Mouthpieces 6* or 7*

[eb424]

Hi plasti covers just work in the van..It's just the high F# fine on the legere hit n miss with a pc 2. They give it a bit of zip use another reed for slower stuff dsj 3s..2.5 pc just out of reach too.

 

[Pete Thomas]

Hi plasti covers just work in the van..

That makes no sense, a reed that only works in a van? I expect reeds to work anywhere.

 

[eb424]

That makes no sense, a reed that only works in a van? I expect reeds to work anywhere.

Lol..they do but less susceptable to the humidity in the summer and cold in the winter..

 

[Pete Thomas]

Lol..they do but less susceptable to the humidity in the summer and cold in the winter..

What has that got to do with vans?

 

[eb424]

What has that got to do with vans?

Thought you knew ny music room is a caravan..

 

[Pete Thomas]

Thought you knew ny music room is a caravan..

No, but anyway you said van, but even so a caravan would not affect a reed.

 

[ellinas]

Thought you knew ny music room is a caravan..

Well I play anywhere from out in the fields, sitting on my car to studios and stages. I have played in caravans too.
The only issue that affects my playing in extreme conditions is low/high temperatures and moisture. They can really alter the intonation of the horn. And sometimes the response of the reed. But with a Legere you should be fine.
If it's really cold in the caraven, for example now that's winter... try to preserve the horn in room's temperature as much as you can ... and also give it some time to warm up while you play. From my experience ... this can affect playing a lot more than you think. Judge your equipment when the horn has fully warmed up. Temperature flactuations while playing outside or in cars, caravans etc. can be an issue with saxophones.

 

[MikeMorrell]

Is there much difference. I have a 6* link I play with a legere 2.25, but i do have some difficulty expressing. A 2 plasticover is better but I struggle with top F#. Would stepping up to a 7* be beneficial or percy vere with the 6*.

Lot's of great responses so far. And from members much more knowledgeable than I am!

I've read through this thread and I'm not quite sure what you mean by "... I do have some difficulty expressing". Apart from struggling to play F#.

I just want to summarise my personal experience in the hope that it might help. Like you probably have, I gradually 'upgraded' my mpc's to slightly wider tip openings during my 1st 5-115 years of playing. Only because my then 'current' mpc tip/reed combo 'closed up' whenever I tried to play at ff or loud solos. I just had the feeling that I couldn't get enough 'air' into my mpc/reed combo. at certain times. I play in Big Bands so I need to be able to play from pp to ff on a single mpc. My tenor sax doesn't even have an F# and I very rarely need to play a high E or F (or low B-flat).

So, as a real amateur, choosing a mpc/reed combo has always been somewhat of a comprise between being able to play the 'high notes' and the 'low notes'.

Another point is 'endurance' w.r.t. mpc/reed combo and embouchure strength (and endurance). I've played on an obscure German 7* mpc for more than 15 years. Originally with 'sanded down' 3-strengh' reeds. But I quickly stepped over to 'Java Red 2.5 reeds'.

Some 9 years ago -intrigued by the PPT (and the 'right of return' offer) - I PM'd @Pete Thomas, asking for his advice on what PPT tip opening would best suit me based on what I what I already played. He recommended an 8* PPT and he was spot on!

Since then, the PPT has been by far my preferred mpc. Much more flexibility (in tone and volume) than the mpc that I had, But ... it does have a slightly wider tip opening than my 7*. So I use both interchangeably depending on the circumstances And depending on my embouchure strength and endurance. So I use my PPT whenever possible during rehearsals, But in 'long concerts' (the last one 3 hours with a few short breaks) I switch to 'safety first' mode and play with my 'old' 7* mpc. With which I have more confidence that my embouchure will still hold up after 3 hours.

Personally, I don't think it's any problem using (sometimes) a more challenging mpc and sometimes a less challenging mpc. The same applies to trying out different reed strengths with both.

Two resources that have really helped me over the years are:
- Professor Emeritus (Ithica College) Steven Mauk's article on Reed Placement and Adjustment; this article (which I've reposted many times on the cafe) truly revolutionized my understanding of the relationship between reeds, mpc's and ligatures. Even after so many years, I still use what I learned from this article today. The main thing I learned (and still experience today) is that very minor adjustments (parts of a mm) can make a big difference to tone, playability, range etc. So even now, if I'm not initially happy with my tone, 'reach', etc, the very first thing I - in parts of mm's - adjust is the position of my reed on the mpc. Just less than a mm difference can make a reed play and sound 'thicker' or 'thinner'.
- Van Doren's Youtube video on 'jazz reeds'; Up until I watched this video, I'd always played Van Doren's V16 'jazz reed'. Mainly because they seemed to last a long longer then 'Ricoh' reeds that I'd previously used. So I was surprised to learn that the V16 reeds were Van Doren's 'stiffest' jazz reeds. So I switched to 'Java Red' and I'm been happy playing them ever since.

TBH. I'm not someone who's constantly in search of a 'better setup' (mpc/reed). What I have now works well for me, And I'm satisfied with that.

 

[lydian]

I don't understand the humidity issues either. The humidity in my mouth is always 100%. But another thing to consider, how often do you need to play high F#? I very rarely play it. Even Bird himself only played it a couple of times. Maybe don't worry about that note or at least try the altissimo fingering for it.

 

[eb424]

Lot's of great responses so far. And from members much more knowledgeable than I am!

I've read through this thread and I'm not quite sure what you mean by "... I do have some difficulty expressing". Apart from struggling to play F#.

I just want to summarise my personal experience in the hope that it might help. Like you probably have, I gradually 'upgraded' my mpc's to slightly wider tip openings during my 1st 5-115 years of playing. Only because my then 'current' mpc tip/reed combo 'closed up' whenever I tried to play at ff or loud solos. I just had the feeling that I couldn't get enough 'air' into my mpc/reed combo. at certain times. I play in Big Bands so I need to be able to play from pp to ff on a single mpc. My tenor sax doesn't even have an F# and I very rarely need to play a high E or F (or low B-flat).

So, as a real amateur, choosing a mpc/reed combo has always been somewhat of a comprise between being able to play the 'high notes' and the 'low notes'.

Another point is 'endurance' w.r.t. mpc/reed combo and embouchure strength (and endurance). I've played on an obscure German 7* mpc for more than 15 years. Originally with 'sanded down' 3-strengh' reeds. But I quickly stepped over to 'Java Red 2.5 reeds'.

Some 9 years ago -intrigued by the PPT (and the 'right of return' offer) - I PM'd @Pete Thomas, asking for his advice on what PPT tip opening would best suit me based on what I what I already played. He recommended an 8* PPT and he was spot on!

Since then, the PPT has been by far my preferred mpc. Much more flexibility (in tone and volume) than the mpc that I had, But ... it does have a slightly wider tip opening than my 7*. So I use both interchangeably depending on the circumstances And depending on my embouchure strength and endurance. So I use my PPT whenever possible during rehearsals, But in 'long concerts' (the last one 3 hours with a few short breaks) I switch to 'safety first' mode and play with my 'old' 7* mpc. With which I have more confidence that my embouchure will still hold up after 3 hours.

Personally, I don't think it's any problem using (sometimes) a more challenging mpc and sometimes a less challenging mpc. The same applies to trying out different reed strengths with both.

Two resources that have really helped me over the years are:
- Professor Emeritus (Ithica College) Steven Mauk's article on Reed Placement and Adjustment; this article (which I've reposted many times on the cafe) truly revolutionized my understanding of the relationship between reeds, mpc's and ligatures. Even after so many years, I still use what I learned from this article today. The main thing I learned (and still experience today) is that very minor adjustments (parts of a mm) can make a big difference to tone, playability, range etc. So even now, if I'm not initially happy with my tone, 'reach', etc, the very first thing I - in parts of mm's - adjust is the position of my reed on the mpc. Just less than a mm difference can make a reed play and sound 'thicker' or 'thinner'.
- Van Doren's Youtube video on 'jazz reeds'; Up until I watched this video, I'd always played Van Doren's V16 'jazz reed'. Mainly because they seemed to last a long longer then 'Ricoh' reeds that I'd previously used. So I was surprised to learn that the V16 reeds were Van Doren's 'stiffest' jazz reeds. So I switched to 'Java Red' and I'm been happy playing them ever since.

TBH. I'm not someone who's constantly in search of a 'better setup' (mpc/reed). What I have now works well for me, And I'm satisfied with that.

Ive been playing the 6* link for a couple of years. Ive been through so many reed brands and Im happy with the set up but would prefer pcs as its a lot cheaper. Its just the high F# consistency everything else is fine..Ive always been told high no reed with thinner tip and visa versa. So wondered if stepping up a size on the same mpce may address this

 

[eb424]

I don't understand the humidity issues either. The humidity in my mouth is always 100%. But another thing to consider, how often do you need to play high F#? I very rarely play it. Even Bird himself only played it a couple of times. Maybe don't worry about that note or at least try the altissimo fingering for it.

Only a couple of songs just 17 by the beatles and youre my world palm key F. Altisimmo fingerings harder tbf. The van gets over 100 in the summer constant wetting the reed and it drying out quickly, they dont seem to last long..lol

 

[Vlad]

Top F# ? Don't think I've ever used it in my life !

 

[ellinas]

Ive been playing the 6* link for a couple of years. Ive been through so many reed brands and Im happy with the set up but would prefer pcs as its a lot cheaper. Its just the high F# consistency everything else is fine..Ive always been told high no reed with thinner tip and visa versa. So wondered if stepping up a size on the same mpce may address this

Well as you enter the altissimo range with that high F# if everything else is fine.. then it's not your setup. It's voicing, air support, embouchure. When I enter the altissimo range, even though someone that looks at me doesn't see anything changing I feel there's a lot changing in my mouth and throat. Also my tongue's position. I can't really tell you what's happening because it's an "automated" process. To make those notes sound fuller and as they should, what helped me was a) making sure I'm really really really good at the normal range of the saxophone and that's not easy. I had people listen to me to verify it. I thought I was good but wasn't. b) Overtone series exercises. c) Persistent practice in altissimo exercises. The Top Tones for saxophone helped a lot. But it took some serious time to be able to sound as i should up there. Since you play tenor please trust Pete's fingerings. They have been consistent in Yamaha, French tenors as well my stubborn but glorious Conn 10M.

If the normal range is OK.. then it takes time and effort and high F# and above will happen. Good luck mate.

 

[lydian]

Only a couple of songs just 17 by the beatles and youre my world palm key F. Altisimmo fingerings harder tbf. The van gets over 100 in the summer constant wetting the reed and it drying out quickly, they dont seem to last long..lol

I Saw Her Standing There? Original key? Just take the whole thing down an octave. It'll sound better anyway. The other tune also works down an octave.

Be careful in that 100 degree heat. It's not safe.

 

[eb424]

Well as you enter the altissimo range with that high F# if everything else is fine.. then it's not your setup. It's voicing, air support, embouchure. When I enter the altissimo range, even though someone that looks at me doesn't see anything changing I feel there's a lot changing in my mouth and throat. Also my tongue's position. I can't really tell you what's happening because it's an "automated" process. To make those notes sound fuller and as they should, what helped me was a) making sure I'm really really really good at the normal range of the saxophone and that's not easy. I had people listen to me to verify it. I thought I was good but wasn't. b) Overtone series exercises. c) Persistent practice in altissimo exercises. The Top Tones for saxophone helped a lot. But it took some serious time to be able to sound as i should up there. Since you play tenor please trust Pete's fingerings. They have been consistent in Yamaha, French tenors as well my stubborn but glorious Conn 10M.

If the normal range is OK.. then it takes time and effort and high F# and above will happen. Good luck mat

Thanks but its fine on the 2.5 pc abd 2.25 legere..

 

[eb424]

I Saw Her Standing There? Original key? Just take the whole thing down an octave. It'll sound better anyway. The other tune also works down an octave.

Be careful in that 100 degree heat. It's not safe.

Cummon @lydian ive got to be able to hit it rather than modify tunes..Its a tad hot in there but loads of Budweiser sorts it.. lol

 

[lydian]

Cummon @lydian ive got to be able to hit it rather than modify tunes..Its a tad hot in there but loads of Budweiser sorts it.. lol

In that case, keep practicing. Gear won't fix it. Even though I could play well into the altissimo on every tune, I usually choose not to since it doesn't really serve the music to play melodies in the extremes. So use good taste and common sense when coming up with your own sax arrangements. Even when you nail that F# it probably doesn't sound very pleasing in the context of the rest of the tune.