Beggining Sopranist

[Alto_Sax_Guy]

I have just started playing sop...and it bothers me because i kind of sound like an oboe. What can I do to improve upon this?

[Dave Dolson]

A_S_G: I'd suggest a more open mouthpiece and softer reeds to warm up the tone. What is your current set-up and what kind of a horn are you using? DAVE

[Alto_Sax_Guy]

okay...I have a Buscher BU3 with the stock mpc. I am using a number 3 reed. Whenever I try a softer reed my E's and some other notes go up an octave.

[Dave Dolson]

A-S-G: I am no fan of the Taiwanese Bueschers. But, that doesn't mean they sound bad - I never played one, just inspected one.

I own and play four original Bueschers from the '20's and they are terrific horns. It pains me to see that renowned saxophone name put on Taiwanese products.

I don't know what mouthpiece comes with new Buescher sops but I'd bet a large sum they are fairly close (tip-opening) and not of high quality. That you use a #3 reed is not so important as is the design of the mouthpiece. You are undoubtedly aware that generally speaking, the more open the piece, the softer the reed.

We all react differently to mouthpieces, but some of the ones that seem to be popular on SOTW are Selmer Super Sessions (my favorite), Jody Jazz (I have one), metal Links (I have one), and assorted others. I use #2 reeds on my SS pieces and the sound is definitely not oboish.

You may want to visit a retailer with a variety of soprano mouthpieces and start the process.

Also, a lot of a player's sound comes from his/her concepts. If you want the boppish, nasal sound and admire those well-known players, more than lkikely that's what you will achieve. The horn and set-up seem to be secondary to a player's concept. It has been said that your favorite player would probably pick up your horn and set-up and sound like him, not you. I believe that.

So as you go about testing set-ups, consider that how you want to sound is a big part of how it all turns out for you. Keep us posted on your progress. DAVE

[singlereed]

Stick plenty of the reed/mouthpiece in your mouth and give it chance to sing - don't strangle it. As Dave says, don't go for a hard reed either as it might induce biting. Although sop needs a firmer embouchure, it isn't supposed to hurt.

[Alto_Sax_Guy]

I have been trying out a few reeds. My #2's pop up an octave on G and sometimes A. I have been thinking about getting a new mpc for Alto, and was planning on getting a Selmer C*. Might put that money towards a new sop mpc (I have stocks on both)

[Alto_Sax_Guy]

Dang, didn't realize how much a soprano mpc would cost. Should I go with a student model? (like a yamah) What would be a good mpc, and are there any that are under like 40$ that are not student models? Any help would be appreciated. I am a mainly alto player (as you can tell by my name) and this will be the 4th different sax I have played this year, but can't seem to tame this one. (Bari- Jazz Band, Tenor- All Area, Alto- Band, Soprano- Just picking it up.) I have read many things where they say that BU3's have come messed up in some reviews. Mine came in almost perfect condition (one tiny scratch in the key work that you can't see unless your cleaning it good)

[super20dan]

if you need a cheap sop mpc -the yamaha is a good choice

[Ray]

I too am just starting on soprano, is a .60 a good place to start with mpcs and a soft reed? I get a fairly good tone with the stock mpc on my Prestini but it is pretty closed.

[retread]

I started soprano fairly recently and have no problems with a .065 and reeds in the 2.5 range. I also play clarinet, so maybe that's a factor.

[Mike Ruhl]

ASG - another very good mpc for very little money is the BARI Esprit. It has a hand-finished .058 tip, and plays very well. You can get one for around $10 at www.daybreakenterprises.com

[Dave Dolson]

A_S_G: Soprano mouthpieces can be cheap, mid-range, and you can spend a ton for hand-made pieces. The ones I named above run between $70 and $100 (roughly).

Quality will cost you, but there is no substitute for quality. Some folks report good results with the cheaper BARI-brand mouthpieces, but others report that once they try a more expensive piece, they like the better quality over the BARI. Bottom line? Everyone reacts differently to mouthpieces - I love the Super Sessions for soprano and alto, but others may not be so enamored with the SS.

As to buying a new C* for alto - whatever floats your boat . . . but it sure wouldn't be MY choice for a new piece. The Selmer S-80 C* is considered to be "stock" - it is the mouthpiece-of-choice when one buys a new Selmer saxophone (included with every purchase unless the buyer specifies something more open - and many do). Almost everything I have in my mouthpiece box plays better (for ME) than any of the C*s I've acquired over the years. Most players will tell you the same.

I wouldn't pay as much attention to a numerical tip-opening as much as how a piece plays overall. But I will concede that a shopper must start somewhere and the tip-opening number is as good as any basis. My Super Sessions on soprano (J-facings) are noted to be .69 as I recall, from those charts published in WW&BW catalogs. Yet when I compare them to other similar sizes by other makers, there is no comparison - my SSs play better than anything I've blown on soprano (same for alto - F-facing there). DAVE

[Mike Ruhl]

Dave's right, of course, that you generally get what you pay for. But I'd like to point out that, prior to finding my $8 Bari Esprit, I tried a Runyon Custom, Vandoren S35, and several other mpcs in the $50 - $100 price range, without finding the response and tonal qualities I was looking for. The only reason I bought the Esprit was because it came in a tip opening I wanted to try (.058"), and it was cheap. I was shocked at how well it's finished, and how well it plays. I will probably try other mpcs as time goes by, but I can't imagine any mpc being so much better than my Esprit that it will justify the cost difference. I just wish one of the more experienced soprano players here would try the Esprit and see if they feel the same way about it.

[Dave Dolson]

meruhl: I just ordered a BARI Esprit from the link you posted. For $16, we'll see just how good it is!! (not that I'm the expert - far from it, but I WILL report the results). There was no options listed for tip-openings so I will assume it is fairly closed. What strength reed do you use with yours? DAVE

[Mike Ruhl]

Dave, the Bari website (www.bari-assoc.com) says the Esprits have a .058" tip. A bit narrower than you're used to, but mine blows freely.

Thanks for taking the "Esprit Challenge". :lol:

[Alto_Sax_Guy]

Day break enterprises has some really good deals. (www.daybreakenterprises.com) I was looking through their mpcs, and I am going to get one, but this is the first new mpc I will get so I was wondering whats good. Thanks

[Ray]

Just got some mpcs to try in and I really like the Selmer Super Session. I got the H and it is very easy to play...wonder how the I and J compare? May send the other mpcs back and try those .
The next best so far is a HR link then a Bari and finally a Vandoren V5.
By far the Super Session is the best though. Really helps tighten up the intonation and helped bring out the upper register.

[Alto_Sax_Guy]

I've got a weird...almost oboe sound. Would a new mpc help?

[Dave Dolson]

Ray: I've touted the Super Session since they came to market (as everyone knows by now). I use Js (have three) and passed along an I-facing to my daughter who loves it. I thought the I was just a little too cllosed compared with the J, although the I was better than anything else I'd blown, except for the J SS.

Still, some have not taken to the SS and that's because we are all different. Good luck with your SS - and don't be afraid to play an even more open one.

I also have a Link, JodyJazz, and others. Those play okay but nothing beats the SS for me.

Daybreak called me the other day about my order of a Bari Esprit piece - they were out-of-stock and promised to have them back in real soon, then they'd send one out to me. That's why I have not reported back on that endeavor. DAVE

[Ray]

Dave: I think I will try the I & J SS. # 3 Hempke reeds are no problem on the H so I should be able to move up and see if I like a little more open piece. The .63 on the H has made bends a lot easier than the closed stock piece I had. Also the low notes are a breeze plus I got up to E3 with the palm keys now....the high notes are a lot more work on soprano, the F3 will take a little (or lot )more work.

[Dave Dolson]

Ray: I use softer reeds (Rico Royal 2 mostly, with an occasional Vandoren Java 2 or Rico Jazz Select 2-soft) on my Js and rarely, if ever, play into a microphone. If anything, I must play more softly so as not to overwhelm the ensemble. I guess if you have the chops for #3s, go for it. I find #3's way too hard for decent tone. DAVE

[Ray]

Hey Dave, what 1920's music does your group play( artists,songs)?
Might be nice to check out other stuff than what I normally listen to, do you have cds of your group's stuff?

[Mike Ruhl]

Dave, could you describe the chamber/baffle/throat design of the Super Session for us? Thanks.

Mike :USA:

[Dave Dolson]

Ray: I do most everything from that era (Oliver, Armstrong, Bechet, Clarence Williams, Spencer Williams, Morton, Beiderbecke and Tram, Jabbo Smith, Ory, Lil' Hardin (Armstrong), Junie Cobb, Whiteman, Goldkette, etc.).

All of my recordings went to vinyl LPs and a few cassettes - all vanity recordings. I've recently started playing alto (with some soprano and clarinet) with the Golden Eagle Jazz Band in southern Cal. They've been on the trad-jazz scene for many years and play a true New Orleans' style four-beat that I love. We will be playing at the Orange County festival this August as well as Pismo Beach in late October, to name two upcoming events.

Mike: My Super Sessions have a round chamber opening that is fairly small, as opposed to other pieces I have. As to baffles, etc., I really can't say. The interior flows smoothly and uneventfully from the tip to the opening - no rises, no falls.

I have never paid much attention to the physical properties of mouthpieces other than the tip openings. In all my years, if a piece played for me, I bought it (even bought some that weren't so good) and thought nothing of baffles, chamber size or design, etc. I know those are hot topics on SOTW - I just don't think about those things. DAVE