Selmer Soloist soprano

[singlereed]

What is the chamber design of the Selmer Soloist for soprano? I know they are not currently made. Many soprano sax mouthpieces seem to have a small round chamber, even though the same model of mouthpiece might have a different chamber shape for, say, alto or tenor. So, does the soprano Soloist have the horseshoe shaped chamber like the alto or tenor ones, or is it small and round?

[Merlin]

The soprano soloists I've seen have a round chamber.

The super session pieces look remarkably similar internally to the old soloists. They're available down to an "E" opening now.

[singlereed]

Thanks, I have a Ed Pillinger Soloist type for soprano, and that has a round chamber - i just wondered what the old originals were like. Dont the Super Sessions have a rollover baffle? - certainly the one I tried for alto did. Anyhow, as a I play a C*, the SS isn't really an option for me on sop, but I agree they are nice.

[MojoBari]

See:

http://www.mouthpieceheaven.com/misc/selmer_mp.htm

[DaveR]

I have to say that although the Super Session resembles the old soloist soprano pieces, it does NOT sound like them. The soloist, if you find a good one, has the most lovely velvet tone. The SS is nasty-bright in all but the most open facings.

[Lenny]

singlereed,
How do you like that Pillinger? I am playing a Vandoran S15 but have been wondering what a soloist or similar mpc might sound like.
Do they make 2 sop mouthpieces (a Pillinger soloist & just a Pillinger sop?) I am ;looking for something that sounds similar to my Vandoran but has better upper register without being harsh.
I agree about the SuperSessions BTW. Too harsh for my taste, but we're all different.

[singlereed]

The Pillinger 'Soloist' is very good. He makes them from a modern resin rather than ebonite, which tends to give a wider sound spectrum, its a bit like listening in hi-fi. It responds well and has good intonation, certainly when I got it I said 'wow!' compared to what I was using, however I am currently getting used to a new horn and feeling a bit incompetent! The downside on the Pillinger for me is that it is small externally and therefore hard to find a good ligature and I need to use a thick mouthpiece patch for a comfortable embouchure. It might not bother other players who are used to metal mouthpieces or something like a Jody Jazz, which can be a lot smaller still. I am not sure exactly what he makes, see his website and maybe email him http://www.pillingermouthpieces.co.uk/ he makes them in small batches and doesn't list everything he makes. My Soloist doesn't look anything like the models he shows on the website. He bases his facings on good examples of old classics as well as developing his own.

[singlereed]

I got my hands on an original soprano Soloist today, and found the small round chamber to be near identical to the Pillinger one.

[Lenny]

Did it play the same?

[singlereed]

Don't know, I literally 'got my hands on it' - I saw it in the display case at a local music store, part of the proprietor's private collection and it wasn't for sale, and I didn't have my horn with me anyway. I must ask him to let me have a go next time I'm in.

[singlereed]

Well now I have got hold of a proper Selmer Soloist for soprano in C*. It's not a really old one, it doesn't have 'Soloist' written on the table, but it has the scroll shank and small round chamber and its mint. I also got to play a much older one, a B* belonging to a well-known pro player.

Here are my perspectives compared to the Pillinger one. Basically, the facing and chamber seem almost identical, though the window in the Pillinger is smaller than my Selmer Soloist. The sound is very similar, both are very responsive and easy blowing across the normal range and into the few altissimo notes I dare to attempt on sop. The Selmer has a slightly warmer sound whereas the Pillinger is a bit brighter and more immediate sounding, I suspect it has to do with his use of a modern resin rather than hard rubber, or maybe its because its new and very accurate.

The Selmer is a bit more comfortable to use, the main drawback of the Pillinger is its small body size, so its hard to find a ligature to use and I need quite a thick mouthpiece patch to make it comfortable in the mouth. So what of the old B*? Well, I haven't side-by-sided it with the Selmer C* yet, but it is a truly outstanding mouthpiece perhaps even smoother sounding than mine. The Pillinger is very very close to both Selmers in sound, it's really easy-blowing and I imagine some would prefer its sound over the Selmer. Of course, Selmer soloists are hard to find for sop so it is unlikely you would ever find more than one to choose from, whereas Ed Pillinger can tailor his mouthpiece to your needs.

[Dave Dolson]

Singlereed: What reed do you you use for those C* pieces? I have one of those non-Soloist-marked scroll shank Selmer C* pieces for soprano. I bought in the mid-'50's.

It is way too closed for my tastes (with cane reeds of any strength), but for some reason, it plays okay with Fibracell medium-soft reeds. I keep it around as a travelling piece when I don't take horns, just in case I come across something that I want to try. DAVE

[singlereed]

3.5 Alexander or Vandoren, and if you don't want it, I'll buy it from you .... or swap it for something you might like better.

[Dave Dolson]

Singlereed: Thanks, but I think I'll hold on to it - sentimental reasons, ya know. DAVE

[rollen]

Dave,

You might want to try a Legere reed on that C*. They seem to do okay with really closed mouthpieces. They don't collapse like cane. I would suggest 2.75 to 3.25 range. They seem to play stiffer than marked. Also, they tend to produce a darker sound than cane and Fibracells.

[Paul Coats]

No one I know who has tried Selmers in sizes other than C* have preferred the C* for soprano. It is way too small, requires a very hard reed. Most prefer the D and E sizes.

The old Soloist had a round chamber, like a miniature Larry Teal model. The chamber was very similar to the chamber on the current metal Selmers. The largest size available in the metal Selmers is E. These can play pretty well IF, and I repeat IF, the table is flat, the rails are even, and the tip opening is what it is supposed to be, which is not always the case. Of all the soprano mouthpieces in the Selmer line, these metals are the best for classical in my opinion.

[singlereed]

Just about all the pro classical players I know in the UK use a Soloist C* on soprano. John Harle uses a B*, slightly more closed. As Paul says, they do need a hard reed - I use a 3.5, people who practice more than I do would use a 4. I have found the more open ones generate a more flexible sound but it's not as focussed and pure and less suited to the sound I want. I do agree that more open facings are easier to play, but for me, the C* gets the sound I want.