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M/Pieces - Ligs Tenor Mouthpieces...

MandyH

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I know this is a personal journey, and I will get almost as many responses as members on the forum, but here goes anyway.
My Tenor sax and I are finally getting it together! And with that in mind, I am feeling a case of GAS creeping in.

It came with a Yani 7 mouthpiece, which I couldn't play at the time, so I bought a Yamaha 5C.
I have been playing this with RICO Royal 2.5 reeds and seem to be getting on OK.

Following conversations with both my teacher and our sax repairer, I am wondering if I should now try something different.

I have tried the Yani 7 mpc again, with a RICO Royal 2 reeds and I seem to be able to play this fairly well now too.

I have a Selmer C* on my alto, and wondered about getting something similar for my Tenor, but the sax repairer suggested a Selmer D might be better for me.

I am not in a location to pop into a shop and try a load of mouthpieces, so I'm wondering what the benefits / differences of the D over the C* and indeed over the Yamaha 5C or Yani 7 are?

Any thoughts gratefully received.

If it's relevant, I have a BG super revelation lig on all 3 of my saxes.
 

aldevis

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For a few reasons, I usually recommend a Link-like mouthpiece, on tenor. It is not the easiest piece, but when you manage to control it it gives you big flexibility. I would guess (it's a guess) a 6 opening. The two models jumping to my mind are Pillinger NYT and Jodj Jazz HR. I am sure other member can find you cheaper options.

Selmers are usually easier to play in tune. I find Soloist and Super Session more interesting than SA80 or SA90. I don't know about their quality standards. Pillinger has a Soloist model, based on some piece from the 50s.
 

Saxlicker

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Pretty much what Aldevis says.
As you are getting on better with the Yanigisawa now, I think the Jody Jazz HR is a good choice too, going no bigger than the 7*.
Also I tend to agree with Aldevis on a link style piece and he makes a point that 6 (or maybe 6*) would be appropriate. For what ever reason I find smaller links are easier to handle (which isn't necessarily an issue with other pieces I try) but I think they remain every bit as flexible and this goes metal.
For me there is a distinct difference between the hard rubber and metal player feedback and I have had poor experiences with the 'lake behind the baffle' on standard tone edges but many 'New Vintage slants' on the used market and these play much better for me.
There are of course many many copies or similar pieces out there - so much to decide.
 
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kevgermany

ex Landrover Nut
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I've been trhough a few tenor pieces...

Claude Lakey - Harsh, haven't plyed it for ages, should sell
Rico Metallite 7 - Raunchy/harsh, loud, easy to play
Rico Royal 5 - easy to play, smooth.
Morgan Fry Floridated STM Link 7* - super control, really easy to play. flexible around the link core, not stuffy.
PPT 8* - Edgier than the MF Link. Prone to squeaks if you're not really careful with reed/lig placement and embouchure. Brilliant control/flexibility and a wonderful sound. Not as easy to play as the MF Link, comparison I'd use is sports car vs tourer.

I really like the Selmer soloist on alto(even if a Morgan 7L is my primary piece), haven't tried one on tenor.

On the Selmers, Aldevis has alluded to it, but you need to specify which model, they have a few, all using letters for tip sizes. C* and D are simply tip openings, D being bigger than C*. Check out the facing charts on line to get an idea of actual tip sizes. The S80 is fairly bland - good for orchestral work. Soloist has more character, to me warmer at the bottom and edgier than the S80, but that's on alto. I've a Pillinger soloist for alto. Virtually the same as the modern soloist. Probably not worth the premium, unless you expect Selmer mouthpiece QC to be bad and want to save the hassle of possible returns.
 

Justin Chune

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3,011
I bought my tenor from a friend when he retired and it came with a Selmer Soloist C**. He always sounded great and I have stayed with that mouthpiece ever since. I think Selmer mouthpieces open up in increments of five thousandths of an inch.

Jim.
 

MandyH

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For a few reasons, I usually recommend a Link-like mouthpiece, on tenor....
When you say "Link-like" are you talking of a metal mouthpiece? The only Link I am aware of is the Otto link, but I am no expert on mouthpieces.

And my alto mpc is a Selmer S80 C*, I was thinking of the Selmer soloist D for the tenor.

Thanks for the information so far.
 

aldevis

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When you say "Link-like" are you talking of a metal mouthpiece? The only Link I am aware of is the Otto link, but I am no expert on mouthpieces.

And my alto mpc is a Selmer S80 C*, I was thinking of the Selmer soloist D for the tenor.

Thanks for the information so far.
I am thinking of hard rubber mouthpieces with a design similar to Otto Link. Metal Link are excellent if you find the right one, but it is a very hard task. Morgan Fry succeeded in making a wonderful metal piece in that direction, but with quite a high price tag.

Selmer Soloist D is quite a comfortable piece, but it is not for me. Professionals using that piece usually have a vintage one or a replica.
 

jonf

Well-Known Member
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3,680
You've aready got a good tenor piece. Yani 7 hard rubber mouthpieces are very high quality, and controllable, easy to play. I'd suggest you stick with it. I personally think they're better than Selmer C*/D S80 types or Otto Link HR. I find both the latter tend towards dullness. So I'd say give the Yani a protracted play, say three or four months before changing.
 

Andrew Sanders

Northern Commissioner for Caslm
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2,773
Mandy,
I've played a Yani 7 HR for years and have only recently bought one of Pete's Onyxite PPT's.
I still go back to the Yani as I like it's feel and sound. I'd say stick with it and it will do you proud.
Not saying that I prefer it to the PPT but it is a nice piece.
Andy
 

TomMapfumo

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5,219
Phil-Tone Eclipse, Phil-Tone Equinox, Mouthpiece Cafe House Blend, Mouthpiece Cafe Espresso, Saxscape Naima - all awesome. No competition!
 

Jobylou

Member
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322
Hi Mandy
I have gone through a similar mouthpiece journey on Tenor, strted on a Yamaha 5C, then a Selmer Soloist C**, a Jody Jazz HR 6* and settled (for now!) on a Vandoren T45. It is an expensive jouney, lol
I think different mouthpieces work well for different people and it is down to the individual. I have found reed and ligature placement can make such a difference.
Anyway the Soloist and JJ mouthpieces are just sat doing nothing at the moment so you would be most welcome to borrow them and see how you got on with them if that would be any help to you?
Best Wishes
Jo
 

aldevis

Surrealist Contributor.
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Phil-Tone Eclipse, Phil-Tone Equinox, Mouthpiece Cafe House Blend, Mouthpiece Cafe Espresso, Saxscape Naima - all awesome. No competition!
Tom, do you find all those fine pieces in the UK or do you have to run the risks of importing from oversea?
 

TomMapfumo

Well-Known Member
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5,219
The first two can be found in South Wales - http://www.woodwindsalesandrepairs.com/mouthpiecesales.html . All the others have either come from Sax On The Web used purchases (cost about £120 or so) or from the US via a friend - all without import charges.

Dick, Phil, Brian, Erik and Ken are all great to deal with. The first two can be tried before purchasing. For three years all my US direct purchases have not incurred any import charges.

Kind regards
Tom.

If you like the Selmer Soloist then do try an Espresso!
 

tzadik

Member
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356
@MandyH: are you into classical playing? Do you use a classical embrochure?
 
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MandyH

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@MandyH: are you into classical playing? Do you use a classical embrochure?
Out of choice, no! But I do also play classical as the ensembles that I play in also play some classical pieces. I would prefer Jazz /Swing / Blues.

And what defines a classical embouchure?
 

aldevis

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And what defines a classical embouchure?
Here I am! With my brand new tin hat and my electric can opener, for the well known Campbell Canned Worms.

A classical embochure is that kind of embochure where you have one position for all the notes and the sound has to be as homogenous as possible
A jazz embochure, is that kind of embochure in which differences among register are considered "colours" and you can use the natural flexibility of the saxophone to enlarge your tone palette.
 

MandyH

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Here I am! With my brand new tin hat and my electric can opener, for the well known Campbell Canned Worms.

A classical embochure is that kind of embochure where you have one position for all the notes and the sound has to be as homogenous as possible
A jazz embochure, is that kind of embochure in which differences among register are considered "colours" and you can use the natural flexibility of the saxophone to enlarge your tone palette.
Hmmm....that doesn't really help! Where should my lips be, exactly??
 

aldevis

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Hmmm....that doesn't really help! Where should my lips be, exactly??
Where they usually are, but in the jazz way, feel free to move them, in classical way, work out the one and only position to make all the notes sound with the same timbre.

Once upon a time, classical players had both upper and lower lip covering their teeth, jazzers only the bottom one. Luckiy nowadays this has changed.

Please note the politeness of my reply to a question that could have given space to some easy double entendre. KevGermany will be impressed.
 
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