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Mouthpieces Is a modern 'Selmer Soloist' that bad?

I've just recieved my Soloist D and it's actually pretty good. Nice flat table, even looking rails and decent sound so far. I'm using Vandoren Blue 2.5 reeds, which don't fully meet the table edges; the reed is about 1mm short on each side, but I don't see this as a problem.

I'm not wowed yet but I'll see how it goes!

Going to spend a few days with the Soloist and compare it with an AL5 that's coming tomorrow. It'll be a battle of the mouthpieces, back to back Bach.
 
I had my modern Selmer Soloist alto mouthpiece refaced and opened up a small amount by Ed Pillinger, and it's a very nice mouthpiece now. But as Phil said, I won't recover the cost if I sell it.
 
I've had a play of the Selmer Soloist D (modern) and the AL5 on my Yany AWO10:

AL5 - Lovely subdued, warm & mellow tone. Minimum resistance and good across the range of the horn. For me it was too subdued; perfect for blending, but this piece isn't going to stand out in a crowd. I also had to push it to the very end of the cork to get it in tune which wasn't ideal. Not for me, though I can see it being a perfect fit for many. It's gone back.

Selmer Soloist - Loved the tone, dark and warm with the focus I was looking for and certainly living up to it's name. This piece can take centre stage if you want it to. It looked and felt well-made, and I tried a variety of reeds but struggled to get a good tone at the very low end (low C, B, Bb). This was the deal breaker, I had to work too hard for the low notes. It was also very tight on my cork. Not an issue if it was my main piece but my Meyer wasn't happy when I switched MPs.

I've sent both back but I'm still tempted by the D. I think I'll try several more D's and maybe hit on 'The One'.

Would a refacer be able to help the lower notes speak better by increasing the facing length and widening the shank a tiny amount (if that's doable)? I don't want to go much larger in tip opening, certainly not an E.

Alex
 
Would a refacer be able to help the lower notes speak better by increasing the facing length and widening the shank a tiny amount (if that's doable)? I don't want to go much larger in tip opening, certainly not an E.
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@Phil Is this possible? I'm asking as I know you're a master MP maker and refacer! Thanks.
 
The low notes should speak easily. That does not mean automatically that the facing length needs to be longer. It may be other areas of the curve that are the issue...not to mention that I find Selmer curves to be resistant and sluggish. But to answer more directly, there is no reason the piece cannot be made to voice properly.
 
The only Selmer MP I’ve tried is an S80D for both my alto and soprano and I love them.
Ive got a Meyer and a Morgan too. Great mouthpieces.
I hope you find what you are looking for.
 
Update!

I bought a Selmer Claude Delangle alto MP and I love it! I was able to try a couple and chose the one I liked best. This mouthpiece is incredible, has to be one of the best I've played. It projects, it's warm and focused and sparkly...I'm in love.

The Selmer Concept was an option but I wanted a more open tip - I made the right choice. The Delangle is a bit more resistant than the Concept, but for me the perfect amount. Works great with Vandoren blues. Fits the Yany neck just right and tunes to nearly the exact same position my Ishimori MP sits at, so no issues with going back and forth between the pieces.

Classical setup sorted for alto! :)
 
jbtsax said:
I was playing a Mark VI at the time, and I really liked the sound of the Rousseau which was not as bright as the Selmer, and especially the fact that it took less effort to play the lowest notes softly with control. That was over 40 years ago and I am still using a Rousseau 5R on my Selmer SBA alto.
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Nice pieces, the 'classical' Rousseaus - I use a 3R as my alto test-bench piece.
Not at all impressed, however, with the jazz versions.
 
nigeld said:
I think if I had to choose one of these without trying it then I would choose the Vandoren, simply because they have a reputation for being consistently good.
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My own experience with clarinet mouthpieces, and what I learned on Marc Charette's clarinet board, suggests it's the other way around; there is much more variation between Vandoren clarinet pieces than between modern Selmer pieces (Concept and Focus). In fact, Vandorens are known as not being very consistent at all over there, and my own experience also is that you have to try several ones (e.g. B45s) and choose the best one. In contrast, the Selmer Concepts that I tried were all very similar.

(I have two Concepts, a B45 dot, and a 5RV ... the Concepts are my default mouthpieces on my two clarinets)
 
I see I am too late, but I'll say the Espresso MP from the Mouthpiece Cafe brand is based on the Soloist and quite nice (I use one for alto), and not that expensive (especially second hand). And for having the chance to compare it to a true Soloist (and a good one at that) I understand why (not technically but from the player perspective) it is said to be inspired by the Soloist. Something worth trying if you're looking for a Soloist...

Isn't the Delangle based on the Concept ? And is the Delangle still within a reasonable budget ? (I thought you could buy 2 or 3 Soloists for one Delangle ?)

Congrats for finding your Graal, by the way !
 
U CAN CALL ME AL said:
A few years back I purchased a YAS MkI and decided I would treat myself to a Selmer soloist C**. I was very disappointed! It should be easy to play but was anything but, so I continued with my Jody Jazz DV metal and if I wanted to sound nice my Selmer S90 170 with a 3.5 reed. In response to this thread I got it out once more nothing has changed but being older and wiser, I hope,I carefully examined it. To my surprise the table is concave and the lay a very short 15mm! Not what you would expect from an internationally renowned company. Too late to invoke warranty so it looks like a trip to the refacer. Lesson learned!
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I have a nice Soloist C**, no problem with it. And, they make nice neck pendants, too, just in case the refacing exceeds the value of the piece.
 

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