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Discussion Starter #1
I have recently switched from a Yamaha 62 to a Selmer Super Action 80 Series II, and I have additionally switched mouthpieces. With the Yamaha, I had been using a Rousseau 4R, and with the Selmer, I'm using a C*. These mouthpieces are supposed to work better with these horns. While I do have to adjust to the saxophone, I find I'm having more trouble adjusting to the mouthpiece. I'm not as able to easily get a good tone (particularly on lower notes), and my vibrato isn't working very well. Sometimes I can feel air escaping above my lower lip, but I'm experiencing that less and less. Does anyone have advice about what I can practice to get used to a new mouthpiece or what I can do to adjust to this particular mouthpiece?
 

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Practice Long Tones. Experiment with different reed brands, and strengths. Going to a completely different setup, that is saxophone AND mouthpiece, will take a considerable amount of time to completely adjust.

Make sure that your horn is in top notch condition...that is NO leaks.
 

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Why can you not use the Rousseau on the Serie II? It should work fine.
 

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It does work fine, but Selmer saxophones are supposed to work best with Selmer mouthpieces because that's what they're tested with. Yamahas are supposed to work best with Rousseaus. I used to use the C* on my Yamaha before I was told that, but then I got used to the Rousseau and now I have to adjust to the C* again. Adjusting to the Rousseau, I did at first have similar problems, but it did end up being better, at least for that saxophone.
 

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It does work fine, but Selmer saxophones are supposed to work best with Selmer mouthpieces because that's what they're tested with.
That's just not true. I played Selmer tenors for more than 30 years, and seldom (edit: make that "never") preferred a Selmer mouthpiece. For classical, I use a Morgan 6C but there's no good reason not to keep using a mouthpiece that works well for you.
 

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It does work fine, but Selmer saxophones are supposed to work best with Selmer mouthpieces because that's what they're tested with. Yamahas are supposed to work best with Rousseaus. I used to use the C* on my Yamaha before I was told that, but then I got used to the Rousseau and now I have to adjust to the C* again. Adjusting to the Rousseau, I did at first have similar problems, but it did end up being better, at least for that saxophone.
Someone gave you a bit of bad info. Any mouthpiece can work on any horn if it works for you.
 

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Selmer mouthpieces may come with Selmer horns, but the mouthpiece is an extension of you, and helps get you to the sound you desire. Few players--Joe Henderson and Sam Rivers are the first that come to mind--that played what 'came in the case.'

Experiment for yourself and find a combination that is comfortable and in tune, regardless of the name on the mouthpiece.
 

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i have my favorite setups and tend to use the same ones for different horns, especially at a gig. while i mess around with different combinations at home in search of the even more holier grail of mouthpieces, 90% of the time i end up right back where i started. it is also worth mentioning the variation between individual mouthpieces of the same model, i.e. it is possible to have a good Rousseau and a bad Selmer, as well as vice versa. Within my arms' reach i think i have two good Rousseau's, a bad one, two bad Selmers and mediocre one. So to sum up, if anyone would like to try a Rousseau or Selmer mpc, i have three for sale! :wink:
 

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If you prefer the Rousseau over the Selmer, USE IT.
Who ever told you that Selmer mouthpieces work best on Selmer horns and Rousseau's work best on Yamaha horns was full of crap up to their eyebrows. My Rousseau works best on a 1950something Martin Indiana. ;)
 

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I have bought a number of new Paris and other saxes. I cannot tell you what ever happened to any of the original mouthpieces - they were just noise on my radar. Play the mouthpiece and reed you are used-to on the new Selmer, but don't be like me, keep the original. At least for awhile. :)
 

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I think you're going to get a lot of similar opinions on this one... I don't doubt that certain mouthpieces might be developed or tested with certain horns in mind or something along those lines. However, the one that works the best for you (e.g. most comfortable, best sound and intonation, etc)...play THAT.

Every player is different and what works like magic for one person might not be best suited for someone else. I say this a lot, but if there was a superior mouthpiece/reed combination everyone would play it. While there's general tendencies about what works, there's always exceptions.
 

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Ok. But I'm still going to try the C* for a while longer before I decide. I use a C* on soprano sax (a Mark VI), and it works pretty well.
 

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jd...., very specifically - my mouthpiece of choice (for classical) is a Rousseau NC4 with my Selmer S80 Serie II. And that is switching from a Selmer C*.

I have nothing against all Selmer mpcs, but I'll probably not ever go back to an S80 C*, given other good alternatives. I just picked up a Selmer pre-Soloist that I would definitely consider. But not an S80 C* over the Rousseau.

(An afterthought. All of our advice notwithstanding, choosing an S80C* to go with your Serie II is not an illogical choice.)
 

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... Selmer saxophones are supposed to work best with Selmer mouthpieces because that's what they're tested with. Yamahas are supposed to work best with Rousseaus. .
Utter nonsense! Use whatever mpc works best for YOU on that horn.
 

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It does work fine, but Selmer saxophones are supposed to work best with Selmer mouthpieces because that's what they're tested with. Yamahas are supposed to work best with Rousseaus.
Sorry dude, but I'm with everyone else: these statements are utter rubbish. If someone else gave you this info, please go back and tell them about the hammering these statements are getting here.
 

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I use a Selmer mouthpiece on all my altos and never a problem. Pick the mouthpiece you like and it will probably work on anything. Never give up the quest however as trying mouthpieces keeps you young!
 

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Of course the C* will work....so will most other pieces.
It really depends upon the type of music you favour.
For me, the C* has too small a tip, is stuffy & too quiet....if that's the sort of sound you require then use the C*.
 

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It does work fine, but Selmer saxophones are supposed to work best with Selmer mouthpieces because that's what they're tested with. Yamahas are supposed to work best with Rousseaus. I used to use the C* on my Yamaha before I was told that, but then I got used to the Rousseau and now I have to adjust to the C* again. Adjusting to the Rousseau, I did at first have similar problems, but it did end up being better, at least for that saxophone.
Don't believe everything you're told. Use what you like, unless your teacher expects you to use something else, then go back to using what you like.

P.S. - and which flavor sax are we talking? I have a Series II Tenor and Soprano and S-80 C*s for both in the drawer, I can play either no problem.
 
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