Mouthpieces Why (or why not) PPT mouthpieces?

[mizmar]

A mouthpiece that is pretty is way down on my priority list.
I too like to follow my own path but wouldn't ignore a piece of gear just because every other player used it.

Low on my priority list also. Not because I like to follow my own path; I'm just not up to following a proper path. In this case, my ears are rubbish! I listen to the "10 mouthpieces compared" YouTubes and reviews etc. and just can't quite get into focus what people are hearing. Also the variation between reeds and/or my mood moves me between bright/smokey; resistant/free blowing... More than enough! So I stick to my 6C.

if someone brought out a range of well made, plastic MPs with a variety of features (big, small, square, round, long, short, high, low) at €$30-40 a pop, maybe I'd experiment... The closest to that are tip-openings 4C, 5C etc.

 

[jazzdoh]

Low on my priority list also. Not because I like to follow my own path; I'm just not up to following a proper path. In this case, my ears are rubbish! I listen to the "10 mouthpieces compared" YouTubes and reviews etc. and just can't quite get into focus what people are hearing. Also the variation between reeds and/or my mood moves me between bright/smokey; resistant/free blowing... More than enough! So I stick to my 6C.

if someone brought out a range of well made, plastic MPs with a variety of features (big, small, square, round, long, short, high, low) at €$30-40 a pop, maybe I'd experiment...

I think if at this moment stick with what works for you, it's not good buying gear if you can't decide the path you want to take and you are not sure what will work better, but that will come in time, your ears will get better and then after a number of years like with me they could get worse due to age.

 

[mizmar]

I think if at this moment stick with what works for you, it's not good buying gear if you can't decide the path you want to take and you are not sure what will work better, but that will come in time, your ears will get better and then after a number of years like with me they could get worse due to age.

Could be fun, given I started age 55, my ears will get better and deteriorate simultaneously!

But, really, if MPs could be manufactured at the consistency of the 4C class jobbies but a variety of specialisations. Each would come with a bit of paper describing the worlds wisdom "this is long facing, people tend to do this and that"

 

[saxyjt]

Low on my priority list also. Not because I like to follow my own path; I'm just not up to following a proper path. In this case, my ears are rubbish! I listen to the "10 mouthpieces compared" YouTubes and reviews etc. and just can't quite get into focus what people are hearing. Also the variation between reeds and/or my mood moves me between bright/smokey; resistant/free blowing... More than enough! So I stick to my 6C.

if someone brought out a range of well made, plastic MPs with a variety of features (big, small, square, round, long, short, high, low) at €$30-40 a pop, maybe I'd experiment... The closest to that are tip-openings 4C, 5C etc.

None of those descriptives will do you any good. Whatever the price, YOU need to TRY and FEEL what's right for YOU.

That's why passarounds are great. They give you a chance to try and feel for yourself. It may require a bit more than a quick taste to actually adopt a mouthpiece.

I didn't get along with the PPT alto piece I bought at first. Most likely because I didn't play alto that much then. But the more I played it, the better it became, compared with all the others I already have...

 

[David Dorning]

A key test for me is my wife's reaction

There seem to be many variables in choosing the ideal mouthpiece. From where I’m standing Mrs D’s reaction would be a variable too far.

 

[mizmar]

YOU need to TRY and FEEL what's right for YOU.

How is that contradicted by MY post
My whole point is to be able to cop a feel of various options before making a commitment.

That's why passarounds are great

For one MP of one style. And, we're told time and again, it can take many many hours of playing to get the FEEL and technique for a given piece. That's fine for someone already in the deep and of mouthpieces... But not for the less experienced, surely.

 

[Wonko]

Thanks David, one mystery cleared up.

(I have played a few 'W' facings and my personal take is that it can occasionally cause reed problems if you prefer to put less mouthpiece in (the very long facing can tend to choke if the reed flattens onto the facing at the table-end, effectively making it a 'short' facing).

Not sure if I understand this.
Do you mean that this happens when the reed gets slightly bent and takes the shape of the facing?

 

[David Roach]

Thanks David, one mystery cleared up.

Not sure if I understand this.
Do you mean that this happens when the reed gets slightly bent and takes the shape of the facing?

Very occasionally, I have found a very long facing - which can be beautiful to blow on initially - to lock up with certain reeds in certain circumstances. This is by no means universal to all long facings, it's just something I have become wary of over the years. I have had this problem with Theo Wanne's pieces, and unsurprisingly, some Berg Larsens. It's very tempting for a mouthpiece maker to make a very long facing which will play amazingly 'in the shop', but start to freeze when the reed bends onto the facing out in the real world
But, this is just my experience of a couple of embarrassing moments on gigs when I picked up the tenor and the reed choked; plus a few times at home on certain mouthpieces. It's by no means a criticism of all long facings, though: on the whole, a big tip needs a long facing to be playable. It may be that a closer tip (7* and less) with a long facing is more susceptible.
YMMV.

 

[fabriziodalisera]

Hello @Pete Thomas I was not interested because I didn't know many things about PPT mouthpieces.
Here is what I believed
1 They were only made up of resin, onixite, maybe?
Honestly I don't want to be snobbish, but I don't like resin. I tried some resin mouthpieces in the past, some of them were nice, but I feel some kind of plastic also into their sound, but maybe it's just me.
The best material for me is hard rubber, if a mouthpiece is not made up of hard rubber I am not intersted. (I used to play metal mouthpieces back in the days, but then I quit metal...)
2 I didn't know that they were made by Ed Pillinger, He is an expert refacer, many friends of mine told me that his works are great.
3 I believed that the baritone mouthpieces were high baffled models. I like to play low baffle mouthpiece with a medium hard reed (3,5 rico or Vandoren blue 3), this set up works well for me since when I want to have volume I can push a lot of air to get it but the sound remanins full and doesn't get buzzy and harsh. (I like a dark sound).

So maybe I could be interested in the baritone signature, though I feel that trying it first could be very difficult due to the Corona virus!

 

[Pete Thomas]

1 They were only made up of resin, onixite, maybe?

Yes they are a resin composite. Ed went through a long process of testing many different resins to end up with what he found aacceptable, bith acoustically and in regard to (lack of) toxicity.

The PPT material is a composite, and contains a mixture of stone or bronze. This gives the material a much more solid feel as it is denser. (Same density as grenadilla wood, by design). Ed's reserach has found that the only part of a mouthpiece where the material may affect the sound is the very tip, hence some HR will sound different to metal (but only where no high baffle is involved)

2 I didn't know that they were made by Ed Pillinger,

Indeed, the master himself.

3 I believed that the baritone mouthpieces were high baffled models.

Originally they were based on the famous best Slant Sig Link in the world but with a baffle. The signature is now a more or less exact clone of that Slant.

 

[CliveMA]

I presume that your wife is a player too.

My wife is a lover of music, but not a saxophonist. My wife does not play any musical instrument. However, I believe she has a good ear and a natural talent for music. Better than I have.

 

[CliveMA]

A mouthpiece that is pretty is way down on my priority list.
I too like to follow my own path but wouldn't ignore a piece of gear just because every other player used it.

Marketing 101: the market for a pretty mouthpiece is necessarily bigger than the marketplace for the exact same mouthpiece without the prettiness. All else being equal (cost), it should be a no brainer to always make things you want to sell as pretty as cost allows.

I ignore PPTs because the sound samples don't intrigue me. The observation that many people here play them does intrigue me. Maybe there's something in the water... Birds of a feather...

 

[CliveMA]

There seem to be many variables in choosing the ideal mouthpiece. From where I’m standing Mrs D’s reaction would be a variable too far.

My wife has a sensitive ear, often noticing elements I miss. I tend to get absorbed by emotion and miss the musical. My wife is extremely details-oriented. I value her opinion greatly.

 

[CliveMA]

If a prospect wanted to trial a PPT mouthpiece how do they do that if they reside in Australia?

Are the T&C's of a trial prominent on the PPT Webpages?

 

[Cimarron]

Every once in awhile (maybe every five years or so) I like to post a marketing thread, I think that’s fair enough isn’t it?

First thanks to all you PPT players, all the money we make helps to keep the forum alive and of course goes towards our fund to help special needs music education.

But also I do sincerely believe these are stunningly great mouthpieces.

So here’s a little market research, please let us know your thoughts, maybe we could do a pass around

Five years is up. Time for another marketing thread. I can say this of recent PPT Tenor Mouthpieces. I sold a 8* because I wanted the Onyxite version another 8* and they are exactly the same to play and sound the same. I made several recordings of the one I sold so I could compare. PPT is my main piece so the Retro Revival Stubby is on standby as well as the Vintage Rovner Deep V 12. Recently the PPT has expelled a Barone Hollywood, Lamberson DD, Otto Link EB, Vintage Berg HR. No to focus without gear issues

 

[cappers]

My intial thoughts as the thread has been revived......

Bought a PPT alto (5) last week after discussion with Pete Thomas. Beautifully made and looks good. Put it on my YAS-25 and found it difficult to blow and was overtoning the low notes 🙁Assumed it was me not having played the alto for a year and the new mpc.

With daily practise it got better but still problems with the bell key notes. Tried #2.5 & #2 reeds but settled on #1.5. The original 4C which hadn't given me any problems was the same as the PPT, squealing low notes! So I checked the horn with the leak light which showed leaks from A, G and G# No wonder it sounds off!

However, the other notes are rich and full and the mpc is very responsive to breath support, embouchure and voicing, and I can hear its potential. I find it a bit brighter (sparklier, more resonant?) than I am used to after the 4C and tenor mpcs but it seems 'right' for the alto.
I think this is a lovely mpc and I'm sure I'll 'grow' into it.

Booked the alto in for a service and hope this will sort out any issues. I'll update once it's been seen.

 

[Jimmymack]

I'm interested but I want to try first. It's a shame that the recent(ish) pass around didn't happen otherwise I might have one
by now.

 

[Pete Thomas]

I'm interested but I want to try first. It's a shame that the recent(ish) pass around didn't happen otherwise I might have one
by now.

Well there is a returns policy. Things may change but I decided to keep the prices of the mouthpiece down as opposed to marketing and higher product price. We cannot mass produce which has an effect on marketing.

 

[r. giuseppe]

I play a PPT Signature on my Conn 12M Bari. It’s my “bright” piece for loud bands and funky stuff. It’s terrific with plenty of power and replaced a Berg for that purpose. Nice sound, edgy when needed and quick and punchy response.
I don’t get along with brighter pieces (on all sizes), everything above a Berg 2 chamber just destroys glass…
And for most stuff I play a darker piece (customized by Phil Engleman, also terrific).

I started measuring mouthpieces and experimenting with refacing as a hobby myself and I have to say that my PPT is flawless work. Absolutely perfect table and perfect symmetrical rails.

I’d probably try more PPTs, but the customs process from GB to EU was so painful (2022 or 2023). I waited weeks and then had to travel to pick it up personally with the correct import declaration forms, quite a hassle. Does anyone know if this got better? Is there an option to improve this from the seller side, e.g. by chosing certain logistic partners? When ordering something abroad on eBay I often pay customs fees and taxes right with the purchase and just get the delivery. In other instances I got an email and customs payment options before delivery.

 

[Cimarron]

Every once in awhile (maybe every five years or so) I like to post a marketing thread, I think that’s fair enough isn’t it?

First thanks to all you PPT players, all the money we make helps to keep the forum alive and of course goes towards our fund to help special needs music education.

But also I do sincerely believe these are stunningly great mouthpieces.

So here’s a little market research, please let us know your thoughts, maybe we could do a pass around

Well there is a returns policy. Things may change but I decided to keep the prices of the mouthpiece down as opposed to marketing and higher product price. We cannot mass produce which has an effect on marketing.

I play a PPT Signature on my Conn 12M Bari. It’s my “bright” piece for loud bands and funky stuff. It’s terrific with plenty of power and replaced a Berg for that purpose. Nice sound, edgy when needed and quick and punchy response.
I don’t get along with brighter pieces (on all sizes), everything above a Berg 2 chamber just destroys glass…
And for most stuff I play a darker piece (customized by Phil Engleman, also terrific).

I started measuring mouthpieces and experimenting with refacing as a hobby myself and I have to say that my PPT is flawless work. Absolutely perfect table and perfect symmetrical rails.

I’d probably try more PPTs, but the customs process from GB to EU was so painful (2022 or 2023). I waited weeks and then had to travel to pick it up personally with the correct import declaration forms, quite a hassle. Does anyone know if this got better? Is there an option to improve this from the seller side, e.g. by chosing certain logistic partners? When ordering something abroad on eBay I often pay customs fees and taxes right with the purchase and just get the delivery. In other instances I got an email and customs payment options before delivery.

I played on three different PPT Onyxie baritone pieces, one had some issues, maybe some one monkey’d with it