Index of classical mouthpieces - Page 6

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  1. #101
    Distinguished SOTW Member nitrosax's Avatar
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    I've some recordings on my site of an AL3...it's under my videos section. I liked the AL3 for about 4-5months and then I went back to a more powerful mouthpiece....The AL3 has the best intonation of ANY mouthpiece I've ever played and it's good for someone who tends to play a lot of Jazz alto because it's fool-proof and you can pretty much keep the same embouchure on that piece and get a really sweet classical tone(contrary to say a C* or a Meyer5--which if played with a Jazz embouchure and feel can sound really bright but if played with a good cushioned classical embouchure, can sound really sweet too...) I liked the tuning on the AL3 so much because it was so easy to play in-tune with that piece...the upper register just blows itself right in-tune...tuning is 50% easier on the AL3 and more stable too...I think this is one reason the mouthpiece is marketed as a "student" type mouthpiece. But if you are looking for colors in your sound and/or a mouthpiece that has flexibility the AL3 is not your best choice...

    Anyone tried the Ponzol C*? Seems like what I like in a piece...full yet a bit of the upper harmonics in the sound...a tad brighter than a normal C*...I'd like to try one sometime but probably wont get around to it...

    Nitro

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  3. #102

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    Quote Originally Posted by A.Smith
    What was Otis Murphy's pitch? As an AL3 user I would be curious to know what he thought.
    He said he tried the mouthpiece when it came out and took some time to learn it and liked it. Then, that semester at Indiana University, 17 of his 18 students switched to the Vandoren Optimum without his prompting them to do so. He said he became convinced it was a great choice when he heard the improvements in their playing.

    When asked specifically what's good about it, he said the response was the big thing. Improved response throughout the range but especially in the low register. He used the following phrases "sound is more homogenous", "the sound is more centered and even throughout", "ease of balance", and "that kind of balanced feel helped us play better in tune".

    He summed it as saying it's very similar to a Selmer C* but has a better response.

    He says he plays the Optimum 3 on alto, tenor and bari.

    He said he wasn't saying to go out and buy an Optimum, just as a classical saxophonist he's tried alot of mouthpieces and this is "a very good one" and he recommends it without hesitation.
    Eddie Jennings

  4. #103
    BlueLight's Avatar
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    Quote Originally Posted by ejennings
    He[Otis Murphy] says he plays the Optimum 3 on alto, tenor and bari.
    what about soprano?

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  6. #104

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    Professor Murphy plays a C* on Soprano.

    As for the AL3, you are correct Ejennings, most of his students play an AL_. I am currently the minority at IU, being the only person -not- playing an AL3. I tried one for about 2 months, but I just don't sound good on it. Period. It's not for me, and that is fine.

    For me, I felt the AL3 had much worse response than my NC4. Everything was 'tubby' and unclear. I could not find reeds that felt right either, which was increasingly annoying. 3's were too soft, 3.5's were too hard. Ultimately, I decided I wanted to sound like 'me' again. So, back to the NC4 I went.

    Steve P

  7. #105
    A.Smith's Avatar
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    Quote Originally Posted by Steve P
    I could not find reeds that felt right either, which was increasingly annoying. 3's were too soft, 3.5's were too hard.
    Steve P
    This for me has been the biggest problem with the AL3. I've been playing on it for about a year and a half now, and have finally bitten the bullet and decided to use 3 1/2's. The 3's were consistantly too soft. I was always throwing the reed way over the tip. The 3 1/2's however are generally too firm and need to be warn down a bit before their right, but then my reeds are at least lasting more than a couple of weeks. For me personally the perfrect reed strength is smack bang in-between the vandoren classique 3 and 3 1/2. The strength of the v16 3 1/2 is pretty good, but I don't like the sound I get with them. The reed strength is a major issue and I'm actually looking to move on from the AL3. However, easier said than done. I'm yet to find a mouthpiece that I can produce a tone as well as i can on the AL3. So 3 1/2's it is.

  8. #106
    Distinguished SOTW Member Martinman's Avatar
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    Quote Originally Posted by Steve P
    I am currently the minority at IU, being the only person -not- playing an AL3. Steve P
    So are even the jazz guys when they have to do classical using AL3s? I would think a Rousseau would be more comfortable for a jazzer to use for classical because of the more open tip.
    "Martin owners just change the freakin' bulb and get the job done." - MartinMusicMan

  9. #107
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    Quote Originally Posted by A.Smith
    This for me has been the biggest problem with the AL3. I've been playing on it for about a year and a half now, and have finally bitten the bullet and decided to use 3 1/2's. The 3's were consistantly too soft. I was always throwing the reed way over the tip. The 3 1/2's however are generally too firm and need to be warn down a bit before their right, but then my reeds are at least lasting more than a couple of weeks. For me personally the perfrect reed strength is smack bang in-between the vandoren classique 3 and 3 1/2. The strength of the v16 3 1/2 is pretty good, but I don't like the sound I get with them. The reed strength is a major issue and I'm actually looking to move on from the AL3. However, easier said than done. I'm yet to find a mouthpiece that I can produce a tone as well as i can on the AL3. So 3 1/2's it is.
    If that's really the only issue wouldn't it be worth getting a refacer to open it up a tad for you so that it worked with 3s?

  10. #108
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    Quote Originally Posted by ejennings
    For some reason (possibly insanity), after 30 years of playing on a Selmer LT on alto, I decided to experiment with mouthpieces.

    I wanted to stay close to the LT philosophy of the mpc. After some research and an email exchange with Bob Scott (Lansing MI), I decided to try an LT refaced by him to a popular facing he said he learned from Don Sinta and Larry Teal.

    I was just starting to get used to this mpc (it was more resistant to me than the stock LT) when I attended an Otis Murphy clinic at the 2007 Texas Music Educations Assn conference and heard his pitch for the Vandoren Optimum AL3. I picked one up at the Prowinds booth at the show and found it remarkably similar to the Bob Scott facing in terms of the advantages over the stock LT but easier to play overall. I expect the AL3 will be my standard alto mpc from now on. I'm very impressed with it.

    I don't have enough time on the two yet to better describe the similarities and differences, but I was just wondering if anyone has compared these two alto mpc choices and if so, would you be willing to share your observations.

    Thanks,
    Is the "Bob Scott refacing" of a Teal a standard tip opening, or will he do them in various tip openings? If standard, what is the tip opening?

    Kind of odd that, since they are Teal mouthpieces, you need a hand facing to get a Teal facing on it.

  11. #109
    SOTW Administrator hakukani's Avatar
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    Quote Originally Posted by chitownjazz
    If that's really the only issue wouldn't it be worth getting a refacer to open it up a tad for you so that it worked with 3s?

    Reeds are cheaper than refacing, IMHO.
    Sound guy theory of relativity: E=mc^2 (+or- 3dB)
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  12. #110
    SOTW Contributor 2011 jbtsax's Avatar
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    I just discovered this facinating thread on classical mouthpieces and would like to add this bit of information. In about 1968 I attended a saxophone masterclass given by Donald Sinta at Utah State Unversity. The common questions about what mouthpiece he played on at that time came up, and he showed the class an older Selmer C*? scroll model with the round chamber. We asked him if they were still available and he said not this exact mouthpiece, but Selmer was working to make a very similar copy of it that would be coming out very soon that would be called the L.T. or Larry Teal model.

  13. #111
    A.Smith's Avatar
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    Quote Originally Posted by chitownjazz
    If that's really the only issue wouldn't it be worth getting a refacer to open it up a tad for you so that it worked with 3s?
    No, its not the only problem. I find the AL3 mouthpiece isn't as flexible in terms of tone colour as other vandoren or selmer mouthpieces, and I'm still not 100% satisfied with the tone I produce on it. However, this said I produce a better sound on the AL3 than any other mouthpiece I've played.
    I had actually considered buying another AL3 and getting it refaced to see if that worked. However I want to spend more time exploring other possibilities before I end up taking that option.

  14. #112

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    I'm also a big fan of the AL3. Works well for ME. I love the intonation, the sound I'm able to get, and the response. But, the flexibility of tone color and projection have kept one eye on other mouthpieces.

    I just ran across the Clark Fobes website and it looks like they now have a classical alto piece.

    http://www.clarkwfobes.com/Saxophone%20Page.html
    _____________________________________________________________

    "NOVA" Alto Saxophone mouthpiece $119

    Round chamber, hard rubber. Hand finished professional level mouthpiece. Lively sound. CF facing developed to compete with popular legit style mouthpieces. A FANTASTIC VALUE! Three facings.

    CF = 1.55mm, 5M = 1.70mm, 6M = 1.85mm
    _____________________________________________________________


    I know many of you that posted in this thread have a lot of knowledge concerning mouthpieces. Anyone know anything about these? Square chamber or circular? Another C* copy?

    If not maybe I'll send an email.
    bronzZoot
    YAS875EX - AL3 - BG Traditional - Gonzalez
    YSS875EXHG - Caravan - BG Traditional - Gonzalez

  15. #113
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    I own and play one of Clark's first soprano classical pieces. It is just like the old round chambered Selmer pieces.

  16. #114
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    Quote Originally Posted by bronzZoot
    I'm also a big fan of the AL3. Works well for ME. I love the intonation, the sound I'm able to get, and the response. But, the flexibility of tone color and projection have kept one eye on other mouthpieces.

    I just ran across the Clark Fobes website and it looks like they now have a classical alto piece.

    http://www.clarkwfobes.com/Saxophone%20Page.html
    _____________________________________________________________

    "NOVA" Alto Saxophone mouthpiece $119

    Round chamber, hard rubber. Hand finished professional level mouthpiece. Lively sound. CF facing developed to compete with popular legit style mouthpieces. A FANTASTIC VALUE! Three facings.

    CF = 1.55mm, 5M = 1.70mm, 6M = 1.85mm
    _____________________________________________________________


    I know many of you that posted in this thread have a lot of knowledge concerning mouthpieces. Anyone know anything about these? Square chamber or circular? Another C* copy?

    If not maybe I'll send an email.
    The description you've posted there from his website clearly says it has a round chamber.
    After all these years, what do you practice?
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  17. #115

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    oops... my appologies
    bronzZoot
    YAS875EX - AL3 - BG Traditional - Gonzalez
    YSS875EXHG - Caravan - BG Traditional - Gonzalez

  18. #116
    Distinguished SOTW Member/ Forum Contributor 2011 awholley's Avatar
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    Still one must ask if that is "Rascher/Meyer/Link" round, or "Teal/AL3" round....

  19. #117

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    If this Clark Fobes mouthpiece has a round chamber like an older Selmer piece, then that suggests it has a round chamber like a "Rascher, Meyer, Link." Right?
    bronzZoot
    YAS875EX - AL3 - BG Traditional - Gonzalez
    YSS875EXHG - Caravan - BG Traditional - Gonzalez

  20. #118
    Distinguished SOTW Member/ Forum Contributor 2011 awholley's Avatar
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    Depends on how old. Like Sinta's Air Flow, many mouthpieces in the 40's/50's had round chambers of reduced size, some with straight sidewalls. The even older model Selmers that some people refer to as Air Flow had Rascher-like chambers. The metal Selmers of the 40's (think Mule) had a reduced-size round chamber, as best I remember from the one I used to own.

    Having heard Clark play clarinet many years ago when I was working for the San Francisco Chamber Orchestra, I suspect he favors "the dark side" and that his mouthpieces are indeed the large chamber pieces. I'd
    really like to hear a review on one of his alto and/or tenor Nova pieces before ordering one.

  21. #119
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    I just emailed Clark and asked all about the alto pieces. I'll post his answer when/if it arrives.

  22. #120
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    Steve,

    These are made on my Zinner blank. it is a small chamber with a semi round throat. It also has a smaller shank more like the old Buscher mouthpieces. It is a very sweet sound. Right now the only place that has them is Fred Weiner. They bought the last 4 I had in the shop. I have more on order from Zinner.

    Clark

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