Sax on the Web Forum banner

Benjamin Allen Tenor Mouthpiece is As Good AS IT Gets

52K views 211 replies 38 participants last post by  jazzznbluezzz 
#1 ·
Just wanted to leave a rave for my Benjamin Allen Hard Rubber Tenor piece. I bought the Tony Dargotti Model about two months ago and have had a great email and phone relationship with Ben since that time. The cost was just over 200 dollars and the mouthpiece is one of the best HR mouthpieces I have ever played. The work is flawless and the piece has a deep quality that I have only found from great vintage pieces. It is a traditional Link looking piece but it plays clearer and cleaner than any link HR piece I have. And it is really full sounding and can take a ton of air. I would say that it is they type piece that many professional players are looking for. Ben refaced some pieces for me and did a great job on them, but his own piece is a work of art. I have turned a few friends on to his work and they all seem to be very impressed with everything about the experience of the piece and Ben's work and communication. I think he is really on to something. He is an articulate and honest dude who seems to be mostly motivated by creating something unusually good and beautiful. I have mixed feelings about outing his great work since it might make for a wait for the next piece I order from him, but I also feel the need to sing his praises. Check out his web site. His piece is not a "chops in the box" wedge piece, but he is an artist on a high level creating the kind of work that will be in demand for a long time.
 
#112 ·
who has experience with ben's mpc's compared to phil's sapphire? these 2 are on top of my list to try. i recently joined a jazz quintet that has gigs in smaller, more intimate venues and i want something "quieter" than my rpc 115b. also, my axe is a Kielwerth tenor which is kind of big bore and loudish anyway. thanks.
 
#117 ·
I received my Tony Dagradi model almost a month ago. A string of alto gigs and a bout with the flu kept me from spending the time with it I would have liked. I'm still sorting out reeds, but RJS, V16, and Rigotti all work well with RJS beig my favorite.

Short story:
I agree with what everyone alse has had to say about this piece.
The mouthpiece is absolutley fantastic.
Ben Allen is great to work with.

Long story:
These pieces caught my attention last summer, but I am very good about not jumping on the new mouthpiece bandwagon. I was drawn to them mostly because of the Doc Tenney/Ralph Morgan/Tony Dargradi connections. I have long been a fan of Tony's playing, and both Ralph and Doc have had profound influences on my concepts of tone production and mouthpiece choices. I was still able to resist the bandwagon. Then another SOTW member took the time to suggest I try them, and boy am I glad I did!

So here are some random observations:

It is not "chops in a box", meaning it won't give you what you don't have. But if you have some chops, you can get a lot out of this piece.

It is exceptionally well made. The hand finishing is fantastic. I won't begin to describe the internal geometry, as it is complex and subtle.

No matter what sound you get from it, or what volume you play, there is always a strong, centered core with focus, body, and wonderful presence.

It is not a Link. It can be Link-like if you want it to be. The default setting is a little brighter than a Link with more focus. But the focus never produces a thin laser-like or small sound. It can get a BIG sound, all while maintaining a wonderful center, focus, body, core, and presence.

It plays with warm, rich, and vived colors, and always with a full sound.

Response and intonation are excellent and even throughout the range of the horn.

It almost reminds me of the old Hite pro level mouthpieces made before David Hite's passing, and especially the ads for those that used to say "blend with a section or stand up and be heard". This piece is better than the old Hite pieces though.

I highly recommend these pieces!
 
#118 ·
As I said, it is not really a Link. It is, however, and original and exceptional mouthpiece that provides an alternative to the Link thing while still adhering to the principals and elements that make up a great tenor saxophone sound (and also provide the flexibility for player input to steer the piece to where they want to go). That's the highest endorsement I can give any mouthpiece!
 
#124 ·
Thanks Steve for the nice reviews. Both Dagradi models sound great. The more spread version
a little softer on the edges indeed. I agree on the regular version being on the brighter side.
That said I think the Rigotti Gold reeds are a brighter sounding reed to start with. But they do
work great on the Dagradi model. On a darker sounding Conn like mine it is a great match.
Lately I have been trying out some Lavoz Medium Hard reeds on it that seem to work nice too.
 
#125 ·
Quite a number of reeds that I have worked well for me on Ben's mpcs (10E,20TD)...especially V16 3, RJS 3m.
RR, Rigotti, LaVoz MH too
 
#126 ·
Another review from a happy customer. I got my 20TD and the 10E before Christmas, but I decided not to pass judgement before I spend some quality time with the pieces. It’s been over two months now and during that time I have played the 20TD model almost exclusively on rehearsals, gigs and in the studio, and it worked great in every setting.

What I like about the 20TD is the richness of tone it delivers at all volumes, good focus, a little crispiness, immediate response, versatility and overall ease of play. It tunes great, sounds great, and plays great. The 10E, in comparison, is less focused and a little darker, the core is still there, but less defined than in the case of the 20TD. To my ears it also sounds a little more ‘airy’ and more link-like than the 20TD which is round, very, very full and can either cut or have a velvety/silky quality.

I play my 20TD (which is .102) on a Mark VII and I use (surprise, surprise) Vandoren Blue Box 3 reeds. I took me quite a while to figure out my favourite reed on this mpc and I find the classical vandoren to be the perfect match for my taste – full, round, even, clear, doesn’t get too edgy (my horn is quite bright) and works well both in acoustic jazz and rockandroll setting. Another thing I like about the 20TD is how reed-friendly it is. RJS, LaVoz, Hemkes, Rigottis, Javas, Reserves, V12s or orange box Ricos all work on this mpc, each delivering slightly different nuances in sound, but they all play good.

I can wholeheartedly recommend Ben’s work. The pieces are beautifully finished and play superb for a very reasonable price. Also, Ben is a very kind human being and knowlegeable guy who truly cares about the player.
 
#127 ·
Another review from a happy customer. I got my 20TD and the 10E before Christmas, but I decided not to pass judgement before I spend some quality time with the pieces. It's been over two months now and during that time I have played the 20TD model almost exclusively on rehearsals, gigs and in the studio, and it worked great in every setting.

What I like about the 20TD is the richness of tone it delivers at all volumes, good focus, a little crispiness, immediate response, versatility and overall ease of play. It tunes great, sounds great, and plays great. The 10E, in comparison, is less focused and a little darker, the core is still there, but less defined than in the case of the 20TD. To my ears it also sounds a little more 'airy' and more link-like than the 20TD which is round, very, very full and can either cut or have a velvety/silky quality.

I play my 20TD (which is .102) on a Mark VII and I use (surprise, surprise) Vandoren Blue Box 3 reeds. I took me quite a while to figure out my favourite reed on this mpc and I find the classical vandoren to be the perfect match for my taste - full, round, even, clear, doesn't get too edgy (my horn is quite bright) and works well both in acoustic jazz and rockandroll setting. Another thing I like about the 20TD is how reed-friendly it is. RJS, LaVoz, Hemkes, Rigottis, Javas, Reserves, V12s or orange box Ricos all work on this mpc, each delivering slightly different nuances in sound, but they all play good.

I can wholeheartedly recommend Ben's work. The pieces are beautifully finished and play superb for a very reasonable price. Also, Ben is a very kind human being and knowlegeable guy who truly cares about the player.
Awesome review. Thanks!
 
#128 ·
Thanks for the very nice review Eddie.
Everything you say about the Dagradi (and Ben) I agree with.
The 20TD is my main mouthpiece on the 10M. I am still
trying and comparing different reeds on it whenever I get the chance. My favorits
now are the Regal Queen 3 and the Lavoz medium hard (after Saxphil pointed this out in his post.
This is the first mouthpiece on which I really like the Lavoz mh, even more body to the tone).
I did try a blue box and the green box Java Vandoren 2,5. I would also like to
try the blue box 3 in the near future and see how it works for me.
 
#129 ·
Picked up a 20TD a few months ago...wanted a little time before I posted a review. Been playing a Philtone Mosaic, which I still really like, I was very pleasantly surprised with the 20TD. Ben made a slightly larger tip for me, and it's very easy to play. Lots of different tones, depending on which reed. Really liked the LaVoz MS, and the Rigotti Gold also sounds really good. Zondas really brightened the tone, a little mellower with the LaVoz. The piece is really well made, balanced from top to bottom. I'm still going back and forth between it and the Mosaic, really like em both...highly recommend it....
 
#130 ·
The 20TD is the only mouthpiece I have touched for the last three months. I have used it in big band settings, combo gigs, and recently a benefit concert that went from Dixieland to R & B tunes. The 20TD is fantastic in all settings. I have been using Rigotti Gold reeds lately. This is my first experience with these reeds, and I really like them, but it is still hard to beat a good, well broken-in, balanced RJS. Red Javas were a pleasant surprise at first, but Vandorens have fallen out of favor with me on this piece since my previous post.

What have you guys been using for a lig? I know what Ben likes and recommends, and I agree with him. But the screws are stripped on my Selmer 2-screw brass lig, so I can't use it. I have used an Ishimori inverted brass lig and really liked it, but it belongs to a buddy and I need to return it.

I have also noticed that because the tip rail is so thin, reed placement in crucial. This is not a criticism - I just have to pay more attention when I put a reed on.

Bottom line is that I truly love this piece.
 
#131 ·
I've been using a $.10 1/4 in cable tie, which is what I use on all my pieces...tried a couple of Rovners, like the cable tie much better....after a little more time playing it I went back to the Zondas....
 
#133 ·
Carr, I enjoy the FL pure brass lig. I used a rovner light and a vandoren m/o as well, but I like the FL the most of those three. The rovner dampened the sound a little and the m/o had a little too much sizzle in the upper end. The FL and m/o are of very delicate construction though, and if it happens that one of them falls on the ground for some reason, then its all crooked.
 
#141 ·
Well, a cable tie is not exactly the easiest ligature to set-up. It can work well if you use 2 cable ties at once, but the key is not to tighten up the ties too much, so that you're able to slide them off and on again. The one in the back of the piece has to be a littler looser to be able to slide further towards the shank and the other is a little tighter as it stays somewhere in the middle of the mpc. You can cut off the redundant part of the cable. That's how I used it...
 
#143 ·
OK thanks! I am going to try this for sure.

I have a drawer full of all kinds of old ligatures and it
is great fun to find that most of them affect the sound in a different way.
Like I mentioned in an earlier post I have used rubber sewer rings on a steel Berg
with great results. However a pain to set up and at the risk to ruin a reed when you
loose grip while sliding them on. Maybe the cable tie or the rubber band is
a better solution.
 
#144 ·
I had an hour to kill so I hurried to the garage to find some left over cable ties
and put them on the Dagradi like you described. Works like a charm and the sound difference is incredible indeed.
Unfortunatly I only had the ugly white ones lying around. I'll have to get a box of black ones soon.
Then I remembered I still had this brass ring ligature stashed away somewhere back in the well known drawer.
I won it on Ebay several years ago and worked nice on an old hr Brilhart I played back then.
It works and sounds even better on the Dagradi. I even dare to declare: awesome. A tad more brightness and
even more lively than with the cable tie construction. If you happen to run into one of these try them. You will be suprised.
I guess it works kinda like a Magnitone lig however this one is made of thicker heavy brass and has a nice resonating quality.
It just slides on till it fits snug. The ring only touches the reed on the two edges. This one is going to stay on the Dagradi.

 
#146 ·
just wanted to chime in here. I got a 10E Benjamin Allen piece in a 10* (.135") and I am totally loving this piece. Not only was it completely affordable, it has an extremely unique and beautiful sound. Really fat, spread, dark, but with enough highs to focus it. I've been using a Marc Jean lig on it and it seems to work perfectly. Totally gigantic dark sound. Wouldn't really suggest it for amplified settings, although I'm sure it'd hold up well... but for acoustic situations it just bathes the room in resonance. I'd recommend this piece or Phil Tone's Sapphire to anyone looking for a killer rubber piece at a really humane price.
 
#150 ·
Okay, so here goes my first post. I was talking tenor mouthpieces with Jerry Bergonzi a few weeks ago when he strongly recommended I consider a Benjamin Allen mouthpiece. I already have Drake’s Bergonzi mouthpiece and have been in and out of it for close to a year but it is too bright for my tastes. I tried swapping reeds around on the Drake but it’s just too much for me. After trying to keep me on Drake (Jerry's website in paid for by Drake) he put me onto the next best thing. I had not previously heard of Benjamin’s mouthpieces but Jerry’s enthusiastic recommendation of his two Ben Allen pieces led me to email Benjamin that night.

Benjamin is a delight to work with and his knowledge of saxophone mouthpieces and saxophone acoustics is a bit insane. This cat knows what he is talking ‘bout! After discussing my goals soundwise, I ordered a Tony Dagradi #8* tip opening with a larger chamber than the standard Dagradi mouthpiece. I had not heard of Tony Dagradi. He is a hardcore jazz/funk and New Orleans player. I received the mouthpiece two days ago. This piece has ended up blowing my mind.

When I first played the piece I did not love it but it was good. Then five minutes went by and I liked it. Then another five minutes went by and I was in love with this piece. The more I played it the bigger my sound became. The bigger my sound became the more colours I heard. The more colours I heard made me become enamored with this mouthpiece. This is the exact opposite experience I had with the Drake mouthpiece. I loved the Drake at first blow but then I became less enthusiastic. Benjamin won’t advertise his stuff but you seriously need to check this dude out. Quiet a guy and a mouthpiece genius.
 
#155 ·
Okay, so here goes my first post. I was talking tenor mouthpieces with Jerry Bergonzi a few weeks ago when he strongly recommended I consider a Benjamin Allen mouthpiece. I already have Drake's Bergonzi mouthpiece and have been in and out of it for close to a year but it is too bright for my tastes. I tried swapping reeds around on the Drake but it's just too much for me. After trying to keep me on Drake (Jerry's website in paid for by Drake) he put me onto the next best thing. I had not previously heard of Benjamin's mouthpieces but Jerry's enthusiastic recommendation of his two Ben Allen pieces led me to email Benjamin that night.

Benjamin is a delight to work with and his knowledge of saxophone mouthpieces and saxophone acoustics is a bit insane. This cat knows what he is talking 'bout! After discussing my goals soundwise, I ordered a Tony Dagradi #8* tip opening with a larger chamber than the standard Dagradi mouthpiece. I had not heard of Tony Dagradi. He is a hardcore jazz/funk and New Orleans player. I received the mouthpiece two days ago. This piece has ended up blowing my mind.

When I first played the piece I did not love it but it was good. Then five minutes went by and I liked it. Then another five minutes went by and I was in love with this piece. The more I played it the bigger my sound became. The bigger my sound became the more colours I heard. The more colours I heard made me become enamored with this mouthpiece. This is the exact opposite experience I had with the Drake mouthpiece. I loved the Drake at first blow but then I became less enthusiastic. Benjamin won't advertise his stuff but you seriously need to check this dude out. Quiet a guy and a mouthpiece genius.
It's kind of you to post this, and I'm glad you didn't mention Jerry in the emails. I would probably still be working on your piece (achieving absolutely nothing, but working on it nonetheless).
 
#151 ·
The youth big band I direct, Jazz Xpress, just competed at a local festival. Two tenor solos, one on a Phil Tone Mosaic and one on a Ben Allen...both kids (hs seniors) sounded great....as soon as I figure out how to edit the recordings, I'll post them here....thanks to both of you for making great pieces....
 
#154 ·
Stan,
I am eager to hear Nathan. Also, Phil's Mosaic is one of my favorite metal pieces of all time. At some point, I will stop calling it the Mosul, but people who know me from years past seem to understand! When asked what I will do in terms of a metal piece, I tell them it's already done--but by a kind man in the NW named Phil Engleman.
 
#152 ·
I brought those Ben Allens over to Jerry and got to hear him on them. He sounded phenomenal as always and he really dug them. He did make clear that he is a Drake player and endorser but nonetheless really appreciated Ben's work. He has delved deeper into mouthpieces than most players and he knows what works and why and he really took those pieces seriously.
 
This is an older thread, you may not receive a response, and could be reviving an old thread. Please consider creating a new thread.
Top