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M/Pieces - Ligs Meyer 5M/6M Opinions?

b0b4444

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Hi b0b here, I think this is my first post (or at least my first in a long time), so forgive me if I do something incorrectly.

Anyway, I'm currently playing in my jazz band in High School and would like to purchase a good, possibly inexpensive mouthpiece. I heard the Meyer 5M/6M's were good, and I was wondering what your opinions were?
Also, what is the difference between the two? And are they good for high school jazz?

Thanks!
 

Dr G

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Hi b0b here, I think this is my first post (or at least my first in a long time), so forgive me if I do something incorrectly.

Anyway, I'm currently playing in my jazz band in High School and would like to purchase a good, possibly inexpensive mouthpiece. I heard the Meyer 5M/6M's were good, and I was wondering what your opinions were?
Also, what is the difference between the two? And are they good for high school jazz?

What's your experience level? What mouthpiece have you been playing on? What tip opening?

The difference between a 5M and 6M is the tip opening - but there is more than that going on with Meyer alto mouthpieces. You'll find that they are marked for tip opening/length of lay, and chamber size.

If you go with a 5M/6M, the medium chamber is good, so look for 6MM. For players that prefer a slightly larger tip opening, the smaller chamber gives the necessary balance, try the 7MS in that instance.

Yes, the Meyer is a solid tried and true mouthpiece for jazz on alto - not so much so for tenor players.

http://theowanne.com/knowledge/tip-opening-charts

Meyer alto 5 = .071"
Meyer alto 6 = .076"
Meyer alto 7 = .081"

Selmer C* = .067"
 
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Greg Strange

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I played on a Meyer 5M for many years - an excellent mouthpiece. Recently being play testing a CE Winds Five Spot Fusion Copper 6M mouthpiece which is their replica of a New York Meyer.

I think the Meyer tenor piece is very underated - an excellent piece for me if I want that Stan Getz vibe...hey Junior Cook and Jimmy Heath played Meyer tenor mouthpieces - they can't be that bad...

Greg S.
 

Dr G

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I think the Meyer tenor piece is very underated - an excellent piece for me if I want that Stan Getz vibe...hey Junior Cook and Jimmy Heath played Meyer tenor mouthpieces - they can't be that bad...

First I've heard of Jimmy Heath playing a Meyer on tenor - the more common lore is a Selmer D and, more recently, a Ron Coelho (RPC) .105.

I've tried 'em and rank them among the most stuffy sounding 'pieces I've played. I'd rather play a Soloist with a wad of cotton in it.
 

Ads

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Yeah but Greg plays the most Un-stuffy horns out there (Early 62s) so maybe thats why they work well for him ?
 

aldevis

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Hi b0b here, I think this is my first post (or at least my first in a long time), so forgive me if I do something incorrectly.

Anyway, I'm currently playing in my jazz band in High School and would like to purchase a good, possibly inexpensive mouthpiece. I heard the Meyer 5M/6M's were good, and I was wondering what your opinions were?
Also, what is the difference between the two? And are they good for high school jazz?

Thanks!

Hi Bob,
Meyer mouthpieces are a sort of industry standard on alto. 6M is more popular now, 5M was played by some great players.
The modern production lacks consistency, so always try before you buy.

There are other contemporary pieces inspired to the great Meyer of the past, and refacers that can put a modern Meyer in good playing conditions.
Pillinger, Morgan Fry and Phil Tone are the first that come to mind.

I am currently messing around with Ed Pillinger's copies of a great but smelly vintage Meyer 5m I was given. It is a great mouthpiece for legit big band sound. For soloist work I prefer wider facings, but still on the same kind of design.
 

b0b4444

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OK I see the difference now, thank you all. Are there any other mouthpieces (preferably inexpensive) that I should also look into?
 

Greg Strange

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Yeah but Greg plays the most Un-stuffy horns out there (Early 62s) so maybe thats why they work well for him ?

Dead right mate. What works for me may not necessary work for other people.

I think Yamahas are generally user friendly when it comes to most mouthpieces. Out of the dozen or so tenor mouthpieces I own, the one I do have trouble with is a Eugene Rousseau Studio Jazz 4 - SJ 4 hard rubber - which is kind of ironic since Dr. Rousseau was Yamaha's chief consultant for 40 years...

Currently playing vintage Brilhart Levelaire on the Walstein tenor and CE Winds "The Legend" on the Yamaha tenor...

P.S. I've being trying to upload a time line mouthpiece equipment list for Jimmy Heath - from 1967 to 2000 he used various Meyer mouthpieces - I'll have a go next week when time allows.

Cheers,

Greg S.
 

tzadik

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Remember that "vintage" Meyer had a different tip opening scale.

A Meyer NY 5M was open like a modern Meyer 7M.
 

nhmaf

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I alternate between a Meyer 7M and a Vandoren V5 A45 for jazz on my alto horns. I also have a Vandoren V5 A25 for classical stuff. I've a Saxgourmet hard rubber m/p that works pretty well, but not better than the Meyer or A45. I know several other alto sax players who all use Meyers in jazz/big band settings - tip openings and chamber sizes vary a bit depending on the player and experience, but I'd say a 5M or 6M should be OK for you if you keep up with regular practicing
 
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kevgermany

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You could also try the Selmer S80 and Soloist, they're good mouthpieces and can be found used at reasonable prices. My personal favourite for Alto is the old Brilhart Personaline, but unless you're lucky you'll pay a fortune.
 

Greg Strange

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Hamilton, Waikato, North Island, New Zealand
First I've heard of Jimmy Heath playing a Meyer on tenor - the more common lore is a Selmer D and, more recently, a Ron Coelho (RPC) .105.

I've tried 'em and rank them among the most stuffy sounding 'pieces I've played. I'd rather play a Soloist with a wad of cotton in it.

Jimmy Heath: 1954-1958: Otto Link Tonemaster (late model; proportional body and long shank). 1958-1960: 40’s and 50’s Duck Bill Berg Larsen 100/2. 1960-1967: hard rubber long shank Selmer H. 1967-1975: hard rubber Meyer Brothers 7. 1975-84: hard rubber Meyer NY7. 1984-1989: early Babbitt Meyer 7M. 1989-2000: hard rubber Meyer 7M. 2001: Ron Coelho 7.
Resource:- The History of Rock ‘n’ Roll Saxophone by John Laughter, Page 281.
 

Greg Strange

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Hamilton, Waikato, North Island, New Zealand
OK I see the difference now, thank you all. Are there any other mouthpieces (preferably inexpensive) that I should also look into?

I think we have all assumed you are playing an alto hence your question about Meyer 5M and 6M...anyway...other alto pieces worth investigating are...

Hard rubber Beechler 'diamond spot' M or S - S (small chamber) would give you a bit more snap, crackle and pop or try Rousseasu SJ (Studio Jazz) or Jazz (JDX)...

Greg S.
 

tzadik

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A bit more complicated than that...
My NY USA (I guess from the 60s) 5M is about .073", like a modern Link 5*
I am not sure how consistent they can be. Facing length is even more confusing.
http://www.dornpub.com/SaxjPDF/meyer.pdf

The 70's Meyer in chart from Ralph Morgan are already JJ Babbitt's Meyer.

Luckly I don't play any alto... so it's not a problem at all for me that vintage Meyers are closed than stamped. :)
For sure... Cannonball's sound is more like from a medium open piece than from a close piece (with a soft LaVoz).

Every alto player digs Cannonball's vibe!
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It's plenty of Meyer alternatives.
Just set a budget!
 

jthole

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258
Mouthpieces are very personal, but I second the Vandoren V16. Very well made, and with sound qualities that I loved.
 

TonyP

Member
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31
Hi all,
I have played Meyer 5M and then 6M on my Conn 6M alto and find them very forgiving and easy to play, so agree that they ought to do fine for a high school band player .
I've recently moved over to a Jody jazz HR 6, and find is like a Meyer to blow but with a bit of extra edge and body.
All these are with soft reeds, as I play small group jazz and don't need a massive edgy sound.
Just my two pennorth, (sp?)
Tonyp
 

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