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Trying to settle on a mouthpiece

2K views 17 replies 8 participants last post by  NissanVintageSax 
#1 ·
Here's my situation:

I started playing horn again recently (alto), and started off using a Jody Jazz HR 5, knowing it was just long enough to get my chops back to some level of 'working' again. I want to move to a more open, and darker piece. I have started shedding on a few other pieces recently:

  • Vintage Selmer Long Shank C* - Love it, but there are a few issues getting the upper overtones out during OT practice.
  • Meyer 7m - Love it, but same issue as above with upper overtones. I also feel like I have to do some bad-habit kind of things on certain notes.
  • Short Shank Soloist C* - Could love it, but it's a bit stuffy. Need it more open. Overtones also an issue.
  • 'New' Soloist D - Sounds 'plastic'. Haven't shed too many overtones on it, but will a bit more tonight.

I know opening measurements will necessitate adjustment periods before being able to do the same thing I could do on smaller openings, but are there other issues that could be influencing it? I'm aware of the quality issues one can encounter with stock Meyers, new Soloists, vintage pieces, etc, are some mouthpieces, in 'good' or equitable shape to my JJ HR (where I can get through all of the overtone exercises that I'm working on), just more difficult to play the upper partials?

Depending on how my research pans out (shedding, reading responses, etc), I'm going to settle on one of these pieces, take it Eric Falcon (he's local to me), then put this search to bed.

Thoughts?
 
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#2 ·
Take the conversation to Eric, rather than making a hearsay-based decision here and saddling him with those limitations. Eric is a strong player, and has the experience of working with so many more. Tell him your challenge, show him your available options, and let him take it from there. That's why you're going to him, right?
 
#5 ·
  • Vintage Selmer Long Shank C* - Love it, but there are a few issues getting the upper overtones out during OT practice.
  • Meyer 7m - Love it, but same issue as above with upper overtones. I also feel like I have to do some bad-habit kind of things on certain notes.
  • Short Shank Soloist C* - Could love it, but it's a bit stuffy. Need it more open. Overtones also an issue.
  • 'New' Soloist D - Sounds 'plastic'. Haven't shed too many overtones on it, but will a bit more tonight.

Thoughts?
OK, here's an observation. You have the same issue with every mouthpiece. What makes you think that a mouthpiece adjustment is the answer?
 
#6 ·
I'm not sure, which is why I wrote this in my question:

I know -Edit: should say "different opening.."- opening measurements will necessitate adjustment periods before being able to do the same thing I could do on smaller openings, but are there other issues that could be influencing it? I'm aware of the quality issues one can encounter with stock Meyers, new Soloists, vintage pieces, etc, are some mouthpieces, in 'good' or equitable shape to my JJ HR (where I can get through all of the overtone exercises that I'm working on), just more difficult to play the upper partials?
If I have enough data that indicates it may not be the piece, but instead me (which was my first instinct), then no adjustment would be necessary (unless I decide to settle on the SS, then I'd need it opened). That's why I made sure to point out the fact that I can do it easily on the JJHR. I figured my question was valid since so many posts discussing mouthpieces talk about how bad and inconsistent stock Meyers, new Soloists, et al are. I've also seen people talk about vintage pieces being 'off', but not as often. Again, the more I know about it, the less probable it is that I waste EF's time, or my money.

And, now that I think about it, you've just reinforced why I made the post in the first place. :)
 
#8 ·
Thanks for your response, too..

I saw that, as well as a few other charts (I wanted to double-check against several sources - saw one from Selmer, and a few others), which made me wonder what other things about a mpc might make it less overtone friendly. Being able to hit many more on a .072 than I can on a 0.67, even after shedding the more closed piece for a while, made me wonder if the two more closed pieces (LS and SS) had issues, and the Meyer (being the more open) might just be due to my chops, or.. or..

Interestingly, the Long Shank (C*) has more resistance/is less free-blowing that the more open JJHR.

My goal is to *know* there's no need to use bad habits to get things to pop. Since I'm re-building from the ground up, I want to be able to trust my mpc at the very least, and not deviate from proper form.

I hope this makes sense, I'm multitasking at work (waiting on a compile)..
 
#11 ·
I think you need to visit with a good player to see if they get the same results with your mouthpieces. Eric can probably serve in this capacity.

It is possible all you moutjpieces have issues. But my gut says with a decent reed, the overtone series can be played on all of them without distorting your embouchure in a bad way.
Thank you for your suggestion, you're probably right.
 
#10 ·
I can still hit the whole overtone series and altissimo on my Riffault R4 (about a Selmer C) as I can on my Drake Contemporary (.085). I use #4 Fibracell reeds on the Riffault, and a BARI* Med on the Drake Contemporary. I also play on an .080 Drake Custom Ceramic roll over piece with a BARI Hard reed. Brilharts and RIAs are two pieces I have trouble with overtones on.
 
#13 ·
If you are near one of the best mouthpiece guys, and have a mouthpiece problem and need mouthpiece help, go to Eric. His prices are fair and he works fast! he could open up the jody jazz (he used to do those you know), or make those soloists sing for you.
Unfortunately, yes, it does sound like you may need to *figure out* the over tones as well. But it would be a better situation as you will know for sure the mouthpiece is not hindering you. :)
To see Eric Falcon. Problem solved. ;-)
 
#16 ·
I won't say more affect, just different affects. Some saxes certainly are easier than others, depending on key layout, neck design, bore size, and bow shape.
 
#18 ·
That makes sense. That the mouthpiece has the most affect. Some saxes, due their design, work better with some mouthpieces. A fact many people here know! But there are very good mouthpieces that still work on most saxes, maybe not at their best capacity, but can certainly still be played at a performance level.
 
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