i only use a 2m Daddario jazz. It was my old sax teachers sadly he passed on and his wife gave me it. I thought id try and find out a bit more about it. I dont recal Tony using the mpc it looks unused....
Thanks i found a 3s Daddario it works fine. What should a 3* sound like i usually use a 5 i thought a 3 would be quiet but its quite punch but doesnt sound like i expected, i think its ok though, glad to grt some nouse out of it..
as a newbie im still trying to find it.. My go to is a 5* Kanee Florida its great, i wanted to try a metal one so i bought a brilhart no6 stainless love that one but still bought a 5* otto link unsure on that one. The sax came with a soloist c** vintage which I cant get on with and then theres this one which I kind of like... Im trying to move the soloist on and think ill do the same with the otto link.. Id say the Kanee is the one at the mo tho the brillhart would take paint of the walls and its so easy on the high notes (only up to E). I just want one HR andonemetal that i can build my confidence and playing with to confusing otherwise.. Is the lower the number the quieter it plays...
As a side thought 1. Do yani make a mouthpiece similar to the yamaha 4c the material feels the same. 2. Am i going backwards using this mouthpiece i have only been playing for 18 months but beginners are reccommended a 4c mouthpiece.. should this be easier to play.. its a minefield i should just go with whats easy and sounds ok.. Thought id be up to a 7 tip by now tho,.. lol
Don't get confused with higher number/better player. The only time to change your mouthpiece is when you find one that does more for you or the same more easily. However, give yourself time to adapt to a piece. This may take a week or a year or maybe more
Yani make very polite mouthpieces. Having said that a three is quite closed so quite a hard reed is indicated. Depending on brand and cut possibly a 3.5 or 4.
Personally I like a close mouthpiece with a hard/medium reed.
You will have a sound in your head/imagination that you're aiming for. This will depend on the type of music and the type of ensemble you're playing with. Your physiognomy is unique. Chopping and changing can confuse your embouchure.