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Metal Mouthpiece suggestions

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eb424

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Morning

Re my other post I have a bit of a quandry and was wondering if anyone had any suggestions...I have 2 Theo Wanne pieces for tenor an 8 Gaia and a 7* Durga...TBF the Durga sounded great on the TJ raw but is quite bright on the YTS custom z..I was very fortunate when I bought the used Z that I acquired a C1 neck as well as the G1 that came with it...With the C1 neck and a 2 plasicover the Durga loses some brightness...and I retain more control over articulation than I do with the Gaia...The gaia is an 8 opening but is fairly easy blowing I usually play a 7-7*.... (it's in the yardsale if anyone is interested ;-) ) The gaia seems to have a richer tone but with a stronger reed ( as per Steve Neffs review ) I seem to lose control of the articulation and a 3 green java is just to resistant... for faster songs...I am unsure whether it is the baffle that makes the Durga easier ( and more fun) to play...I have never seemed to get on with large chamber no / low baffled pieces...there is no problem playing them but they don't seem to have the projection...I have still played a 7* in these and have assumed the chamber size i.e. large has played a part in the projection..To this end I bought a vandoren (used) V16 metal (tenor) T7 medium chamber which I find easier to control and louder ( and easy to control quietly) than I have found large chamber link like pieces...Its a great mid range piece and whilst I can hit a high F the difference between the clarity in the TW pieces is considerable...Playing most pieces I am well happy with the V16 but want a piece that will enable me to have fun playing, the durga fits the bill but is a tad to bright, and has the tone of the gaia, but is easier to control articulation...whilst a large chamber piece there are several baffles on the Gaia and whilst it does cut off projection wise it is fine...I have another post that asks about reducing the opening on the Gaia but don't think that is the way to go...would anyone have any Ideas of a piece that would fit the bill...I know it's personal preference but seem to be running out of idea's, whilst I have had quite a few mouthpieces and saxes I am getting fed up with all the chasing and haven't as yet matched the right piece to the right sax..I really like the Z and know I won't be moving it on so just the one MPCE and reed hurdle to go...I don't usually buy new mouthpieces which I know confuses the issue....just some reccommendations of a darker louder piece preferably with some baffle or not if easier controllable....
 
If you can find the time I would go to sax.co.uk, explain what you're are after and try some. They seem to have a fairly good selection although I would ring a head if something particular takes your fancy. I spent last Saturday trying out some pieces and, I think, I found one that will do the job but it's a tricky business and takes a lot of time when you are about to part with a substantial chunk of change. The piece I went especially to try was a complete fail, despite tons of good reviews and recommendations, so recommendations are for the birds really. You might find you leave with something completely unexpected, I did.
 
Have you tried different reeds with the Durga, I have found Plasticover's to be a brighter reed than some others.
+1 with what Jimmy says because even if someone on here recommends a mpc it might not suit you.
 
eb424 said:
.TBF the Durga sounded great on the TJ raw but is quite bright on the YTS custom z
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This makes no sense. mouthpieces do not get brighter because of the horn they are on. It is the horn that must be brighter, the mouthpiece stays the same.

So maybe ask yourself why you have more than one instrument. Is it because you sometimes want a brighter sound?

In that case having different instruments is less useful than:

  • Practising tone and /or sound so that you can change the sound yourself
  • Having a versatile mouthpiece that allows you to do the above easily.
I would also advise against just looking for metal mouthpieces as it really limits the choice (not to mention usually costing more than other materials).

Hint: I think you may find that dividing your post into more paragraphs makes it much easier for people to read and comprehend :)
 
jazzdoh said:
Have you tried different reeds with the Durga, I have found Plasticover's to be a brighter reed than some others.
+1 with what Jimmy says because even if someone on here recommends a mpc it might not suit you.
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Hi @jazzdoh, thanks i have tried vandoren javav reds 2 and 2.5 greens 2 2.5 and 3 gonzalez 2 and 2.5 dsj 2m c1 ang g1 neck ( there is quite some difference), stayed away from my rigotti golds but they are great on the v16) legere 2 2.25 and 2.5..any suggestions gratefully received. I am expecting the police round i have more wood in my case than is left in the Smazon rain forest..
 
Pete Thomas said:
This makes no sense. mouthpieces do not get brighter because of the horn they are on. It is the horn that must be brighter, the mouthpiece stays the same.

So maybe ask yourself why you have more than one instrument. Is it because you sometimes want a brighter sound?

In that case having different instruments is less useful than:

  • Practising tone and /or sound so that you can change the sound yourself
  • Having a versatile mouthpiece that allows you to do the above easily.
I would also advise against just looking for metal mouthpieces as it really limits the choice (not to mention usually costing more than other materials).

Hint: I think you may find that dividing your posted into more paragraphs makes it much easier for people to read and comprehend :)
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Point taken again re paragraphs Mr Thomas...i just get on a roll..lol.

I only have the Z sold the raw as loved the tone but prefer the z for other stuff this is only my personal opinion. Durga sounded great on the raw which seemed to be more selmeresque..

I still love the durga but it doesn't sound the same..probably better in the hall than the van..

I prefer playing metal as not so keen on the size of hr..i do have 2 phil tone pieces the impuse and the JZ which are hr but the size of metal..love the impulse great fun piece..
 
I think the size of the mouthpiece is something you could easily get used to with playing, the V16's are excellent pieces I have the large chambered 40s piece but they are a linkish type of sound and I believe I have read you don't prefer this sound, go to sax.co.uk try loads and then decide.

You could also keep your current setup and work to change your sound so its more in keeping with what you have in your head as Pete has said above, but this takes time.
 
If you get to a shop and they suggest HR then I would try them, I have a drawer full of metal pieces that I played for years and don’t remember the switch to HR being much of an issue, but there is such a wide range of metal mpcs available that I wouldn’t bother unless something presented itself. Nowadays I would be reluctant to try metal for the same reasons you have for not being interested in HR, it’s what I’m comfortable with and life’s hard enough.

I’m sure there’s a long, unresolvable discussion to be had on the differences and merits of both but I can’t say I’ve really noticed much sonic difference based on the material although I haven’t put any time into trying to find it. Maybe the usually larger size of HR can have an effect.
 
I think the SR Tech offerings are fabulous for the price. The Pro has a medium chamber and a small rollover baffle, a bit like a link but with a bit more oomph than many STMs I've tried. The Fusion has a step baffle but doesn't play anywhere as brightly as it looks as if it should (in my opinion), and can be pushed in any direction pretty easily.

They're a relatively small manufacturer, but well worth considering.
 
Jimmymack said:
If you get to a shop and they suggest HR then I would try them, I have a drawer full of metal pieces that I played for years and don’t remember the switch to HR being much of an issue, but there is such a wide range of metal mpcs available that I wouldn’t bother unless something presented itself. Nowadays I would be reluctant to try metal for the same reasons you have for not being interested in HR, it’s what I’m comfortable with and life’s hard enough.

I’m sure there’s a long, unresolvable discussion to be had on the differences and merits of both but I can’t say I’ve really noticed much sonic difference based on the material although I haven’t put any time into trying to find it. Maybe the usually larger size of HR can have an effect.
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Hi @Jimmymack its purely the chopping and changing both my hr pieces are metal sized..hoping I can just find a good match for the Durga then i'm set with just the 4 pieces...pmsl...rational was tighter emboucher easier transition to alto..where all the fun starts again..
 
It sounds to me like you're changing too many variables all at once - mouthpiece, neck, reeds.

If it were me, I'd pick one neck and stay with it. I'd pick one mouthpiece and stick with it, and I'd pick one brand and strength of reeds and stick with it.

It's certainly unsurprising that a stiff reed on a more open mouthpiece is less responsive than a softer reed on a less open piece.

All this equipment you mention is top quality kit, so I think you'd do best to pick something in the middle of the road and then go to the shed. You'll find that with chops like iron the subtle differences of one mouthpiece or neck or reed to the next become unimportant, as you'll be able to make any of them do what you want.
 
turf3 said:
It sounds to me like you're changing too many variables all at once - mouthpiece, neck, reeds.

If it were me, I'd pick one neck and stay with it. I'd pick one mouthpiece and stick with it, and I'd pick one brand and strength of reeds and stick with it.

It's certainly unsurprising that a stiff reed on a more open mouthpiece is less responsive than a softer reed on a less open piece.

All this equipment you mention is top quality kit, so I think you'd do best to pick something in the middle of the road and then go to the shed. You'll find that with chops like iron the subtle differences of one mouthpiece or neck or reed to the next become unimportant, as you'll be able to make any of them do what you want.
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Its funny the java 3 works fine on the 7*..my plan is to stick with the v16 its great for most tracks..ive decided to sell the Gaia, keep the Durga for the high stuff as altisimmo pops out..once i know what i am doing with the durga i can crack on..few different reeds to try tonight..
 
eb424 said:
Its funny the java 3 works fine on the 7*..my plan is to stick with the v16 its great for most tracks..ive decided to sell the Gaia, keep the Durga for the high stuff as altisimmo pops out..once i know what i am doing with the durga i can crack on..few different reeds to try tonight..
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After time you should be able to get altissimo on any mouthpiece, it just takes practise and patience.
 
With the caveat any well finished modern mouthpiece. No chance on my vintage lelandais pieces.
 
Many of the greats managed to get altissimo on vintage mouthpieces. What's special about "modern" mouthpieces that enables altissimo? I have mouthpieces from the 1920s that I can play altissimo on.
 
It's my understanding that Adolphe Sax expected a range of more than three octaves and that he demonstrated this playing the first saxophones himself. Can't get any more "vintage" than that in saxophones.
 
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