RPC Mouthpieces

[Grumps]

Just wondering if some of you good folks could share some experiences with RPC mouthpieces. I'm interested in baritone mouthpieces in particular, but alto and tenor experiences would be welcome as well.

[Subtone Sam]

Grumps,I have the bari RPC .125.Very good mpc,especially for section playing.Big,fat sound,very easy to play,low notes pop out with less effort than most pieces.Great blend of bright&dark.

[johnny]

I'll just say that ever since I acquired my RPC tenor and alto pieces, I've never had even the slightest urge to try anything else. IMO, they're just that good.

[garyinla]

I tried an RPC alto .090 hard rubber. It was as good as any other hard rubber alto one I ever tried. I dont own one, but I would like to get one someday. In WWBW they sell .085 and not .090 but I would go for a .090 since the one I played was easy to play (for me.)
This was a general mouthpiece of a NY Meyer or Brilhart type.

[Toni Linder]

I have been playing a RPC .85 alto mouthpiece for some years now. It's a great mouthpiece with a full, rich, velvety sound; you will need to push through quite a lot of air, though.

[Dr G]

Just wondering if some of you good folks could share some experiences with RPC mouthpieces. I'm interested in baritone mouthpieces in particular, but alto and tenor experiences would be welcome as well.

I think that baritone is where Ron excels. To hear it from Ron, that is his sax of choice and his bari 'pieces reflect that, in my experience. I have played and enjoyed his alto (090) and tenor (105, 110, 160) mouthpieces but the one that really stands out is the .110 'piece he made for me several years ago.

[Thomas]

Today I received an RPC .110 for tenor. Plays well,easy blow and sounds sweet on the Comm II tenor but too soon to tell how I like it on the VII tenor. Gotta do some reed work 2.5 Superials and DC's are pretty good but the RR 3's ain't bad either and would appreciate input about a good lig choice but please don't mention Rovners...I just plain don't like them.

[shortwhite]

I have been using one of Ron's bari mouthpieces for almost 5 years. Best thing I have found yet. Works great in every genre I have needed. PHAT sound. I am curious about the Jaguar though.

I also play one of Ron's alto mouthpieces and love it.

[Jazzed]

I really dig my RPC tenor .150. It amazed me out of the box and after 2 years and many gigs it still is my main piece. It's all about tone. Very flexible. Not for beginners however.

[Nefertiti]

How on earth can anyone play a .150. I trust you guys but it's hard to imagine. I play a .120. I can't imagine playing something as big as a .150. Is the baffle high in this piece to make it easier to play?

[Jazzed]

Nefertiti,

The big number scared me too, but Ron assured me it was ez to play. Plus he has a great return policy, so I felt like I had nothing to loose. I put a lot of air thru a horn and was gravitiating to larger and larger tip openings over the years. I think the secret is that it's set up to use a soft baritone sax reed. It actually plays easier than some Link 7 and 8*s I have had with tenor #3-4 reeds.

Try some #2 baritone sax reeds on your .120, you might like it and you might get the feel of what I'm talking about.

[MojoBari]

Nef, I normally play .105" tips and had no problems playing a .150" RPC. Some people do though. It is faced in a way that it feels more like a .130". It is designed to use Bari sax reeds.

I do not think it is a good all-around piece, but it was fun.

[Thomas]

As posted above I received an RPC .110 tenor piece a couple of days ago.I've used Links on tenor 40 years + but I'm telling you this tenor piece is the best sounding and playing piece I've ever used-works flawlessly on both tenors and does it all using Superial 2.5's and 3's. Got so excited I called Ron C right up and ordered an alto piece from him. Call him-get these pieces-they're good..

[geo@loyola.edu]

I use RPC's on everything from soprano to bass. I concur with something said above: I have no desire to try anything else.

You can't get 'em from WW&BW. Ron told me on the phone he cancelled that relationship. That means you must wait and wait, because, whatever Ron does, he doesn't do it quickly.

Keep an eye on EBay. I got several there---no waiting, and they go for about what WW&BW lists them for.

Geo

[Keith Ridenhour]

I played a 130 RPC on tenor for about a year. It was easy to play , had a versital sound and the alt is amazing. The only thing it couldn't do was get the metalic core of the contemporary tenors you hear on the quiet jazz stations and I was trying for a brecker tone and couldn't get close with that piece so I sold it. But I do miss a C 5 whenever I wanted it. I tryed the bari reeds on it but went back to tenor reeds to add core to the sound. I have a couple of sound clips from a demo CD using the RPC and a yanni 900 if you're interested. K

[saxmanglen]

Hey Grumps! What do you think of RPC's four years later?

[Grumps]

Wow, four years.

Funny, I was looking for a baritone mouthpiece for that finicky New Wonder, and didn't get a hold of an RPC for bari for about three years after that initial post. The first RPC I ended up with shortly after this thread began was the 125 high baffled model that is still my primary tenor mouthpiece. Next was the tenor rollover that I use for softer stuff, and about two years later I got a hold of an alto V90 which had me sell my vintage Meyer (and is still my primary alto mouthpiece). But going back to this thread, man I wish I wouldn't have been such a cheap bastard and waited three years to find one for bari on the second hand market. It turned out to be the last mouthpiece (out of dozens of previous trades and deals) I found that finally gave that old Conn the modern edge I needed and was long enough to play it in tune.

[BayviewSax]

Steve: I bought one of the fabled .150s just to test the theory that only one existed. Within 2 weeks, two more showed up for sale. I was going to just flip it or trade it, but I have to second Mojo's take. It plays MUCH smaller. In fact, I was able to play it pretty easily with ZZ3s, but for kicks, I threw a Rico 1.5 bari reed on it, and that's what I play when I back-up a singer now. It's a real breathy sound, but easy to control.

I have 2 .120B tenor pieces and a .115B tenor. The .120 is THE piece, but my back-up horn is a Kessler, and it's a little darker, so I use the .115B on that. I also have a .090R alto and a .085B (opened to a .095), both of which are outstanding. The B has more of that Bartz edge, and the R is a fatter sound. I've played two .110B bari pieces and the .125B that I currently think of before intimate times with my wife -- yes, it's that good. I'd still like to score a .120B or .115B for bari as a backup. I also had a custom baffled .120 bari pieced that Pete Gaylord has now. It was higher than the rollover, but not quite the full wedge Ron uses in the "B" model now.

The "one that got away" was a .125R that I got from someone here. I flipped it because I just couldn't quite make the air (shoulda held onto it), and a week later the seller I got it from was inquiring about it.

RPCs rule.

[Grumps]

I also had a custom baffled .120 bari pieced that Pete Gaylord has now. It was higher than the rollover, but not quite the full wedge Ron uses in the "B" model now.
I know this goes back to an old argument, but forgetting that for a moment, can you describe how your 120 custom piece differed from the 125R that got away? Did either, or both pieces, have that two step drop?

I tell you, I have been tempted in regard to one of those 150's. I was speaking to Ron a while ago about a custom order and that was the piece he was steering me towards. Some day, perhaps.

[BayviewSax]

The difference between the .120 custom bari and .120R tenor was EXTREME. The tenor piece didn't even look like it had a baffle. It just flowed straight into the chamber (What a SOUND!). The bari piece had a noticable quantity of material, but no distinct "step" to it. Ron uses an art apoxy to make his baffles now, but the bari piece looked to be formed by removing material from the blank. I've played the rollover bari model, (a .110) and didn't care for it. The baffle in this .120 was NOT the rollover, it was definitely a distinct design. Going back to that original discussion, I wouldn't say it was a high-baffle (for an RPC), but rather a custom baffle that doesn't fit either class. I believe Pete has added to it to create a high baffle, but check with him.

[Grumps]

The difference between the .120 custom bari and .120R tenor was EXTREME.
No, I meant the 125R "that got away"; not a comparison with a tenor rollover. I had thought that was a bari model and wanted to know how they compare.
I've played the rollover bari model, (a .110) and didn't care for it. The baffle in this .120 was NOT the rollover, it was definitely a distinct design. Going back to that original discussion, I wouldn't say it was a high-baffle (for an RPC), but rather a custom baffle that doesn't fit either class.
Okay, so the 110 rollover for bari that you had didn't have that two step drop? So it's more like the tenor rollover? Here's a picture of my 120 for bari with the two step drop:
http://img.photobucket.com/albums/v383/grmpyoldmn/RPCcustomBari.jpg
Ron has told me that this is his rollover design for bari. I'm just wondering if the earlier bari rollovers were different.

[Hobbes]

Only a question.
The Tenor's RPC.R or the RPC.B are medium or large chamber??

[BayviewSax]

Grumps: The .125 that got away was a tenor piece.

Interesting, I hadn't seen the rollover 2-step before. As I recall the piece, it was not a two-step, but again, I'd check with Pete if you're really curious.

[hakukani]

Only a question.
The Tenor's RPC.R or the RPC.B are medium or large chamber??

I think Ron only makes one chamber size. I might be wrong...

[Hobbes]

ok. But what??? large?

[StittsIt]

I'd say medium-large. I owned an RPC .125 rollover for years, which I traded to Mark. Although I found the piece to be limiting for the direction in sound concept that I'm going towards, it was absolutely the best piece I've ever played. It made no sense to keep it simply because my concept of tone had changed and I wanted something more spread and Linkish, but everytime I think about selling it, I regret. If someone gets it, don't let it get away!

[MarchingBear]

I play Ron's .90 alto (6 years now) and his ".110" baritone model (with the baffle) and haven't heard anything I like better. I emphasize the .110 because it's actually a .120 tip.
I also have used his tenor pieces which are very good too.

[Saxlicker]

ok. But what??? large?

At leaset as big and probably bigger, than a WWBW MBII if that helps at all?

[crazydaisydoo]

I am going to go slightly against the grain here and say, for me, an rpc did not work. I suppose I play with an old fashioned dark tone, helped by a big chambered link, with lots of resistance.

I found even the 105 rollover just to edgy for me. I tried all manner of reeds but I just could not take it. I also found the beak very thin, and uncomfortable compared to a link. That's not to say it is not a nice sounding brighter piece, it certainly has lots of body, and nice buzzy edge.

I guess is was the combination of lack of resistance, thin beak, and bright edge to the sound that made it not right for me.

Now I know a little more about tenor mouthpieces, I would say there are a huge variety of sounds out there, and when people rave about a particular piece, it is best to make sure that their sound is similar to what you strive for. I know to avoid the high baffle pieces, and also even some of the "slant" style smaller chambered pieces are just too edgy for me.

The RPC was very well made, and I sold it on in no time at all on ebay.

[hakukani]

Indeed, the thin beak is precisely why I like them.

[MarchingBear]

It' just a question of getting used to the piece. If you like the sound, you'll be patient and figure out your embouchure.
I use Hemke reeds on my RPCs. I sort of can't deal with brighter reeds on them.

[saxnbax]

I've owned 3; a 115B and 125B tenor and a 80B alto. Most of my playing is in an R&B band with a 5-piece horn section so I need/like a fairly bright sound. Ron's pieces are great. They have a nice core and get bright when pushed. Having said that, I still end up playing either my custom Guardala King or my Ponzol M2 Plus on the R&B and the 115B on my big band gig. (Mark VI tenor and alto).

What really blows my mind, however, is the sound I get on my 80B alto piece with a Hahn #2 carbon fiber TENOR reed. It absolutely screams! Anyone else tried similar setups? Results?

[Grumps]

I suppose I play with an old fashioned dark tone... I found even the 105 rollover just to edgy for me.
I had one of the current stock 105 tenor rollovers made for my son some time ago. I found it somewhat bright; especially compared to older RPC rollovers (and even brighter than an older styled high baffled tenor model). If you can ever find a 110 rollover in the old shaped RPC blank (sort of Vandoren-like) with the red or noncolored letters, that would be the one for you to try.

[BigHunk]

I agree with grumps,
for some reason the older red letter RPC's play/work better for me.I have had 7-8 different RPC's and ended up keeping all red letters except for my Alto .105B.The 2 pieces(alto& tenor) I ordered from ron were too bright,not to mention they took 8 months to arrive.

[Steve Sarandos]

I've had a few of Rons pieces for tenor including one of his Power Rings he made years ago. They all played great. I had no Problem selling them. I like metal better. I am really a Ponzol player and love the 120 M2. I have taken the baffle down a bit and re-did the curve and it plays gangbusters. These are really good pieces for experimenting with. Small chamber with medium baflle. Plenty of volume and can be played pretty when needed.

[josephcoffee]

RPC? What brand is that? What's it stand for?

[MarchingBear]

Ron Coelho makes them in Washington state.
Great guy. A couple of weeks ago I called him to inquire about a backup bari piece like another one he made me, and 4 days later I had it at my door. Even better than the first piece.
Ron knows his bari pieces. Oh yeah.

[Saxmaniac1990]

Ron knows any piece. :D

[ralph lh]

Marchingbear - you must have some pull with Ron ! I ordered a bari some months back and it finally arrived just a few weeks ago.

However, what I wanted to say was that I like it so far. 'So far' being that I haven't had much time to work with it since I've been too busy with non-bari gigs since it arrived. Giving it a try about a week ago, though, I noticed that the side rails weren't all that wide apart and my bari reed had lots of room either side [ZZ]. Figured I'd give the piece a try with a tenor reed [also ZZ] and I was flat out amazed at the sound and the ease of playing.

So Saxnbax - I'll have to go back to that tenor reed/bari mpc combo when I have some time but it sounded really great on the first go-round.

[saxmanjack]

I've owned 3; a 115B and 125B tenor and a 80B alto. Most of my playing is in an R&B band with a 5-piece horn section so I need/like a fairly bright sound. Ron's pieces are great. They have a nice core and get bright when pushed. Having said that, I still end up playing either my custom Guardala King or my Ponzol M2 Plus on the R&B and the 115B on my big band gig. (Mark VI tenor and alto).

What really blows my mind, however, is the sound I get on my 80B alto piece with a Hahn #2 carbon fiber TENOR reed. It absolutely screams! Anyone else tried similar setups? Results?

I'll have to try one of those on my 80B - can't easily get a truly blood-curdling scream out of it!

[saxnbax]

SAXMANJACK, let me know what your experience is. This doesn't work with my custom Guardala King however. For now, this is all I'm playing on my R&B gig. Might not be everyone's cup 'o tea though!