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  1. #21
    Forum Contributor 2012 Joe Giardullo's Avatar
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    Default Re: Selmer soprano classic

    I played a metal Selmer classic years ago for about 4 months because I had my hard rubber piece out to a refacer.
    What I learned was that I had to change the way I delivered the air into the piece.I didn't recognize what was happening (I just found a way to play it that worked) until I got my regular piece back.

    When I went to play the old rubber piece, it was like I was on another planet.

    To respond to the OP: I don't think there is another piece like it. Some of the Chinese pieces on the market are modeled after it but they are far less than the Selmer. If you like that sound and feel, then the metal Selmer is the way to go, IMO.

    Mike Ward is right about the tip/facings. They are a hit/miss proposition.
    Info@Sopranoplanet.com
    world class mouthpieces for soprano saxophone
    New: ALMA for alto sax !

  2. #22

    Default Re: Selmer soprano classic

    Quote Originally Posted by Joe Giardullo View Post
    I played a metal Selmer classic years ago for about 4 months because I had my hard rubber piece out to a refacer.
    What I learned was that I had to change the way I delivered the air into the piece.I didn't recognize what was happening (I just found a way to play it that worked) until I got my regular piece back.

    When I went to play the old rubber piece, it was like I was on another planet.

    To respond to the OP: I don't think there is another piece like it. Some of the Chinese pieces on the market are modeled after it but they are far less than the Selmer. If you like that sound and feel, then the metal Selmer is the way to go, IMO.

    Mike Ward is right about the tip/facings. They are a hit/miss proposition.
    If there was an equlent to Selmer I'm sure you would know it

    I'll go for Selmer even I have returned the 2 I had on trial, but it as because the C** was very beautiful, I could use the same word as another planet and I don't really understand why I didn't settled for that one, but I wanted something a bit more open, the G made me blue in the face I didn't have the air needed for that piece. Lots of expression but the song seemed to escape all the time, so I will probably settle for a D or an E. I waiting for the shop to get it in stock

    May I ask, Do you reshape Selmer metal mpc's?

    Thank you for responding Steen

  3. #23
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    Michael Ward's Avatar
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    Default Re: Selmer soprano classic

    pm sent

  4. #24
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    Default Re: Selmer soprano classic

    the early ones with the short shank do tune sharp. c* is too small for tenor. at least a f or g is needed to feel right.
    runyon mouthpeices-no need to look elsewhere

  5. #25

    Default Re: Selmer soprano classic

    Ok F or G for tenor, what about soprano Is there a problem with them?

  6. #26

    Default Re: Selmer soprano classic

    I play a Selmer metal classic g I bought new a couple of years ago on my vi soprano and it plays very well. It is somewhat picky with reeds, always liked la voz medium on a bari 64 piece I have but they won't work on the classic so I use a v16 2.5.

  7. #27

    Default Re: Selmer soprano classic

    Quote Originally Posted by sxplr06 View Post
    I play a Selmer metal classic g I bought new a couple of years ago on my vi soprano and it plays very well. It is somewhat picky with reeds, always liked la voz medium on a bari 64 piece I have but they won't work on the classic so I use a v16 2.5.
    Thank you maybe I should have a go on the G again

  8. #28
    Distinguished SOTW Member saxobari's Avatar
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    Default Re: Selmer soprano classic

    Allo everyone.This week I received a Soprano Selmer Classic G.
    I ahve onwed many soprano mpcs,and also lots if Selmers HR ones,and also Soloist E.
    This Selmer Classic metal one is very speial,and unique .
    It sure is very easy to play in tune,and to me is a great match with my old Yamaha 62.
    My only negative about it is the opening,even as a G on it Man ,I find it just too closed.
    Treu when Joe said that he changed his way to blow the air into it makes a world if difference,but why a G on those Selmer still feels like a D max.I can t imagine playing on a C* .
    So I dont know if this will be a keeper,not sure.
    This mpc was also retouched at the tip,seems like they rrfined the rails a bit,and also a little bit inside the end of the mpc.
    My best regards
    Saxobari
    Tenor Selmer Serie III - Dukoff Stubby 7*(Eric Falcon)Otto Link Slant 7
    Alto Yamaha Ul.82Z: Selmer Soloist .82 refaced by (Ted Klum s work)
    Soprano Yamaha 62 Purple L. ,Selmer Soloist .64 (Joe G.Soprano Planet)
    Vintage Dukoff Miami 6,Otto Link Slant 7

  9. #29
    Forum Contributor 2012 Joe Giardullo's Avatar
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    Default Re: Selmer soprano classic

    Quote Originally Posted by saxobari View Post
    Allo everyone.This week I received a Soprano Selmer Classic G.
    I ahve onwed many soprano mpcs,and also lots if Selmers HR ones,and also Soloist E.
    This Selmer Classic metal one is very speial,and unique .
    It sure is very easy to play in tune,and to me is a great match with my old Yamaha 62.
    My only negative about it is the opening,even as a G on it Man ,I find it just too closed.
    Treu when Joe said that he changed his way to blow the air into it makes a world if difference,but why a G on those Selmer still feels like a D max.I can t imagine playing on a C* .
    So I dont know if this will be a keeper,not sure.
    This mpc was also retouched at the tip,seems like they rrfined the rails a bit,and also a little bit inside the end of the mpc.
    My best regards
    Saxobari
    I have found that it is the very small chamber that basically makes the miniscule variations in tip openings (.047 for a C* and .061 for a G) non-factors in how "open" that piece feels and plays. Getting the chamber size just right makes all the difference in how it feels and plays.

    Saxobari: I'm glad that you "caught" the way that piece wants the air "slipped" into it more than forced into it.

    FWIW, one piece that approaches (doesn't duplicate) the Selmer Classic in terms of feel and sound is the solid silver pieces beautifully made by Brendan Tibbs.
    Info@Sopranoplanet.com
    world class mouthpieces for soprano saxophone
    New: ALMA for alto sax !

  10. #30

    Default Re: Selmer soprano classic

    Have you tried the Vandoren? If not you should check out the S-25, which has a medium opening. There is also a smaller (S-15) and a larger (S-35) opening model. Very good quality pieces with big nice "classical-ish" sound.

  11. #31

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    Default Re: Selmer soprano classic

    Interesting thoughts! For a Series III Selmer soprano, I like the S 80 C* and the curved neck that came with it, the mouthpiece touched up an iota to have a double concave lay and a good tip. For many situations, one really doesn't have to play super loud and bright. Even when soft, it projects just fine.

    For more aggressive needs, I can use a Runyon #8 Custom in red that is so great with the straight through neck. I've never felt a need to modify it from the factory facing as I like it so well.

    Thanks for the informative comments!

  12. #32
    Distinguished SOTW Member/Logician Grumps's Avatar
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    Default Re: Selmer soprano classic

    Quote Originally Posted by Sfhansen View Post
    The G is a challence, I find the intonation somehow easier Than C** but it is harder to start the notes... Sorry I'm in the need of words. Anyway what reed do you match your G with please?
    Sorry, I missed this back in March. I use number 3 reeds with my G Metal Classic.


    Quote Originally Posted by saxobari View Post
    My only negative about it is the opening,even as a G on it Man ,I find it just too closed...
    This mpc was also retouched at the tip,seems like they refined the rails a bit,and also a little bit inside the end of the mpc.
    Sounds like yours has been altered by persons unknown, so you really can't generalize about it. Always seems to be a refacer du jour thinking they know better than the companies and/or individuals that produce mouthpieces, altering them to the whims of folks who are just going to be looking for something else within weeks after dumping it on the market. Mine came brand new from the store, unaltered and plays just how I want it to on my VI soprano.

  13. #33

    Default Re: Selmer soprano classic

    Quote Originally Posted by Grumps View Post
    Sorry, I missed this back in March. I use number 3 reeds with my G Metal Classic.



    Sounds like yours has been altered by persons unknown, so you really can't generalize about it. Always seems to be a refacer du jour thinking they know better than the companies and/or individuals that produce mouthpieces, altering them to the whims of folks who are just going to be looking for something else within weeks after dumping it on the market. Mine came brand new from the store, unaltered and plays just how I want it to on my VI soprano.
    Thank you for the information. I ended up buying a vintage selmer classic F with fluted body. The sound is great, but I have a problem with it. The sound gets spitty after a while. I got it from Michael Ward ,member of this forum. He told me that. That selmer has made the chamber bigger on the new ones because of the selmer series 3 and that's my horn. So that might be the reason for the spitty sound. Has anyone of you got some experience with that?

  14. #34

    Default Re: Selmer soprano classic

    Quote Originally Posted by Joe Giardullo View Post
    I have found that it is the very small chamber that basically makes the miniscule variations in tip openings (.047 for a C* and .061 for a G) non-factors in how "open" that piece feels and plays. Getting the chamber size just right makes all the difference in how it feels and plays.

    Saxobari: I'm glad that you "caught" the way that piece wants the air "slipped" into it more than forced into it.

    FWIW, one piece that approaches (doesn't duplicate) the Selmer Classic in terms of feel and sound is the solid silver pieces beautifully made by Brendan Tibbs.
    Thank you, Interesting you with your thougts on chamber size and the small diference in tip sizes

    I·ve been tryin to find a sound clip with Brendan Tibbs soprano mpc, but with no luck, please does anyone know about one?

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