Mouthpiece Suggestions

[RyanS]

Hey, I'm about to do a trial for some mouthpieces to test out. I can have up to 4 out, so I want some suggestions.

I used to be primarily a classical player (bachelors was all classical - going for jazz masters this fall), for the last 2-3 years I've been doing jazz. I've tried a few different MPCs from an otto rubber 5*, used to have an otto STM 5* (which I remember liking - but my horn was stolen, and I didn't realize the mouthpiece was missing when I got it back) I still kind of like the dark jazzy sound I can get out of my C*, and I currently have a brilhart 4 which isn't too bad either, but a lot brighter obviously.

Just to put it in perspective, I LOVE the control I get out of my C*. I keep going back to it, because it seems I can do things with it I can't with the jazz pieces (as far as dynamics/etc) - but my high notes are always stuffy and not very responsive compared to the jazz pieces, and without a mic I have really no volume. I've played nothing but the brilhart for about the last 3 weeks, and I'm pretty used to it now. It has a great high end, and I get a real nice mellow tone with a little edge to it, but I don't quite get the control I'm used to out of the selmer.

I use both regular and Java 3 reeds normally, and I have some 2 1/2's around as well. I'm a link player on Bari and Tenor - and those setups are awesome for me. I have a link STM 6 on bari, and a link 6 on Tenor.

I'm just looking for some suggestions of other mouthpieces to try. I think I'm going to order another link STM just to try and see if it was really as nice as I remember. I'm thinking I tend to like more closed pieces as opposed to open (at least, I think. . . . ) but I will probably order one mouthpiece open and one closed to compare and see.

Any reccomendations would be great.

[RyanS]

I should add - most of my playing is primarily with small combos. I don't play alto in any big bands or horn bands (thats my bari mostly). I do play in a jazz sax quartet as well.

No need to peel paint of the walls, just a decent, controlled, mellow sound that projects a little.

[gary]

Why not stay with your C*?
I played jazz and classical for many years on both - didn't know any better. ;)

Since you're not playing in big band, I don't think you need a larger tip opening but nevertheless, you might try a D instead of C*.

Something else I would recommend - I assume you're getting the mpcs from wwbw - is to first get a sampling of four different mpcs, to get a feel for their overall characteristics, but not settle on one of them. As we know you can get a dull mpc that doesn't represent all the mpcs from that type. Anyway, I would play a lot and narrow it down to what model you think you want and then get four of the same from wwbw and take the pick of the litter. I have done that several times and I have never gotten all four mpcs exactly the same.

(If you really want to look for Selmer alternatives, you might fine the Vandoren V16s a good, comfortable alternate.)

[RyanS]

I'm thinking about a selmer soloist or super session as well. I know they are both selmer pieces- can anyone comment on whether they blow a little more open.

I'm also thinking I like the C* - the only thing is as I said - the high notes are stuffy and the projection isn't real great. Maybe I'll try a D or E and that might fix those issues. My high on the brilhart is great - easy to blow.

[zxcvbnm]

Yeah, I would suggest you try the soloist or super session in either a C** or D facing. I think they would give you the sound you want.

[skasax]

if you get another stm i would be careful. The quality controll on the machined otto links is pretty poor, so many times the facing is uneven, the tip is marked improperly, and there are other flaws. You can get or a great one or a bad one, you never know. If you dont want to spend the cash to get a bad one refaced, make sure to test it extensivley and do the suction test.

best of luck

[hakukani]

I'm thinking about a selmer soloist or super session as well. I know they are both selmer pieces- can anyone comment on whether they blow a little more open.

I'm also thinking I like the C* - the only thing is as I said - the high notes are stuffy and the projection isn't real great. Maybe I'll try a D or E and that might fix those issues. My high on the brilhart is great - easy to blow.

Like gary, I sometimes was forced to play 'jazzy' on my C*--especially with community band. I found that if I took a bit more beak than when I played classical, and 'voiced' a little closer to altissimo (tongue arched, soft pallet raised), that it changed the character of the tone enough to sound 'jazzy'.

That being said, you can't go wrong with a more open selmer, except that I think the larger tip will make you sound darker, all other things being equal.

You also might want to try a modern meyer 5m or 6m. (We are talking alto, right?)

[J.Max]

You also might want to try a modern meyer 5m or 6m. (We are talking alto, right?)

This was my question too. Usually the Meyers are the "go to" pieces on alto. I'd suggest that you try the Soloist, the Super Session, and maybe something like a Vandoren A35, which is a popular "cross over" piece. IIRC, Bobby Watson plays one, and so did Daniel Deffayet, so obviously it's a pretty flexible piece.

Another thought is to get a jazz piece in a similar (close) facing to the C* and use a similar reed. This should give you better control and more projection.

The other thought I had when reading your post is that it sounds like you've played on that C* for a long time and you know all of the nuances of it...it's going to take a long time with any piece to get that level of control and comfort.

[bruce bailey]

I switched from an S-80 D to a Super Session D and it made the old S-80 sound like it had a rag in it. My SS replaced the old one and a Meyer. The only way is to try one.