy a new or old E.

However, having a mpc opened can add brightness if the refacer keeps the baffle higher when opening the piece up. So I suggest either buying an old C* or a newer C* or C** and have it opened to an E, asking the refacer to make it play brighter than a stock piece. The C* was a common facing that not many jazz player want, so you can often find one for a decent price.

OR try some other pieces, for example Meyer or V16.

[RootyTootoot]

Thanks, guys. Stuff I hadn't thought about there. Appreciated.

[silverselmer]

I waited for years before I found/could afford my soloist F on alto. It was totally worth it, although a refaced piece may be just as good...at the very least temporarily.

[warp x]

I guess you could do 4 while you wait for 3?

[jazzcat58]

if competing against guitars is the new direction?...maybe a different piece, still the sound may be what you want , that is already there...so.

[curly]

Greetings Mr Toot

I currently use a Selmer Soloist D (the old one with the name on the table) on an alto in a rock band and I find it cuts through without too much problem. I use Alexander DC No3 reeds. It took me a while to find a reed that could handle this type of gig. I found that if I played a softer reed I would end up squawking before the 1st set ends. (I'm one of these lazy types who doesnt want to change his reed at the gig).

This set up is also good for softer playing (when required)

Hope that helps...

[BOPITY FUNK]

Hi Rooty, are we talking metal or h/r?? I've got a metal scroll shank "Table D'' round chamber alto piece which LAW has tidied up. It's 80thou tip/24 mm lay very 'ballsy' I dont play it( prefer EZMeyer) if you fancy a go, it can be arranged-- no lig but got Rovner that fits. This m/p is old as the hills but in great nick, got a resin bite plate-oval.££££'s very reasonable
Regards BF

[jicaino]

I'd butt cut your D if you don't mind loosing or fainting the table inscription.... that would guarantee you keep the facing curve and tip you like and still get the tip opened as desired.

[Benny]

I am starting to think i'd like my Selmer Soloist D to be a bit more open at the tip. It's one of the old ones with the name on the table. I use it to play jazz and a bit of (relatively undemanding) classical. It doesn't really cut enough when playing against electric guitars etc (I don't think) so I end up using my Rousseau JDX (which I have now decided I don't want to do, I hate switching about on mouthpieces).

My options (as i see it) are:

1. Get the one i have opened up a bit.
2. Go ahead and buy a new Soloist E.
3. Wait around for an old Soloist E/F/reface.
4. Stop bleating and get better at playing the D with a bit more cut.

I did do a search but am quite happy to be referred on as necessary if my searching was somehow inadequate.

Advice?

#4....and get a mic

[bruce bailey]

I would keep the great mouthpiece and start searching. You may find a nice C* or whatever for a good price and put the money into a reface. That D is worth some money so you will still have it around if you don't like the new reface. Once it is cut, you can't really go back. I always used a soloist D or an S-80 D but after buying a Super Session D, it made the others seem like a rag was in the horn. You may want to borrow or at least try in a store, a Super Session. The only facing difference you will see is the length. Most Selmers are about 22mm and the Super Session is about 24mm. Really great all around mouthpieces. The best part for me (other than a larger sound) is the transition of intervals. I find it pops the note out just by fingering it, not as much adjustments are needed. I use it mainly on a Conn NW.

[RootyTootoot]

Hi Rooty, are we talking metal or h/r??

Yes HR. I should have said. Thank you for all this excellent advice.

Also BOPITY, I sent you a PM about the mp.

[Twombles62]

I would keep the great mouthpiece and start searching. You may find a nice C* or whatever for a good price and put the money into a reface. That D is worth some money so you will still have it around if you don't like the new reface. Once it is cut, you can't really go back. I always used a soloist D or an S-80 D but after buying a Super Session D, it made the others seem like a rag was in the horn. You may want to borrow or at least try in a store, a Super Session. The only facing difference you will see is the length. Most Selmers are about 22mm and the Super Session is about 24mm. Really great all around mouthpieces. The best part for me (other than a larger sound) is the transition of intervals. I find it pops the note out just by fingering it, not as much adjustments are needed. I use it mainly on a Conn NW.

Thanks for the info on the SS mate. I always felt like my soloist had a short facing and after it was lengthened a bit it made a big difference.

[RootyTootoot]

#4....and get a mic

We're talking the kind of very small gigs where the guitar and bass are virtually sitting on their amps. That's one of the problems with setting up a PA and mic. It's marginal, but I think possibly I can manage if I can get a bit more volume and cut. As long as the buggers don't turn themselves up. (Of course, they always do :twisted:;)). The route of using amplification is something I'm seriously thinking about as well despite the practical/space/portability issues.

[Benny]

#4....and get a mic

We're talking the kind of very small gigs where the guitar and bass are virtually sitting on their amps. That's one of the problems with setting up a PA and mic. It's marginal, but I think possibly I can manage if I can get a bit more volume and cut. As long as the buggers don't turn themselves up. (Of course, they always do :twisted:;)). The route of using amplification is something I'm seriously thinking about as well despite the practical/space/portability issues.

can they turn down???

[RootyTootoot]

can they turn down???

Err..yes. Do they want to? Erm.. We're talking guitarists here, who really like to play jazz rock and funk.

In their defence, I must say that some audiences really get off on loud music. I suppose to be honest I sometimes like music in certain styles to be loudish myself.

[Benny]

If it was me, I'd continue to play soft. If they said something, I'd mention the fact that an ensemble is an ensemble and that balance is part of that, so 'turn down.'
If they never said anything about the fact they couldn't hear me they obviously didn't care and I'd find other people to play with.

Guitar or no guitar it doesn't matter- a good musician is a good musician. Part of being a good player means being willing to work with others

[Pete Thomas]

Ask Bill Wrathall to reface it for you. I asked him to open up my baritone Otto Link Slant 5 to a 7. Instead he just found an original 7 for me and swapped it.

If you feel queasy about refacing an original Soloist, then look out for a C* Soloist style (facing on the back not table) to get refaced. They are just as good but generally cheaper. Then sell the D.

I had a C* Soloist style, and got Ed Pillinger to put a Meyer 6M facing - I love that one. For me it's the best of both worlds, like a Meyer but still has some Selmer creaminess when required.

[Michael Ward]

Bill is a superb refacer. The best I've ever used. When he worked at Ealing studios I used to visit him for work. Great bloke and craftsman.

[Grumps]

Look for (or buy) another piece that works right off the bat, rather than forever alter a piece that you may soon regret.