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SYOS

M/Pieces - Ligs Mouthpiece Comparison Request

Which of these mouthpieces has the best sound?

  • 1

    Votes: 1 11.1%
  • 2

    Votes: 1 11.1%
  • 3

    Votes: 5 55.6%
  • 4

    Votes: 1 11.1%
  • 5 (Hint: there is no 5)

    Votes: 1 11.1%

  • Total voters
    9

Halfers

Finger Flapper
Subscriber
Messages
1,800
I am not arguing or defending your point or Colin's. Every human being is watching a different movie, and that never changes. It is the way we're built. We each experience a different set of "realities". And then there are exceptions that sometimes prove the rule.
No, I get it. And as I said in my response, comments are not to dissuade (not that I'd be so arrogant to think they would ;)) your trying of toys. Of course the feel of a piece is important and will be different between varying designs.

I guess my 'reality' is that I've "progressed" from a 4C, to a Kanee, to a PPT. The move from the 4C (after about a Year of playing) was simply because it wouldn't take enough air for playing over a noisy band. The Kanee (used for about 8 Months) was much better but lacked a bit of 'cut'. The PPT (played for about a Year and still using) pretty much suits all of my needs although actually, I'm not playing live at the moment. During those periods of time I just used the one mouthpiece exclusively, so I guess you can call me a serial mouthpiece monogamist :)
 
OP
randulo

randulo

Playing alto 2.25 years
Subscriber
Messages
3,754
serial mouthpiece monogamist
You and a lot of the players we all look up to! Until a manufacturer offers to make them a signature mouthpiece ;)
Yes, loudness and brightness are important when playing with people or in some rooms more than others.
 

CliveMA

Member
Messages
133
I'm late to your party but I feel the thread lacks context. You asked us to listen without context so everyone answered according to their own subjective taste. IMHO, given the feedback is subjective and out of context the advice is of doubtful practical value.

Instead, what is your concept of the sound you are looking for? Compared to this ideal, which recording do you prefer (taking into account ease of play, reed life, intonation throughout the horn on that combo etc, maybe cost if important to you)?

Why should anything except your own evaluation matter? Trust yourself. Trust your own musical soul.

You sound uniformly pretty good to me with the qualification that the subject music is too narrow a tonal range, and too narrow in dynamics and articulation demands to be a comprehensive mouthpiece test. I would have preferred more long tones, more staccato, some subtones or at least pp to ff full tones and to have played the full range from B flat to high F.

Clive
P.S. For context, I like Stravinski but I don't like Coltrane (any Coltrane!). I like Dexter Gordon, Stan Getz, Paul Desmond, Walter Beasley, Joshua Redmond, Scott Hamilton. I prefer slow Cool Jazz and romantic Ballads.
 
OP
randulo

randulo

Playing alto 2.25 years
Subscriber
Messages
3,754
Why should anything except your own evaluation matter? Trust yourself. Trust your own musical soul.
I agree with everything you say, including the above. It's a phase I was passing through as I do have an absurd number of mouthpieces. I'm now concentrated on two of them. One is much louder and brighter (aka the funk and loud blues one) one is sweeter (aka ballads and more sentimental blues). I mostly play the Syos. Every time I try one of the others, the result isn't shockingly different. In fact, I think I may have said early on that the post came from a fear that my hearing was not picking up the differences. I know I do not hear the high end nuances.

Now my confusion investigation has passed from mouthpieces to reeds. I have an unreasonable number of different strengths (2, 2.5, 3, 3.5) and types, but I've settled on a few. In cane, it's 2.5 or 2. But in synthetic or coated, 3 is easily just as comfortable. I have one synthetic so sensitive, you can almost just look at it and there's already a note coming out. It takes less than half the air to make a loud sound. WHether I like that sound is a different question.
I have different wet boxes (like ReedJuvenators) and go to the reeds I've marked as best. However, yesterday, I was using a few others kept in those boxes marked less good. I noticed something important:
Starting with a reed that sounds or feels less good, I've noticed that if I play a few more minutes, those differences seem to be compensated by embouchure and breathing.

BTW Clive, go check out the March Ballad of the Month!
 

CliveMA

Member
Messages
133
However, yesterday, I was using a few others kept in those boxes marked less good. I noticed something important:
Starting with a reed that sounds or feels less good, I've noticed that if I play a few more minutes, those differences seem to be compensated by embouchure and breathing.
I think you have your reed answer.

BTW, have you looked into Nura Headphones to help you hear as well as possible?
 

CliveMA

Member
Messages
133
OMG, what if I spend 400€ to find out my sound sucks! Better not to know.
I'd think of Nura as a learning opportunity. What if your sound sucks only because you can't hear it well enough to make improvements based on what you hear?

With optimal feedback from Nura Headphones you might improve your sound significantly. And save 400+ euros on not buying extra mouthpieces and reed brands and strengths. :)
 
OP
randulo

randulo

Playing alto 2.25 years
Subscriber
Messages
3,754
This whole business started because I wondered if there's not a lot of treble (highs) in most ranges. I used to use a lot of EQ to remove that, but now I think it may be a part of what the alto sounds like. I feel I need to keep working, and yes, I stick to one mouthpiece now, with an occasional foray into a different one to see how comfortable it is and how the sound differs.

In the test that started this post, I played several mouthpieces that I would never use, I just have them because they came with the instrument or I bought them with my first rental and their openings are too small. Then there are two that I test occasionally, but do not find incredibly significant or interesting. Then there's the 4C that came with the instrument, which stays in the case for emergency backup (if I ever play out, which is unfortunately too rare at the moment). As with any "test" experiment, there's no perfect way to do this as a human. I think the comment of @georgesax above is probably accurate in that if we used the same recordings with the order switched, the "votes" might be different! Humans on both sides of the experiment; what could possibly go wrong? :)
 
Last edited:
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