[Tisem]

Hey everyone,

I've been looking around for a new tenor mp. My axe is a Selmer La Voix with lots of copper in the body, so it's already got a darker and warmer sound than most saxes. But I'm looking to advance that. I want something that's dark, warm, and rich.

Also, a metal mouthpiece with an almost sweet soprano sound in the higher registers.

Any Suggestions?


PS: While I'm hear, I might as well ask about a BC mp.

What would be a good Bass Clarinet mp the give a full, reedy, dark, earthy sound that doesn't sound shrill, hollow, and weak in the upper registers?

PPS: Is there such thing as a Metal BC mp?


Thanks in advance,
Tisem

 

[NatureColor]

For Tenor I wouldn't get too dark so it sounds like a Bari. I'm assuming that u want it dark for classical music, right? If it is.. you should aim to sound vibrant similar to a cello, so a DARK DARK Rasher with rovner might be alittle too much.. Not really sure how dark they are though. But I'd just try a selmer soloist preferably vintage, normal C*, or if u want a different tone try a Vandoren mouthpiece

 

[HeavyWeather77]

If you're looking for a dark jazz mpc, try a JodyJazz HR*, maybe a 7* or 8. These are excellent quality mouthpieces, probably the best you can get in that price range. They're dark but have definition and color to the sound.

 

[LampLight]

Assuming you mean tenor:

- Saxscape Uptown BG or Uptown Extra Dark.
- MouthPiece Cafe Soloist Espresso: This is a brand new piece just hitting the street now, but it comes from very reputable people
- Phil Barone Jazz: These are pricey and hard to find now, but they are dark.

There are others, too.

 

[Native New Yorker]

If you're looking for a dark jazz mpc, try a JodyJazz HR*, maybe a 7* or 8. These are excellent quality mouthpieces, probably the best you can get in that price range. They're dark but have definition and color to the sound.

I agree. I played a no. 7 Jody Jazz HR when I was playing tenor more. Still have it. Now I play mainly alto and I play a JJ HR no. 6. Its a sweet mouthpiece. Easy to blow and is dynamic in the sound. It's full, fat and projecting. I use Alexander Superial no. 3 reeds.

 

[bkiser]

Depending on what openings you prefer, you might be able to get a good deal on a B&S 6 hard rubber piece. These came with most of the B&S stencil tenors. The one I have seems very well made, blows consistently throughout the range of the horn, and produces a dark, smooth sound. Its just too closed for me, but a good enough piece that I am keeping it.

 

[Roger Aldridge]

Tisem,

This is my kind of tenor sound too.

Based on what you are looking for, I have two suggestions depending upon the tip opening you're comfortable with: Morgan 6C and Lamberson J. Both of them have a big, fat, dark, projecting, vibrant sound and (to my mind) a somewhat similar design concept with very little baffle, big chamber, and an expert facing. For me the Morgan 6C is a perfect point of balance between control and power. I use this mouthpiece for all of my tenor work. If I didn't play a 6C I'd probably use a Lamberson. If you're interested in the Morgan 6C you'll need to contact junkdude.com. To my best knowledge, it's the only place that sells this model. It used to be a custom order that Ralph Morgan would make. Happily, the 6C is now included in the selection box for classical Morgan tenor mouthpieces on the Junk Dude site.

You also might consider asking Junk Dude if a 6C can be made for your soprano. This would be a custom order. It's the very best soprano mouthpiece I ever played -- especially, in wanting a big, dark, clear soprano sound.

My bass clarinet suggestion is a Walter Grabner LB mouthpiece. It's everything I've wanted on bass clarinet: a beautiful full, dark, projecting sound and mind blowing ease of response. Clark Fobes also makes fine bass clarinet mouthpieces. Personally, I don't think you can go wrong with either a Grabner or a Fobes.

Good luck!

Roger

 

[mlscnr]

Try Otto Links for all these horns. Rubber for the tenor and bass clarinet, metal for the soprano.

 

[garyjones]

an interesting mouthpiece for those horns that sound good with rubber mouthpieces is old selmer soloist mouthpieces short from the 50s or long shank from the 60s. most of them came with horns and are c* so they have to be opened up and given a modern link like facing curve. they don't have to be opened up as much as you would think to sound good. even like .085 or something can sound really really big and bold and loud and clear but at the same be very darkish.

 

[GAS_Wyo]

Try Otto Links for all these horns. Rubber for the tenor and bass clarinet, metal for the soprano.

I agree. Otto Link Tone Edge 6* through 8 are very dark, but have very little projection.

The Jody Jazz dark suggested above sounds like a good idea to me.

 

[Mr. Sax]

The Springer Rollover is a great choice, and it won't put a dent in your pocket.

 

[J.Max]

Are you looking for a classical sound or jazz sound?

 

[dstack79]

Assuming you mean tenor:

- Phil Barone Jazz: These are pricey and hard to find now, but they are dark.

The rubber Barone tenor mpc he's referring to is actually called the "Vintage" model.

I also have and recommend this piece. It can be played very loudly but retains a dark sound w/ some overtones.

-Dan

 

[Tisem]

Are you looking for a classical sound or jazz sound?

I looking for a fairly flexible moutyhpiece. Whereas I personally don't prefer a bright sounding tenor in jazz, I'm looking for both, but one suiting both genres would be nice.

BTW: Would a place such as Sam Ash be a good place to look for mouthpieces? If so, would it be Taboo if I were to ask to try them out?

 

[Turnaround]

I have a B&S tenor that has been unbelievably dark with just about every piece I've tried. Even a super high baffle Lamberson. It has been very discouraging because I bought this horn as my main gigging horn in hope that I would not have to take my much more valuable Silversonic out. I tried just about everything and was very ready to sell the B&S until I got a Freddie Gregory Mark II. It's a dark piece but has a "zing" that brought the B&S to life. Make the whole horn vibrate in my hands. I can take the sound to any place I want. Dark and muffled to in your face rock and roll. I thought pieces like this where more hype than truth.

 

[Roger Aldridge]

Tisem,

You've received a lot of good suggestions. The bottom line, I think, is you need to try a selection of mouthpieces and see which one really goes it for you. There are many subtle and not-so-subtle differences in the mouthpieces suggested on this thread. It comes down to the particular quality of sound you're after. Only you know for sure.

As an example....

This morning I dusted off my Morgan 6EL (large chamber Excalibur) tenor mouthpiece and played on it for a while. It's a GREAT mouthpiece (Ralph Morgan told me it's based on a very early Link) and I sound good with it. However, to my ears certain things were missing from my sound. It didn't have enough "bottom"....like a tuba or bass trombone missing from an ensemble. Also, it didn't sound fat enough. I then switched over to my Morgan 6C and everything I want in my sound was right there.

Therefore, it's not a matter of one mouthpiece being "better" than another. It comes down to which mouthpiece is the closest match for our tonal conception of the tenor saxophone.

Good luck on your search! Please let us know where you come out.

PS, one thing to keep in mind (if you don't know already) is tenor mouthpieces need to have around a .15 larger tip opening than a comparable facing size for alto mouthpieces. Thus, as an example, if you're going to try a Selmer tenor mouthpiece try D instead of C* as the C* facing on tenor is smaller IN RELATION to a C* on alto. This is a mistake some band directors make. They recommend a C* for alto and automatically think a C* is comparable on tenor. Nope! A D is actually closer on tenor to what a C* is on alto. Selmer is strange in this way. Many other mouthpiece makers have approximately a .15 difference between the same facing number on tenor and alto.

Roger

 

[J.Max]

I looking for a fairly flexible moutyhpiece. Whereas I personally don't prefer a bright sounding tenor in jazz, I'm looking for both, but one suiting both genres would be nice.

BTW: Would a place such as Sam Ash be a good place to look for mouthpieces? If so, would it be Taboo if I were to ask to try them out?

It's tough, IMO, to get one piece that suits both genres...the only two I can think of that are close are the Hite Artist and the Selmer Soloist, in around a D or E facing. (The older "short shank" models are preferable to the current ones.) The Morgan 6C would be a good choice too, but there aren't very many of those around and you can't get new ones any more for obvious reasons.

 

[Roger Aldridge]

J Max,

Brian and Erik have continued making Morgan mouthpieces. If one is interested in a 6C contact Junk Dude and order one. Thank God that Ralph trained Brian and Erik! They are great guys. They recently did superb work in making some adjustments to my back up 6C.

Roger

 

[Al Stevens]

When I want a dark sound on tenor, I use one of two pieces: A Barone Jazz 8if I need projection and a Tenney slant signature HR Link 7* for a small room. (You can buy a used car in running condition for what those two pieces cost.)

 

[cleger]

I looking for a fairly flexible moutyhpiece. Whereas I personally don't prefer a bright sounding tenor in jazz, I'm looking for both, but one suiting both genres would be nice.

BTW: Would a place such as Sam Ash be a good place to look for mouthpieces? If so, would it be Taboo if I were to ask to try them out?

The Lamberson J mouthpieces mentioned earlier in the thread are a very flexible piece. I don't play classical and the J wouldn't be ideal for that setting, but with practice I'm sure it would be serviceable. It really shines in a jazz setting though.