Rovner Mouthpiece

[Bar-Ron]

Has any one tried the Wilkerson mpc from Rovner or any other one of their mpcs. Does the long opening in the facing do anything of interest.

[John Laughter]

Bar, the Rovner Wilkinson #7 bari m/p with a pasticover reed will produce more volume than any other bari m/p that I have tried. He is also working on a metal in the same model, vhich will hopefully be on the market within the next few months.

http://www.rovnerproducts.com/wilkerson.htm

However, I see that he now advertising 3 models so you will need to determine which tone is best for your needs.

[John Laughter]

Correction, the baritone only comes in one style.

[Bill Mecca]

Wilkerson has his own line of mpcs now, they look very similar to the Rovner product that bears his name except they are white. I had seen them listed on Steve's page but couldn't find it. I did find them for sale here

http://www.musicstoreinc.com/itemshow.php?itemnum=wilktsc

[Bar-Ron]

Laughter, what are the mouthpieces you have compared it against.
I play mainly bari in a quartet and light swing/jazz music. Have a 31 Buescher with a Morgan C1 and a Milwaukee (taiwan) with a Rousseau 6R
both blend well but can play with some volume. For bigger dynamics and volume I can put on the Berg.
What I'm wrestling with now is The Martin bari with a Runyon Custom.
Pretty good sound but a lack of depth below D.
Is the Rovner a larger bore piece as compaired to Runyon's or Berg's?
Seems the Martins enjoy a bigger bottom with larger bore Mpcs

[John Laughter]

Bar, I have used a plastic Runyon Quantum #11, a 60s model Berg Larsen hard rubber and tried a $300 metal British made m/p that was supposed to be the "max" for bari sax from WW&BW. I do not recall the name but sent it back after 10 minutes of practice.

You may be fine with what you are using because I only use the bari for rock/pop music. I am looking for volume w/ edge. The Wilkerson is patterned after the "Deep V" design, which produces a lot of volume with no effort. The bore is not larger than standard m/p's but the area that faces the reed is cut much longer allowing a lot more reed to vibrate. I am now waiting for his metal version which should be real nice.

I use a Plasticover with this m/p to get more edge because it still lacks what I am looking for in tone but still outplays the others. The metal version should do the trick.

[Bar-Ron]

I don't need no stinking edge. 8)

Really just playing in Quartet so overblowing my fellow saxmates might be too much. I can't really use the Berg around them with out some odd looks. Actually I just tried a Ridenour artist that has no edge but quite a nice deep mellow sound, the opposite of where you are going. So you can skip that one.

[John Laughter]

Bar, I agree. That is why I mentioned that you are probably fine with what you are using. If I were playing bari in a quartet I would stay with a mellower m/p to blend. I have never tried a plastic Rovner for classical work either because there is no need for a lot of volume in that area.

However, I am dealing with an 8-piece party band situation so I need the volume and edge when I need it but it is also on the back burner when I do not need it. Like overdrive in a car....there when I need it w/o working too hard!

[My-Low-SX90R]

Bar,
I think you might want to look for one of the old Morgan J series mouthpieces. I have a 6J that I use for small group stuff, (not my main thing). They are hard to find but are worth the search. The closest thing I have found to my 6J is the Ridenour Pro which would need to be opened and have a very slight roll-over added to it to make it equivalent or better. When you consider that the Ridenour is about $135 and refacing it costs about $75, you get a really great mouthpiece for a bargain.

And Laughter,
If you tried a BB stainless steel Lawton (the british uber mouthpiece), that one turns everyone off. Find a bronze one in a B or a P chamber, I have yet to find someone who doesn't love it.

[John Laughter]

My-Low, that was the one. The stainless steel model. I had not heard about the bronze model. Thanks for the advice! What is the basic difference between the B and P chamber? Does P stand for plain? I found the following on http://www.bill-lewington.com/lawton.htm;

Plain Numbers. Large chamber, low baffle for a big dark tone, ideally suited for Orchestral, classical and Jazz playing.

Model B. Medium chamber and baffle for brilliant full tone. Specifically designed for projection (big bank work and Jazz playing

Model BB. Medium chamber and high baffle for maximum power and edge. Ideal for Jazz rock and producing harmonics

Does the bronze have a different lettering system? Appears that the BB model is what I might need.

[My-Low-SX90R]

Laughter,
The P does stand for plain and it plays much like an Otto Link. The B chamber has a very good roll over baffle that really should give you all the edge you need. I find that the BB is almost always too much, even in the bronze. Finding one will be hard, Geoff passed away last October. Every once in a while you'll see one on Ebay, they generally go for about 300. The big thing to watch for is whether or not the mpc says special on the side. What that means is the piece is made from a special bell-metal bronze rather than regular bronze. The specials always sound better.

[John Laughter]

Thanks for the help and advice My-Low!

[Subtone Sam]

John,I use a brass Lawton 8 Star BB on bari but it has been worked on (by Jo Gerber who did a great job as usual).I've tried several Lawtons on bari (two 8 Star BBs and a 7 Star B) and they play OK but really need some refacing work to make them play well.I find B chamber quite dark,suited for jazz but too mellow for rock/R&B work.Jo Gerber straightened the table and improved the facing on my 8 Star BB,made the tip slightly more open (to .134) and made the baffle very high.It plays with power and bright,clear tone,Rico Plasticovers work best with it.I've tried 10-15 high-baffle pieces on bari during the last year and this Lawton works the best,along with hard-rubber Lamberson 8DD.

[John Laughter]

Sub, I appreciate the info and found his page;

http://www.jgerber.com/mouthpieces.htm

I will keep your suggestion in mind if the new Rovner metal does not work out. He should hopefuly have it on the market soon.

[Bar-Ron]

Thanks for the comments and advice guys. I'll check around for a Ridenour Pro or old Morgan 6J maybe and enjoy the hunt.

[Bar-Ron]

Laughter, if I get a Ridenour refaced, what am I getting it refaced to.
And who do you recomend?
thanks.

[John Laughter]

Bar, I will have to refer your question to Subtone and My-Low to answer. Any suggestions on refacing a Ridenour gentlemen?

[Subtone Sam]

Bar-Ron,tip opening is personal,what works for me might not work for you.I prefer larger tips on bari (.125-.135) but I think the most common on bari is around .110-.115

[Bar-Ron]

Thanks. I'm comfortable around 110 and 115 so thats alright with me.
So I just stick with a comfortable opening and send it to on of those fine refaces like Mojobari and I'm good to go.
Thanks for the help and advice.

[Bar-Ron]

Just stuck a Runyon Spoiler into the Ridenour and put on a Fibracell 3 1/2
I used double sided tape as it was intended to be temporary.
Wow what a nice volumous change.( Is that really a word?)
I'm almost afraid to reface it.
Thanks My low for your info. [img]

[My-Low-SX90R]

Thats great you found a combination that works. But if you find that you want to get a little more air in the horn, I would still consider refacing. I use Ted Klum for all my stuff, he can tranform just about any mouthpiece into a next wonder of the modern sax world. If you want his info, just email me at milesj27@hotmail.com and I'll be more than happy to refer you.

[Bar-Ron]

Sorry I didn't reply sooner.
I'll e-mail for details. I definately like the Ridenour sound and intonation on the Martin but it needs some Umph. Right now I can just keep my eyeballs in their sockets when pushing up the volume. Which was never part of embouchure development before. :dazed:
Thanks for assistance.