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Review your Mouthpieces!!! (NO COMMENTS)

161K views 184 replies 128 participants last post by  DougMan 
#1 · (Edited)
Ok people!! THis is the thread for everyone to review their tenor mouthpieces.

Link to the alto thread
Link to the sop thread
LInk to the baritone thread

The rules:
No comments allowed, only reviews;
One mouthpiece per post;
Follow the outlined format.

The purpose of this thread is for everyone to see what people think of different mouthpieces. It is important not to make any comments other than reviews. Thanks.

Here is the format:

MOUTHPIECE TITLE (in capitals)

(then include a bit underneath the following headings)

First Impressions:

Reed friendliness:

Response:

Tonal/Dynamic Flexibility:

Other: (specify)

Conclusion:
 
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#27 ·
EZed OTTO LINK STM 7* (former 8* closed down)



First Impressions: Articulation was much easier than my previous STM. The tone was also darker.

Reed friendliness: Quite! The table is perfectly level and the facing is good. Even when my reeds warp they are still relatively playable.

Response: Very good. It has some resistance relative to the morgan excaliber I tried, which was a very very very freeblowing piece. Articulation is fine.

Tonal/Dynamic Flexibility: I can get a wide array of colors out of this mouthpiece, which helps alot since I'm lead tenor, I'm constantly getting solo in all kinds of styles, going from a nice pretty ballad to a funk chart. I can actually get a decent rock sax sound out of this piece! Dynamics are also great, I can play nice and soft all the way down to low Bb. This isn't the loudest piece in the world (I have a jumbo java T97 sitting here.. hehehe) but I get plenty of volume out of it for anything I've ever played at.

Other: This piece has the same opening as my last link and yet it is much easier to blow. I believe it was described to me as a 'Dark but powerful' link and I think it meets that description. For anyone wondering, it looks like EZ lowered the baffle and opened up the chamber, as well as cleaning up the facing.

Conclusion: Its a great mouthpiece! I've been playing on it for over 2 years now I believe, and I'm happy with it.
 
#28 ·
GALE HOLLYWOOD 3M (Hard Rubber)

First Impressions: I was out cruising pawnshops and found this tucked away in the pocket of a gig bag of a well-used Antigua 550. It was so faded and beat-up that I could barely make out the writing on it. Went home and did some research, and after hearing that this was a line that MC Gregory created in the late '40's, I decided I go should look again.

I came back the next day and played the horn with both my Meyer 5m and the Gale. VERY noticable difference is richness and roundness of tone, especially towards the bottom, when the notes just jumped out. I had to buy the horn (which I promptly resold) just to get the mouthpiece. With my Jupiter it is just fabulous.

Reed friendliness: I've only played it with a Fibracell medium and Rico 2's. Both sing out just fine. My teacher was shocked that a synth could sound so good on it, for what that's worth.

Response: Great in the mids and lows. A bit more vanilla as you move up.

Tonal/Dynamic Flexibility: This is where it really shines. Can go from sweet to dirty in a milli-second. Gives me great volume when I want it, but easy to play quietly or breathy if I want it.

Conclusion: I'm a relatively new player, just two years in, and started late (I'm 52.) I feel underqualified to review mpc's, but have so enjoyed playing this the last 8 month or so that wanted to post. I was just fine with my Meyer, having decided that the metals were just not right for me yet. But the difference with the Gale, and the enjoyability of playing really amazed me.

Prior to this, I could never understand why anybody would spent over $100 on a mouthpiece. Now I get it. I can't see letting go of this one even if somebody offered me $500 for it. And if I ever go mouthpiece shopping again ever, I'll start by trying some of the other vintage pieces of that era, maybe even Gregory's. They are just so sweet and and enjoyable to play.
 
#29 ·
BRANCHER T29 TENOR MPC

First Impressions: Gold plated, very well crafted piece. The tip and rails are really thin, almost like they are on handmade Guardalas. It has a very short straight baffle at the tip (like some modern Links have) which leads into the "main" long but not too high baffle ending in a medium chamber.

Reed friendliness: Mouthpiece works well with RJS reeds (I use 2M) and Brancher Jazz Select (a bit flabby). Rico Royals play nice, but sound a bit harsh on it. Vandoren V16 and ZZ are also working fine but not as good as the RJS.

Response: Surprisingly easy impressive response. I came from 6* before and I never played such an open mouthpiece before. I don't know the tip size exactly. Brancher has only one size for 8 and 8* (0.110 to 0.115). Anyway, it responds easier than other 8* pieces (MBII, RPC155B) I have played, so it may be somewhere in between.

Tonal/Dynamic Flexibility: It is medium bright with some nice edge and not thin at all (I also have a B29, which is really bright, but still not thin). I will compare the Brancher to a LT MBII that I also tried at the same time. The MBII is louder and brighter overall and slightly thicker (or more "resonant") in the low register, but then it gets more and more shrill and piercing the higher I play. The Brancher stays even and "middle of the road" from bottom to top. The mouthpiece subtones ok, but playing soft at low volumes is not as easy as i.e. with some Links. I am with the piece now for 12 months (as well as with the Tenor Sax in general) and I still don't get the soft and silky low end a Link gives. But on the other hand some Links I played were much too dark and dull for my taste. The Brancher projects very well, much better as a Link but without being too shrill or harsh.

Other: I couldn't find the 'T' model on the brancher website. The seller claimed this to be a 'LJ' model, but there's only 'T29' on the shank. Visually it looks like the 'J' model. I chose the Brancher over the MBII because its lesser and "nicer" brightness.

Conclusion: A very well crafted mouthpiece, halfway between between soft and loud, dark and bright (Link STM/Guardala).
 
#30 ·
LAWTON 9*B (vintage)


First Impressions: Over the years I have had a number of gold-plated Lawtons, and I have always regretted selling them. This is a second-hand one I picked up several years ago. It is a very well-crafted piece of work, very thin walls, with a bullet baffle. I really love the ligature - any potential gain from using another ligature is for me nullified by the shear ease-of-use and stability of this design. It is a very heavy lump of metal with a nice long shank. Great engineering.


Reed friendliness: I have not noticed any problems, using mainly LaVoz MS/M or RicoRoyals 2.5 - 3's. However this is a pretty open mpc, so i cannot tolerate a large deviation in advertised reed strength as you can sometimes do with smaller tips.

Response: You need to have good breath support for this one, but other than that response is fine. No problems at all getting around the horn.


Tonal/Dynamic Flexibility: This is where this mpc really wins out for me. Despite having a fairly high baffle I can get the full tonal spectrum that i want and more. A great fat tone that can crackle down low when necessary and really open up on top. Probably the loudest mp I have had, without being overly bright.

Other: I have had about 4 metal lawton's in the 8 - 9* range, and all seemed slightly different in design. This one seems to have a particularly long lay, which makes it very flexible, but also means that you need a certain amount of control/development on the embouchure.



Conclusion: Requires a certain amount of commitment because of the large tip opening and the long lay, but worth it without doubt. Great reed caps as well.
 
#31 ·
THEO WANNE AMBIKA 9 (metal)

First Impressions: Extremely well crafted. This piece is described by Theo as his darkest piece and while that appealed to me in terms of color, I assumed the piece would lack power. On the contrary. This piece is much more powerful than I expected. Very even from top to bottom. However, while I did like this piece from the start, it took me a while to get comfortable with the extremely large chamber and with the overall complexity of the piece.

Reed friendliness: I have only tried one type of reed with this piece: Roberto's 3.5 Hard. I never thought to try any others because this combination worked so well from the start.

Response: Free blowing, with a hint of resistance. The tip opening is somewhat large and since I play fairly hard reeds, perhaps the resistance is something one could get rid of. I dig it. The more I push this piece the more it opens up. Very easy to control in terms of articulation, but as I mentioned above, the chamber in this piece is so large that it took me some time to figure out.

Tonal/Dynamic Flexibility: Huge range. This piece is overall a very dark piece, but can also produce a fairly bright/cutting tone. What I find most interesting is that the piece cuts without much edge to the sound. It is simply that powerful! It's like a Link Tone Master with seemingly unlimited projection (however, I should mention that none of the Tone Masters I have played had as large a tip opening).

Conclusion: Extremely flexible, but certainly leaning toward the dark end of the spectrum. I play 90% straight ahead gigs and this piece is simply amazing in that context. Plenty of volume, but probably not enough edge for funk, r&b, etc...
 
#32 ·
JODY JAZZ DVNY 8* (.115)

First Impressions: Looks nice, JJ does a good job visually selling the piece with unique packaging and a good lookin piece. Probably too expensive new...I wouldn't pay more than $300 for one of these. It blows much like my old Link STM NY, well suited for a big-band-jazz type of sound. It was very comfortable to play on, coming from the Link.

Reed friendliness: I've tried RJS 3S and 2H reeds, as well as Java 3's. All of them worked fairly well, but the RJS reeds seemed to open up the sound a bit more, which I liked.

Response: 8 out of 10. I've been playing this piece for about a month, and I suspect this will get better in the next few months as I really get used to it.

Tonal/Dynamic Flexibility: Gets a little brighter as you push it, and stays mellow in the soft range. Like I said, it's mostly for a classic jazz sort of sound, not really rock/funk, so I wouldn't use it for that stuff.

Conclusion: A worthy jazz piece that seems to have the basics of a solid tenor sound without too many surprises. Recommended for those that don't want to go for the all-out Gerald-Albright type sound (on tenor of course).
 
#33 ·
MORGAN EXCALIBER 9E (tenor)

First Impressions: Its LOUD. I heard 2 descriptions in reading about this piece prior to purchase; one was "Its the only piece that makes me feel like I'm playin a metal piece" or words to that effect. I coulldn't agree more. My MBII got nuttin on this piece for volume.

Reed friendliness: I only played it w/ V16's so far. I've ordered ZZ's cuz I heard they might be a bit brighter/edgier. Not here yet.

Response: Like an exposed nerve ending. Instantaneous all over the horn. Excellent.

Tonal/Dynamic Flexibility: VERY wide dynamic range.. I can subtone at pp or take in a bit more tip & peel paint. Tonally I have this thing thats "me"...I don't like it much. I can't really explain it except to say I can sound kinda tubby w/ the wrong piece. I kinda get passed it w/ baffled pieces. This presents a problem balancing the "thinness" I get from baffles while trying to get "some" roundness in the tone w/ out gettin "tubby". This piece, w/ the right reed, and an unnaturally focused airstream (with, believe it or not, my tongue kinda high in my mouth...weird..) is the closest to a compromise yet...but I also get mostly there on the MBII...that compromise its the least thin of the baffled pieces, so... : shrug :

Other: (specify) The other description I read that's spot on is "I can hear myself better w/ this piece. BOY is that true. The guitar player w/ whom I play says its more complex & has TONS of overtones compared to my MBII. I agree. I've recorded myself (the only way I can really tell...cuz what hits my ears when I'm playin is BIG LIE ;) ) and like much of what I hear....that "tubby" thing is juuuuusssst below the surface an rears its ugly head a bit though...

Conclusion: I'm likin it & am gonna spend a few months w/ it doin long tones & see if I can put the tubby thing to bed.
 
#34 ·
BRANCHER L29 EBONY

First Impressions: This is a beautiful wooden mouthpiece with a more-than-average tip opening; it generally sounds solid and grand, warm and round, but it's also possible to go for the edge.

Reed friendliness: I've played Rico Jazz Select Filed and Unfiled (2M, 2H), Rico Royal (2.5), Alexander Superial D.C. (2.5), Vandoren V16 (2.5), Rico Plasticover (2.5), Fiberreed (2.5) and Fibracell (Medium Soft - probably 2 or 2.5) reeds on this - the Rico Jazz Select Unfiled sounds nice and clean (good for blending in), but a bit thinner, a little muffled and less flexible than the Alexander Superial D.C. - my favourite: You can make it sing softly or blast like hell (and everything in between). I can also recommend the Fibracell on this mouthpiece; it's a bit odd - using fiberglass on wood - but you get very good response with it, and the sound's strong, if a bit aggressive.

Response: With wooden reeds, the mouthpiece took a little getting used to; response is quick, but only if embouchure's really good (this may be caused partly by the pretty wide tip opening). You need a little more control than with most other mouthpieces I've played (Selmer Soloist, Otto Link STM, Berg Larsen Bullet and Gold, Dukoff Alu), but it's worth the extra effort. You can even scare the slower kind of brass section with this!

Tonal/Dynamic Flexibility: Extreme! You can whisper breathily or produce a clear, strong tone that's almost brass-like (somewhat like a trombone) - but the latter needs a lot of pressure and control. The average sound (the one that's easiest to produce) is a little "woody": nice presence, complex sound, but surely not too bright - and you can play softly as well as pretty loudly that way. I'm told that people like to listen to that sound for a longer period of time than usual.

Other: The ligature that comes with the mouthpiece is very good - it's a simple design but very well thought out; no need to look for a suitable ligature elsewhere!

Conclusion: This is an outstanding mouthpiece for the price you pay - it's a lot more flexible than most others I've played, yet not a lot more difficult to handle. I mostly play everything from smooth bigband jazz to straight rock'n'roll with it (my specific setup wouldn't work too well for classical music) - but the tonal qualities allow for all kinds of music. You only have to count in the occasional surprise if you're not paying attention...

M.
 
#35 ·
RPC 115B (blue RPC lettering on mpc)

Ligature: conventional two screw metal lig

Horn: King Super 20, 385xxx

First Impressions: I first bought this mpc 2 years ago and played it for a year and a half, but do not play it anymore. My first impressions at the time were: 1. That's a HUGE baffle and 2. This mpc has a HUGE dynamic range and is very responsive.

Lasting Impressions: This is the best high baffle mpc I have ever owned. 115 may seem open but it really is not because of the very high baffle. My 125 RPC did not feel open either. The measurement is only a rough approximation.

Reed friendliness: Twombles62 was right. There is basically only one hardness of reed that plays well on this mpc, otherwise you either have a dull sound with no overtones (soft reed) or the mouthpiece is a bitch to play (hard reed). Ron Coelho (the maker of RPC mpcs) recommends Rico Jazz Select reeds. I've tried Vandoren ZZ's, V16's and a few others and I have to agree with his selection. He recommends RJS 2M or 2H reeds (which I find ridiculous) but I use a 3S fresh out of the box or a 3M if I break the reed in for a couple hours.

Response: This mpc is so responsive that it is almost too responsive. You have to be very careful when blowing through the break between subtone and full sound. Also, the slightest embouchure movements are amplified in your sound because of the high baffle. It takes getting used to but becomes intuitive. Altissimo is easy on this mpc and doesn't require nearly as much air pressure as my Link STM. (The Link still sounds better though.)

Tonal/Dynamic Flexibility: As with any high baffle piece (compared to conventional Link-esque designs), there is relatively limited flexibility in terms of changing the tonal qualities of your sound. Not in terms of basic phrasing, but changing your sound to emulate a certain player you're transcribing, for example. However, this is NOT NECESSARILY A BAD THING for many players. On the plus side, you get a massive dynamic range with tons of power, and altissimo is somewhat easier than with a lower baffle mpc. And it must also be said that of all the high baffle mpcs I've tried, this RPC gives you the most freedom to alter your sound. Obviously still not in the same league as a Link or similar mpc, though. As far as high baffle mpcs go, this mpc was fairly dark. However, Ron can tailor your mouthpiece to your preferences if you order from him.

IMPORTANT other information:

-Do NOT leave this mpc (or any hard rubber mpc) in your car on a summer day. Mine was ruined when this happened because the table/facing went to hell.
-These mouthpieces are HANDMADE and there is definitely varying quality to them. The replacement I got from Ron was not nearly as good as the original piece. So if you are interested in buying one I recommend calling Ron up and having one made for you so that he can make it to your preferences.

Conclusion: This is one of the best high baffle pieces ever made, perhaps THE best. At $285 for a custom-made piece from Ron, ebay probably isn't worth it because he has a money-back guarantee if you are dissatisfied.
 
#36 ·
RPC 125 (red lettering on mpc)

Ligature: conventional two screw metal lig

Horn: King Super 20, 385xxx

First Impressions: I got this mpc after my 115 so my first impressions were fairly similar. This mouthpiece is much shorter, however. The 115 was significantly longer overall, and larger in almost every dimension except the tip opening.

Reed friendliness: I played Rico 2H reeds on it and nothing else really worked. Again, RPC's aren't very flexible with playing different reed hardnesses.

Response: Same as in 115B review applies here. The mouthpieces are fairly similar in this regard. Altissimo was still a breeze.

Tonal/Dynamic Flexibility: I found the tone even less flexible on this mpc than on my 115B RPC, in terms of changing it to emulate different players/get different sounds. But that didn't stop me from playing this mpc for ~6 months and recording my college audition CD on it. This mouthpiece was quieter than the 115 and had fewer overtones in the sound (ie, the sound was duller), which are the main reasons I liked the 115 better.

Other: same info applies here as with the 115, but Ron does not make these anymore and is no longer taking orders for them so these are now secondhand only.

Conclusion: Another great RPC mpc but I recommend buying the new 115 instead. This one was from Ebay and is one of his older models, which are not made anymore.
 
#37 ·
TENNEY OTTO LINK SUPER TONE MASTER 8 NY

("Tenney" is engraved on the mpc in addition to the usual modern Otto Link USA markings)

Ligature: I play the 3-band, 2 screw metal Selmer 404 lig on this mpc. Roughly $36 new.

Horn: King Super 20, 385xxx

First Impressions: WOW. For the first few weeks as I became accustomed to this mpc, I only became more and more impressed with what it could do and haven't touched any other mpc ever since. I have now been playing it for 6 weeks and still feel like there is more potential to fulfill, more places to go with my sound.

Reed friendliness: I was surprised by what I could get away with playing on this thing after switching from my high baffle mpcs. Everything from a Rico Jazz Select 2H to 3H, 3 and 3.5 ZZ or V16, medium LaVoz, Superial...you name it. My reed of choice is an unfiled RJS 3H. Perhaps a little hard with this tip opening for some players but the power, altissimo, and overall sound I'm getting is ideal for me with this setup.

Response: What can I say, it's a good Link. Unlike the over-responsiveness I was getting from my RPC's and Berg, this mpc responds to my airstream and embouchure inputs more naturally. This is no doubt because it's a round-chambered piece with no baffle to amplify the slightest inputs from the player. Altissimo takes a lot of air support though, which means you actually have to know how to play it. The altissimo I'm getting out of this mpc is lush and full at any volume.

Tonal/Dynamic Flexibility: Simply amazing. There's a reason Links like this are the longstanding benchmark for jazz tenor mpcs. If there's anything I can't do with my sound on this mpc, it's only because I haven't tried or haven't reached the ability level yet where it's possible. Imitating other players is much easier on this mpc than with my high baffle mpcs. Interestingly, this mpc is as loud as everything I've tried except a Dukoff.

Other: I bought this mouthpiece for $200 "buy it now" price on ebay. It was worth every penny and I see no reason to pay $800+ for a FL STM when Doc Tenney hand-selected this mpc out of many factory Links and then tweaked to play like one of the old ones.

Conclusion: With this mpc I can contentedly "play the Link I have," and cease my exploration of other mpcs. I probably won't keep true to that word, but now I have a new benchmark that probably won't be exceeded by another mouthpiece. Perhaps met, but not exceeded...
 
#38 ·
MOUTHPIECE CAFE ESPRESSO 7* (Hard Rubber)

First Impressions: Great response, fat thick low end, great powerful and full high end, easy altissimo

Reed friendliness: Works wonders with Alexander reeds haven't tried any other but Alexander

Response:good response easy articulation, air moves fast through the piece

Tonal/Dynamic Flexibility: great traditional jazz sound. Dark has some edge very full sound. great sub-tones. overall very rich sounding, dark, and fat sound with great projection

Other: has a good feel imagine a mix between a good Slant Sig, and a Selmer short shank

Conclusion: great piece definitely worth the $275 bucks i paid for it. not gonna have a GAS attack for a while. if anyone likes the big dark jazz sound this is the piece.
 
#39 ·
PONZOL SS M2 .110

First Impressions: Much darker than I expected. Very flexible though with the ability to sound dark/hollow and bright/centered.

Reed friendliness: Tried my typical set up of sanded Bari Star mediums. Also tried out Vandoren V16s with good results. Placement does have an effect on the amount of buzz to the tone.

Response: Recently tried out a Theo Wanne Durga. In comparison it is a little more resistant but still very responsive. Put more mpc in the mouth and it rewards the player with quicker response and more buzz.

Tonal/Dynamic Flexibility: This is one of the most flexible mpcs I have tried in years. Just like the initial impression the dark/hollow sound can be achieved with ease. Pushing more air results in more buzz, more center, and a brighter tone. My Guardala Studio has more buzz but lacks the great darkness that can be pulled out of the Ponzol. Compared to the Durga, the Ponzol can get that rock/funk over-blown sound.

Conclusion: I've played on a Ponzol M2 for years but switched to the Guardala. Looks like I'm back to the Ponzol because the flexibiliy and mid range power. Overall this mpc is a keeper!!
 
#40 ·
Jody Jazz DV 7* Tenor Sax Mouthpiece

The JJ DV as it seems to be a mouthpiece everyone is talking about...

My first impression of this piece was that I was impressed. The quality of material and the finish are very, very good. Appearance and feel scream "professional grade", and it is very attractive. Standard Rovner ligature (I think it is the "dark" model) supplied is better than what is supplied with a lot of high-priced mouthpieces (no ligature!) but not my favorite.

The piece has EDGE. I mean, oodles of it. It literally transformed my sound into that pop / contemporary / smooth jazz sound that many people enjoy.

I found this mouthpiece a little hard to control at first, and it did not play with spot-on intonation until I switched ligatures. (I am using an Eddie Daniels Mark II ALTO ligature on it, designed for an Alto Otto Link metal mouthpiece. The size code is 3MLA EDII, and it is still available, but has been re-branded as the "Versa" instead of the Eddie Daniels) With the new lig, intonation is nearly perfect.

For reeds, I had to make a switch. My regular Rico Select Jazz (filed) 3M's did not sound all that nice on it. I moved to Vandoren V16's and ZZ's in 3.5, and then 4. I have never played on a 4 before, and I did not think it would be easy to play, but I find that the more wood I put on this mouthpiece, the better.

Upper register is amazing with this mouthpiece.

It tends to thin out as I play quieter, for me, and I would not consider the sound to be "rich" or "lush" in the low end. If I wanted to play a lot of puffy, smokey low licks, I would use hard rubber instead.

I find that I have to watch my breath control as I finish off a note, because without a lot of air support, the tones seem to end a little on the hollow side.

Overall, I can't believe I am saying this, but the mouthpiece is worth the investment, if you are after a nice warm but edgy contemporary tone. I believe that most players will need to work this mouthpiece a few times before they feel at home on it, but as you adjust a bit to it, it really performs.

Cheers!
 
#41 ·
Re: Jody Jazz DV 7* Tenor Sax Mouthpiece

Here are the rules for those who have forgotten.

The rules:
No comments allowed, only reviews;
One mouthpiece per post;
Follow the outlined format.

The purpose of this thread is for everyone to see what people think of different mouthpieces. It is important not to make any comments other than reviews. Thanks.

Here is the format: (it helps to bold the headings)

MOUTHPIECE TITLE (in capitals)

(then include a bit underneath the following headings)

First Impressions:

Reed friendliness:

Response:

Tonal/Dynamic Flexibility:

Other: (specify)

Conclusion:

Please follow them.
 
#42 ·
STM 8 "EZ"


First Impressions: Did not look as "pretty" as my metal V16. I could see where areas were shaved/altered, etc... So my first impression was..."hmmmmmmm"

Reed friendliness: Just fine. Even the undesirable reeds are at least playable.

Response: A much faster attack than my ponzol M1 and metaal V16. This STM does not have an added baffle.

Tonal/Dynamic Flexibility: It's bright but thick...not brittle like it used to be before Ed worked on it. It has the flexibility and brightness range of my V16 but with a much more complex sound. Excellent volume when needed.

Conclusion: It's still my main piece. I think it's been 2 or 3 years on it.
 
#43 ·
STRATHON 7* EZ PERFECTED

FIRST IMPRESSION: have had it less than 24 hours, and it was a grand first date last evening. Have played STRATHON 6 for 30+ years, but this vintage 7* was more full/less edge, and more even throughout the range. Of course, the trick to STRATHON is adjustable baffle makes it 4 mouthpieces in one.

REEDS: I have always had trouble with cane on a STRATHON. BARI synthetic is best for playability but comes with a definite compromise if reedy sound. Of late, FIBRACELL is my choice.

RESPONSE: great, it maintains full round sound with ease in altissimo. Sub can be rough with baffle way up, but shift down a few gears and its velvety smooth.

TONAL/DYNAMIC FLEX: the baffle thing gives you (some call it cheating) everything from LENNY P to Prez. I cannot imagine greater range because the piece actually offers you flexibility, whereas with regular pieces it's the player who does all the work.

Other: We're all familiar with TOM SCOTT and RICHARD ELLIOTT as the "names" associated with this piece, and with baffle up high this piece screams, a real paint peeler. What more guys have not figured out is that with baffle down 1, 2 or 3 notches it becomes a great all-around piece.

CONCLUSION: call me a cheater for taking advantage of technology, but don't knock it until you've tried it.
 
#44 ·
RPC .115B

FIRST IMPRESSION: Love having an effortless low end that booms but purrs at the same time.

REEDS: Rico Jazz Select 3S or Alexander DC 3

RESPONSE: quick, doesn’t get in my way.

TONAL/DYNAMIC FLEX: I find it very flexible to play. It can be bright, but it doesn’t have to be bright. One of the more flexible pieces I’ve played.

OTHER: as echoed elsewhere here, it is VERY funny about reeds. A RJS 2H or 3S and it’s happy. Almost ANYTHING else and it plays very dull and dead. Strange!

CONCLUSION: Keeper. This is the first piece I’ve played in a long time that I WANTED to grow into, that I wanted to keep playing. It actually reminded me of my first Barone Hollywood from 1998, how every time I picked it up, it played a little better, or a little darker, or a little brighter…it just kept surprising me.
 
#45 ·
Lamberson SB 8

First Impressions:
Just the right amount of edge for electrified surroundings. Blends well in a horn section.

Reed friendliness:
Never had a lamberson that wasnt reed friendly. Lig needs to be quite far down the reed for best response. I use RJS 2M or H.

Response:
Nice fast response. I can articulate faster on this than my other pieces.

Tonal/Dynamic Flexibility:
Can go from subtone to raucous in an instant. Got the characteristic lamberson buzz but not in a distracting way.

Other
I use a FL lig. Sizing is a bit tricky. I think I ended up with a large alto lig on it. Still a bit tight, sounds good though.

Conclusion:
Got this after listening to a recording with a pop/rock covers band and realised I needed more edge to my sound in this context. Im not comfortable with very high baffle pieces - they sound too thin for my liking, this is a good compromise IMO and is capable of some nice subtone sound too. Much more versatile than I originally expected, in fact Ive used it on jazz gigs.
 
#46 ·
Vandoren V16 Metal Tenor (T55) and Optimum Ligature

First impression

This mouthpiece seemed a little light-weight compared with other metal mouthpieces. The finish on the inside was somewhat irregular, as far as the plating goes. The matching Optimum ligature I bought specifically for this mouthpiece fits perfectly, like a glove. Attractive design.

Response

Very easy, quick response. Very little air is needed to produce a decent tone. I have to keep my embouchure fairly loose on this mouthpiece to avoid pinching the tone too much, or squaking a little when making large jumps.

Reed-friendliness

I wanted to try the new Java Red Filed Cut reeds from Vandoren, and the chart on their website suggests a 2 or a 2.5 for use on this mouthpiece. I tried them, and sure enough, the sound is nice and warm. This setup can be a little thin when you're going upstairs, so I would suggest a harder reed if you like playing a lot of altissimo. I think this thing would play well with a large variety of reeds.

Other

I compared this mouthpiece with my Jody Jazz DV, and if I could only keep one, I would go with the JJ. However, price point can never be totally ignored, and this mouthpiece sells for half the price of the DV. (Though there was no ligature supplied with it.)

Conclusion

I think this is a great mouthpiece for the money, and is a nice versatile piece of equipment for a variety of styles.

Other Other


I find all these "rules" and the demand that nobody makes any comments a little stifling. :cool:
 
#48 ·
[SELMER SOLOIST C* on table EZ perfected and opened up to a .104]

First Impression:
It took a bit of getting used to the piece because I was used to playing Link style pieces, at first it did seem a bit on the soft side.

reedfriendliness :
Quite reed friendly, I use rico royal 3 on it most of the time. I feel I get more reeds to play on this one then on most other pieces.

Response: This is one of the strong points of this piece, the response is immediate, I never owned a piece in over 20 years of playing that was this fast and accurate.

Tonal/ dynamic flexabillity:
the dynamic flexabillity is great, it doesn't lose it's core when I play soft and gets edgier when I push it. There IS however a limit, it won't get any louder beyond a certain point. But it's loud enough to play acoustically in a small jazz club. It obviously is not a screamer or paint peeler, but I have no trouble getting my sound across in a big band.
The tonal flexabillity is quite great but it will not let you do anything, it can not give me the "dexter" or "trane" sound, it stays a bit on the darker side,
It blends perfectly with other horns.

I've played this piece professionally ever since I' ve got it in may 2009.
I use it on a 86xxx mark VI Selmer tenor, I think this piece was made for this horn, perfect match.
For me it's the best piece to play in a big band since it blends so well and the solo's are miked most of the time.
I might choose another piece maybe ( or maybe not) in a combo setting or when playing more fusion/ pop style music. For mainstream Jazz or (post) bop
the piece is great.

Other: technically this is the best piece I have ever played, the only trouble I have sometimes is that the extreme low notes are a bit more difficult. but the rest is better then anything, I can play wider intervals with more ease then I ever did on a Link.
The only thing I wish for more sometimes when playing without a microphone is that little extra brightness/edge.

Conclusion: In a big band or ensemble where I have to blend there's no better piece for me then this one. When I play in in a combo where I am the only soloist and need to play without a microphone I look for another piece with depth but also a bit more brightness ( a la Dexter ).
Can't imagine ever selling this one.
 
#50 ·
MOUTHPIECE TITLE Lost Wax Florida STM
Refaced by Sakshama. #8 tip

First Impressions:
Warm, edgy, nice tone thru the entire horn range.

Reed friendliness:
Dunno....I only have Vandoren ZZ. Works great w/ them.

Response:
Quick & loud.

Tonal/Dynamic Flexibility:
taking less into my mouth darkens & softens the tone....a bit more and it's screaming pretty good.
Its a perfect bisection of brightness and volume right between my dark Tenney STM and my Brecker II.
Other: (specify)
Shank is a bit closed. I can BARELY get it onto my neck far enough to be in tune. Sakshama says to wrap a dowel w. sandpaper, put it on a drill & sand the inside till its right.

Conclusion:Sakshama did a FANTASTIC job on the reface of this piece. Its free blowin and very stable. He's sellin em at a bargain price for what you're gettin.
 
#51 ·
Jody Jazz DV 7*

First Impressions: Very well crafted, extremely free blowing, bright, edgy, and just fun to play.

Reed friendliness:Rico Jazz Select 3s and occasionally V16's 2 1/2's if i need a little more volume. (i.e. ska band) For me, this piece is very reed picky. I can go through 2 boxes of reeds and not find one that i like.

Response:The response is incredible, quick, and fluent, this piece will follow you wherever you decide to go.

Tonal/Dynamic Flexibility:
you pretty much get bright, brighter, and brightest. you can kinda darken it up with a rovner... maybe. lol
the dynamic range is incredible. i could blow someones ears out and tear their heart out with some beautiful quiet subtone. =]

Conclusion:This piece is very expensive, but i think its worth it. its crafted extremely well and has everything a modern day sax player wants. free blowing, quick, responsive, bright, screamer or softy, and its just fun to play.
 
#52 ·
DUKOFF D6 - Made from Silverite (whatever that is)

First Impressions:


Has a built in sound that I like, though it doesn't seem to be to everyone's tastes - this particular one's kind of 'Brecker-ish'. Really bright and loud - kind of wild and hard to control initially.

Reed friendliness:

Not very friendly. I've narrowed my reed choices down to picking between Vandoren V16s and La Voz Medium/Medium Hard, and I think the La Voz reeds are winning. I might only get 3 or 4 reeds out of a box of 10 that work for me...5 if I'm lucky. Otherwise, it goes to squeak haven. Also, the reeds seem to die out quite a bit faster than before - I'm talking maybe after 2-3 days, it starts to soften up and squeak. Might just be my particular mouthpiece, but you never know.

Response:

Very fast response. Being used to a C* on alto with my set up, I was totally surprised to find how quickly it responded on tenor. Very intuitive, fast response from the mouthpiece.

Tonal/Dynamic Flexibility:

The tonal flexibility is both limited and expanded with this mouthpiece: on one hand, you have the fact that it has the built in Dukoff sound, but on the other hand, this mouthpiece is really colorful, tonal wise. After a bit of work with it, I find that one has the ability to play bright, dark, subtone, or any style of music generally...just it takes time and practice to control it. Very even, colorful sound across the range. Dynamically, it's one of the loudest mouthpieces I've ever played, but it also has the ability to go to a whisper. Again, it's all about control.

Other:

The Dukoff seems to be made out of really soft material...it scratches and chips extremely easily. Be careful when putting the lig onto the mouthpiece and make sure it doesn't touch the tip at all. I think I already have a couple scratches on the tip, which may or may not be affecting the response and squeaks.

Conclusion:

A good piece for a player who has an established embouchure and good breath support - otherwise, this piece will drive them crazy. Definitely look into it if you're a fan of rock and roll saxophone, or the bright 'contemporary' sound pioneered by Brecker, Mintzer, and Berg. While it's great for those reasons, I use it for my bebop playing as well - overall quite a versatile mouthpiece, though it requires lots of long tone work if you're unused to the response.
 
#53 ·
my turn

C* Selmer S80 with chiped rails :D

I didn't think that it would play very well because of the chips (theres a lot of them), but it actually plays much better tonally then my other two C*'s!

Reed friendlyness: it perfers harder reeds, i play a vandoren 3.5 on it.

Response: good until low b and bb.

tonal/dynamic stuff: really good, dark tone, much better then the other two that i have, dynamics are amazing.

conclution: i love this mouthpeice! im going to play it until i just trash it! it led me to my victory as 1st band 2nd chair alto sax this year at all region, i beat all the 9th graders (im in 8th) aside from one, who beat me by 17 points. i will never get rid of this mouthpeice!
 
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