Mouthpieces The Ideal Mouthpiece.

[Linky Lee]

Sorry for this, there seems to be a fair few threads on mouthpieces already.

I have noticed a trend that people seem to want mouthpieces as radical changes to their tone and to make different notes easier to achieve.

I'll agree a mouthpiece will change the tone, but more of a colourisation, and that some notes higher or lower may be easier to get, but that is most likely due to an embouchure change because of the new mouthpiece shape, or at loss of the other end.

What I'm gradually moving towards, is leaving very little down to the mouthpiece.
I want one that will enhance and colour my darker and warmer playing, but one that will still allow a lot of versatility and a consistent sound throughout all the registers.

At the moment on alto I like my Selmer S80 C*. I find that it gives me lots of dynamic range, lots of control, pitch bend, vibrato etc.
The one problem I have with it is that it is quite brash (in a reedy kind of way, but not a smooth reedy sound that I like) and doesn't support the high notes like my Ottolink STM does making them sound a bit thin.

I'm looking for something for my Tenor ( at the moment a Prelude by Conn-Selmer, remarkably good, but thin and clunky) that I can transfer across when I upgrade around late March (probably to a Yamaha YTS62, P. Mauriat System 76 or a Hanson SA-8-V).

I've looked at the Jody Jazz Classic, which has a spoiler function. I don't know how good these are but it sounds like if it works like they say it does would be very useful for live situations with the loud brass sections I always end up standing in front of.

The other is a Lebayle (a brand that has got me really excited recently) Ebonite jazz chamber, which won't have the volume the JJ is capable of, but adds a richer and a smoother timbre to the sound.

Have you guys got any other ideas on some mouthpieces to try. If I had the money I'd look at the RPC's that Pete uses, but I can't really go over ?150.

Metal is an option too.

I'd welcome your ideas on what you want out of a mouthpiece as well, it's always interesting to see the different approaches, to in effect the same product; that tone we hear inside of us and crave to create.

 

[mfox]

if you want my opinion there isn't a better mouthpiece than the one i use..metal yanagisawa 7.. its quite expensive but it blows just lovely..it has power, but you can make it whisper to almost inaudible levels. and most of all its comfortable..
i just happened across it by accident, i always have steered clear of yanagisawa saxes because i hate them, and i thought the MPs would also be cold hunks of iron.. but wow, i though i would always play dukoff MPs but i changed. and all my horns have them now, and whats nice is they all feel the same..

but now dukoff have a nice looking MP out i may just have a few sent to me to try them out..

 

[pauloalto]

What would be the difference between the Yanagisawa 7 metal and ebonite? (Other than price!) I'd probably be looking more at the 6 rather than the 7.

 

[Linky Lee]

This is quite a debate,
many people suggest a metal mouthpiece will let you play louder, many people obviously disagree with this, there are some extremely loud players who use ebonite mouthpieces.

When you use a metal mouthpiece on a saxophone I think the metal dampens slightly but I think gives a more focussed sound. I think this helps the projection and the cut, but isn't actually louder.
In my experience a metal mouthpiece can handle a bit more aggression, but they can suddenly cut off and go shrill, thin etc.

Ebonite mouthpieces I think give a wider reaching sound more suitable for blending in with other instruments, but They are also great for solo use, and when there's a mic around does it matter?

I'm gradually moving towards an ebonite preference, I fiddled with metal and it was great for some really raucous rock 'n' roll, and some effects seem to be enhanced more on metal, such as growling.

If you haven't played a metal mouthpiece, it will feel weird at first, and you may want a patch. Sometimes people squeak a bit on some notes, it's a very personal thing to do with getting your embouchure to work with a completely different mouthpiece.

Some people take to metal mouthpieces and hate ebonites, some never touch metal mouthpieces, but most of us dabble between the two. Unfortunately it seems that many people learn on and ebonite and then move to a metal mouthpiece because lots of other people do and there seems to be an opinion that metal = better.

I'd experiment yourself and see what conclusions you can draw.

My bit of personal experience is to steer well away from mouthpieces that drastically alter your sound, or you squeak too much on. I find it hinders you expression and control as you are having to use a slightly different embouchure to get the best out of the mouthpiece. Find one that suits your playing and gives way to your own tone control and expression.

 

[Bobby G]

Recommended to me a while back as a less expensive alternative to a metal mpc, the Vandoren Jumbo Java. I tried one, liked it, and bought it. Because it has quite a high baffle it really cuts through, and you can get it to wail, but also plays well sweet'n'low.

Cheers, Bob

 

[Saxlicker]

The 'purest sounding' mouthpiece I had, leaving me to do the work, having only experimented with metal tenor mouthpieces was a Guy Hawkins, relatively cheap and no frills. That said, somehow it never felt that rewarding. There are other mouthpieces that leave me with work to do, that give a rewarding feeling.

As I said, I have only really played around with metal on Tenor and on this basis would recommend the metal LeBayle (I think it had a jazz chamber) I sold mine because the lay was too close.
Good luck!

 

[robaldo]

Otto Link NY 6* (metal) on my tenor, bloody marvellous. A little burbly with very very low subtone, but will wail like a banshee if needed.

Phil Barone 6 (ebonite) on my alto. Beautifully smooth and gentle, but with quite an edgy projection if needed. It anything, is a little short on projection.

Both with Vandoren V16s.

Them's what I use, and I don't think I'll be bothering messing with owt else in the near future. (though I'm going to try some lig experimentation after trying Bob's)

 

[Dylan]

I've stuck with a Meyer 6M ebonite on my tenor for the last couple of years. For some reason they are mainly associated with altos - but i find it's perfect for me.

I picked it up second hand from Don Mackrills for about ?60 I think.

To be honest this is my first "proper" mouthpiece. I struggled for years on the pants stock one that came with my first horn. (I didnt realise you could get different ones ) Then my teacher lent me a fistfull of mouthpieces to try - from memory a metal Otto Link, metal Vandoren, ebonite Link and some other stuff.

i just preferred the Meyer. I still sounded like me, but the sound was much fuller and mellow - after a few weeks of it breaking me in. I really do not want to get in to chopping and changing mouthpieces - that way madness lies - and I think you just sound like you again eventually anyway. The secret is in the number of hours you put in.

The Meyer will subtone, play nice and mellow but will also deal with "bar walking" type noises.

I also switched reeds from Rico Royal to Vandoren Javas.

D