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Anyone tried the D'Addario Select Jazz TENOR mouthpiece

88K views 265 replies 74 participants last post by  reedsburn62 
#1 ·
I have the clarinet and alto mouthpieces from D'Addario and I've been really pleased with them - good intonation, even tone over the range of the intrument (especially the clarinet piece). Now I see they have a tenor piece out (since November apparently) but not much information on what it's modeled on.

Has anyone tried it ? Interested in any comparisons - I currently play a phil-tone refaced new vintage-series slant link HR piece which I like a lot.
 
#214 ·
I tried one just by curiosity ...an 8 tip opening.
It is a good product for 200 US$ but not in the same league as the Navarro or 10mfan HR pieces.
The RJS blows well, with a good projection but I couldn't get the tone complexity and free blowing characteristics of the higher-end pieces.
Just my personal opinion.
On the other end I like the Alto model ...
 
#215 ·
I just got one recently for pure curiosity and I am really surprised by the performance and capabilities of this pieces. Everything I own is basically Otto links (Navarro Maestra, Rs berkeley Chris potter.) From the moment I looked at the DSJ I realized it wasn't a Link so I didn't try to compare it to those. This piece is good on its own. It has a really good fat focus to the sound that can cut through the mix like a hot knife through butter. I truly don't like when people compare everything to certain designs, cause there will ALWAYS be trade offs with any model or material on earth. Yes Links can give you more depth and layers of sound, but they won't give you the easiness to focus and "cut", you might get on a different design. This piece as a contemporary design really kicks the butt of many high-priced ones (on the same all round contemporary designs) and some other link-on steroids as well. It doesn't have the complexity of your favorite Otto link/link inspired piece!!!OTTO LINK: Basically I mean low/medium rollovers and medium large/large chamber, to include ted klums that aren't actual link copies...I hope you get the idea...Well to be fair no other design in history has the same sound either. So Berg Larsens, Guardalas, Dukoffs, selmer soloists , etc... can only be be compared to the same kind of MPs.
After reading a big part of all this thread I am seriously wondering if part of the extra high price of certain sax gear comes from the fact that sellers know that if they use a lower price for the products most people will say it's not good enough or doesn't come even close to this or that. I don't want to divert the thread but I bet my house Silverstein wouldn't sell as many ligs if they were actually "fairly priced". Just yesterday I heard some one next to me saying that standard lig sounded dull compared to the Cryo. :faceinpalm:
D'addario you will unfortunately have to put this one over the $400 so more people realize is a good piece and not only for its price. Honestly do the Shiva, Durga, Mantra and some other steroid-super loaded MPs on the market actually sound better, have more colors and more to push against or core to the sound, or are more versatile (jazz/comercial) than the DSJ???!!! IMO there are 3 mouthpieces (same ballpark) on the market that are superior to this one, navarro bop boy, and bebop special, 10mfan Robusto. They won't do more that the select, but they do have more colors and it' easier to drive them into certain area.

To summarize: The DJS mp as a "traditional point of view" is a good mouthpiece specially for the price, I wouldn't put it at the level as Navarros, Ted Klums, Phil tones, etc...
but it can serve well the working musician, but "as a modern" more R&B, and general playing it's definitely one of the best options on the planet, no matter the price. I will swallow my pride and I will admit that in this modern category it's better than my Gaia which is the MP I use for R&B...
 
#216 ·
I had one briefly last spring, at first blow it was intriguing but after spending a few days with it I found the facing and/or the beak profile to not feel as comfortable for my purposes. I play Rpc mpcs though, and I think I am most accustomed to those facings and can make them work for my needs. But if I was not as used to a certain design like the Rpc’s I could see giving the d Addario ashot longer term.
 
#217 ·
I had one briefly last spring, at first blow it was intriguing but after spending a few days with it I found the facing and/or the beak profile to not feel as comfortable for my purposes. I play Rpc mpcs though, and I think I am most accustomed to those facings and can make them work for my needs. But if I was not as used to a certain design like the Rpc's I could see giving the d Addario ashot longer term.
The RPC pieces are some of the few I have never tried, but it sounds like your thoughts are the same as mine on the RSJ. Are the RPC pieces a taller/steeper beak profile? My first impression was I really liked the piece, and honestly I still do and still have my 7. But its profile is not as comfortable for me as my V16 T8 Ebonite or Phil-Tone Eclipse 7*. It also has much more resistance than my other two pieces.
 
#218 ·
No, RPCs have a lower beak... EB style (or maybe even lower)

The V16 hard rubber (with its cousin, the Optimum) is probably the mouthpiece with higher beak on the market.

I've never taken in hand a D'Addario tenor pieces... but according the pics, the beak is low.
I think they decided to go for a low beak profile because most tenor player feel more confortable with lower beaks.

 
#220 ·
Gotcha. I know off topic here, but I wonder if me coming up as an alto player for 15 years before picking up a tenor 8 years ago is why a higher beak on tenor feels more comfortable to me. I had the same comfort issues with Jody Jazz pieces and their low beak. My v16 T8 and Phil-Tone Eclipse just feel natural to me.
 
#230 ·
I just got back from the Navy Band Saxophone Symposium where I bought a D7M tenor piece after play testing for 5 minutes. Although I prefer darker mouthpieces, this one was huge and medium bright without being shrill. Sometimes I want a loud piece and unlike Guardalas or Dukoffs this piece is bright enough but plenty loud. For the price it is unbelievable. The dynamic range is huge and I was popping out altisssimo with ease. I cannot wait to play it more.
 
#231 ·
One of my students just got a JS 6 mouthpiece, he sounds great on it. I was impressed with the quality and design of its interior, I'll certainly be recommending the JS along with some other mouthpieces in the future. Has any one tried one of these in marbled rubber yet?
 
#232 ·
I just tried out a 6 facing and liked it more than the 7 I had last spring. But I happened to also try a 9, which I hadn’t realized was available. Pleasantly surprised! Really like it. Doesn’t feel as open as marked to me, also seems more flexible than the smaller facings.
 
#235 · (Edited)
I had been using a Bois Excellente ligature or the Vandoren M/O ligature on my 7M Select Jazz mpc. I recently acquired a Rovner Platinum ligature. This ligature gives the 7M a very round sound; still somewhat bright. With Vandoren Java Red 2 1/2 reeds, this is my favorite set up on the D'Addario Select Jazz mouthipece.

Here's my second quiet sax video......still a little embarrassing.



later

JOel
 
#236 ·
Just picked a D7M from Amazon for $121.00, used, but looks new. Trying out different reeds, and the ZZ's so far are the best fit for me. Tried a #2 Blue Box, very powerful sound, but it plays more like a #3 or even #3.5. Plays great on that reed, but just too hard. Anyways, the mouthpiece sounds great!
 
#237 ·
Neff is of course correct- the D'Addario Select Jazz tenor was modeled after Jeff's Freddie Gregory. I tried it and was less enthused than many. Certainly not bad for $!99, it's got a bright/brash timbre that I didn't like. They also made the bore too small for the average neck cork. It's unclear to me as of April 2018 whether they've corrected this yet.
 
#239 ·
it's got a bright/brash timbre that I didn't like. They also made the bore too small for the average neck cork.
Just a little tip work fixes the harshness. If you are handy with a Dremel tool with a sanding drum attachment, one can CAREFULLY enlarge the bore.
 
#240 ·
trying out a 6dm tenor piece now. I have been looking for a good back up piece which is affordable for a while and this surely is a great candidate. the "6" is actually a 7 compared to the Otto link measurements, which is exactly what I like. I like the sound I get with an old Rovner ( the first they brought on the market I think, had it for 20+ years or so) ligature. That kills some of the brightness some people complain about probably. It plays easy all over the range. I get tiny little squeeks every now and then but that probably will go away when I get used to the piece. Compared to some other pieces ( including some very expensive ones) this one is a pleasant surprise.. I think I am going to keep it.
Just did the "pop"test. 5 to 6 seconds.. not bad, the reed seals well.
 
#241 ·
I tried the 6,7,8 and 9 in a pass around in a different sax forum. Ended up playing the 7 and 8 more and couldn't decide which one I preferred. I recorded clips of both and preferred the 7 when I listened back - thought it had a little more punch than the 8. I didn't find it too bright like some people, but I tend to like brighter stuff anyway. It's a really versatile mouthpiece, and they were all very easy to play, I almost bought one, and I still might at some stage...gassy gassy...
 
#244 ·
Went back and forth between D7M and D8M - settled on the D7M and am very happy with it - will probably be my "does most everything pretty darn well" m/p. Only some concert band or R&R type situations I think where other m/ps I have would work better - but overall, this is very versatile and plays well on my Selmer SA80 II and Keilwerth ToneKing Special. The Martin Tenor is not so great with it, but I'm OK with that..
 
#245 ·
Agreed, it's very versatile. I received a D7M recently as a gift, and really like it. It's a lot like my TK Acoustimer, but with a bit more edge. The DSJ is not quite as even: the D7M's low-mid range is better, methinks, than the higher register. And the facing makes it a bit more of a challenge to voice than my Acoustimer, which also has a more comfortable beak and profile for me.

Still, what a flexible piece for the price! I've been playing it along with jazz standards, cuban jazz, soul jazz, rock and pop, and it does whatever I ask of it. I like the marbling, too: reminds me of a bowling ball--perfect for a spare (sorry).
 
#254 ·
I’ve played a 6 I have on a loud gig I did the the other night. A Hammond, electric pianist and drums. It’s not really my concept but I’d prefer not to bust a gut trying to play over them with my Tone Edge.
They kind of remind me the old blue Vandoren Jumbo Java I had. There’s a certain shrillness but it worked when I needed it.
 
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