I agree with this. I had a T75 medium chamber for awhile probably 7 years ago and it was a solid player, but just okay otherwise. I always felt it was missing "something", and "lacking a bit of complexity" is probably a good way of putting it.That is kind of my experience with them. I bought some to try out when they came out, and I still have two of them. One stock and one refaced by Erik Greiffenhagen. They are built really well, but they seem to be just lacking a bit of complexity. Like Phil said, good but not great.
"Can't never could."
I've never played a metal V16, but I have a couple HR V16 6's that I opened the chamber and modified the floor and baffle to be more "slant Link like". IMO they sound so much better now. Originally I thought they were pretty harsh. I feel like if you can pick them up used for cheap they make nice blanks for a Link type piece.
I imagine the metal versions may be a bit better given the chamber size choices.
This youngster makes one sing!It doesn't seem like there is much talk or praise for the current metal V16's. I'm curious why these pieces are looked at less favorably or get less attention than other Link style pieces. Perhaps I am missing something, or I am not seeing the discussions on the V16's. The current V16's seems like a well thought out line of pieces, with the options of the different chamber sizes being nods to different eras of Links, and at a not too high price. Yet it seems that when I read of people digging a V16 it's usually an earlier version like a T55. Are they just too mass produced or boring for people? And while more boutique makers seem to get more love here, it seems that even the current Babbitt STMs get more buzz here than the V16's. I am missing something? They seem like nice pieces to me.
His is modified but dude could play anyway.
This youngster makes one sing!
“Do or do not... there is no try.” - Yoda
The beak shape on the V16s (both metal and hard rubber) may lead the player to play with less mouthpiece in mouth (because it's a littler higher)... but it's still something you can work on (on the metal V16 is much more comfortable than on the hr V16)
Vandoren facing are not long and parabolic (like we used to like on a good Otto Link) they are shorter and more "radial"... overall you can feel they are shorter: this can be annoying for most people.
The design of the metal ones is cool, the mouthpieces are well made: no ultra long window, no ultra thin tip and rails.
They just feel different (... more locked-in) because of Vandoren typical facing, mainly.
But once you worked with different reeds and embouchure... you can get a vibe very very close to some "tasty" Florida No Usa STM (expecially with the Medium Chamber), very very late Coltrane-like sound (clear sounding, but not bright nor sparkling... when a proper medium hard reed is used...).
Personally I use different reeds, on mouthpieces with different facings.
This makes everything easier, for me.
Hard rubber V16?
The old tenor hard rubber V16 has been renamed to "Medium Chamber".
Now Vandoren has a new "Large Chamber" V16 hard rubber mouthpiece (to match its metal brother).
I have a really great Link worked on by Ed Zentera but I find myself always going back to my old V16 T77. I play the V16 a little differently and use different reeds to make it speak like my Link. But...the V16 is more flexible so it gets more time my horn.
I played one of these for an extended time. Like other Vandoren mouthpieces, it's pure quality right out of the box. The only thing lacking is an army of promoters and their cheerleaders to pepper the site with glowing reviews.
I think it is a pretty good middle of the road piece for covering lots of styles. I have a metal T7 medium chamber that I like a lot.
Maybe not as rich and spread as an old Tone Master but the T7 definitly has more power and cut and has a really good tone.
A lot of it depends on how you play it and what reed combination you use. I think the T7 with a Vandoren ZZ or a V16 reed rocks.
The T7 is indeed more flexible.
I do not have experience with the rubber version though.
Conn 10M '36
Conn New Wonder '24 tenor
Allen 20TD, Brilhart Hard Rubber 4*, Dukoff D9
They are great pieces and I did like them but I personally just don't like metal pieces. I have never had one that felt fully comfortable to me and I like the warmth I feel I get from the V16 Ebonite pieces. I have played a T8 for a while but just went to a T9 and absolutely love it. Very easy piece to take from a jazz quartet setting and pretty easily go right into a heavy blues or even rock gig.
I have heard that there are some slight differences between the older models like the T75 and the newer ones with the actual chamber size designations. If I remember correctly the older models are supposed to be the equivalent of the new small chamber pieces.
Great vid here of an older T45.
Chateau TYT-753/1952 Conn 10M Tenor
Chateau TYA-753 Alto
Kessler Custom Deluxe Soprano
I've got an original T55. It's a nice piece but I don't have the Vandoren lig which it probably needs as I struggle to find a lig that fits well.
For me it feels a touch narrow and the T77 feels a touch too wide.
They've got a bit of brightness which is good for recording but for an every-day mouthpiece a prefer something a bit calmer like a Link.
Recently I've been using a Vandoren Java ebonite (not a jumbo java). They are not a million miles away from the V16 but it seems a but more meaty. I've had V16 ebonite pieces and they were all good.
I have the metal V16 T9(115 tip) with the large chamber. Beautifully made mouthpiece. Love it on my Jean Cartier Dolnet stencil and prefer the Vandoren to my metal Wanne Ambika 10 (130 tip).
I prefer the Wanne Ambika 10 on my '57 10m compared to the Vandoren. Craftsmanship on both are equivalent to my untrained eye.
Yep, wise words Grumps.
I've been using the large chamber metal v16 on my SA80II for a couple of years now. It hits the 1950s Ben Webster vibe perfectly.
And it sound great with Rico orange box!
PS- rah rah rah, hype hype hype buy now before they're all gone etc