[Brandon]

I'm a bit inexperienced when it comes to mouthpieces, especially in the jazz field. I'm looking to buy a new mouthpiece for a jazz group I'm playing with, and I'm looking for input as to what your favorite/recommended mouthpiece is. What are the significant differences between a metal and hard rubber mouthpiece for jazz? Any help or suggestions are appreciated!

 

[saxmusicguy]

I'm looking for input as to what your favorite/recommended mouthpiece is.

Try a Vandoren V16 A6M, a Vandoren Java A45, or a Meyer 6S Medium Chamber. The Rico Metalite M5 is not appropriate for a small jazz group (too harsh, bright, and loud), but it's cheap.

What are the significant differences between a metal and hard rubber mouthpiece for jazz?

The material doesn't make a difference. It's the interior design that counts.

 

[ThatSaxyGuy]

The material doesn't make a difference. It's the interior design that counts.

I wouldn't quite go that far. Definitely it doesn't make a difference as some people would like to, but there is a certain edge that comes with a metal mouthpiece that i prefer to HR (but not necessarily for a small ensemble). I'd say go with a Meyer 5 or a Beechler (Bellite or Diamond Inlay)

 

[ThatSaxyGuy]

like to believe* Sorry I didn't check that before I posted

 

[skeller047]

The material doesn't make a difference. It's the interior design that counts.

I wouldn't quite go that far.

I would Having said that, it's not just the interior design - the size and shape of the beak will influence your embouchure and the way you form your oral cavity and throat, and that WILL change the sound - perhaps more than the interior design of the mouthpiece.

 

[Pete Thomas]

I would Having said that, it's not just the interior design - the size and shape of the beak will influence your embouchure and the way you form your oral cavity and throat, and that WILL change the sound - perhaps more than the interior design of the mouthpiece.

It may do with some people, but not everybody. I know that it makes no difference to me anyway.

Regarding material, there is very little if any difference caused by material, but what difference there is (or may be) I believe is only caused when very thin, e.g. at the tip.

 

[DaveR]

I personally believe that the subjective differences perceived between mouthpiece materials are almost entirely contrary to the objective differences.

I recently did a recorded test with two Theo Wanne Gaia 7* pieces, one ebonite and one metal, with the same reed. The recordings sound very nearly identical. However, I personally much prefer the ebonite, both in relation to the physical feel in my mouth and the harmonic info coming back through my teeth.

Since 'playability' is really about comfort, the importance of choosing a mouthpiece that is as entirely as comfortable as possible (whatever it's made out of) seems to me to be of paramount importance beyond all other considerations.

 

[bkobog]

For me, I am currently sticking to my 60s vintage Selmer Soloist C*.
the difference between metal and hard rubber is quite a bit for me. I bought a metal mpc which really opens up (to greater "brightness") on the higher register. This is something that I do not quite appreciate - or maybe cannot control.
Personally, my preference have always been for non-metal MPC. but try to test any many as possible before deciding. it must be a mpc which moves you closer to your tonal concept. happy hunting

 

[minous]

First, Welcome to SOTW.

Second, beware of SOTW! Aside from whether or not the Mk VI is the greatest horn every made, or Yamaha's are lifeless and shrill sounding hunks of doo doo (and there are quite a lot more heated debate subjects here too), you've perhaps started on one of the most hotly debated subjects on the forum..."which mouthpiece is best?"

We will all offer our opinions of what is best, but those opinions are based on what's best for us...not for you. First, listen to lots of players and try to develop a sound concept that you dig. That may change over time, especially as you develop as a player, but YOUR sound will start to ring in your own ears...shoot for that. Then go to your local music store (or stores) and don't take ANY money with you. No cash, no plastic, nothing! Try a bunch of mouthpieces and form your own opinion of how each piece either gets you closer to or further away from YOUR sound. If that's your approach then it won't matter if it's a Meyer, Otto Link, RPC, vintage, new or from Mars.

Oh, and enjoy yourself! This should be, after all, fun.

Again, Welcome!

 

[saxmusicguy]

Then go to your local music store ... Try a bunch of mouthpieces and form your own opinion of how each piece either gets you closer to or further away from YOUR sound.

Good idea, but many music stores have a poor selection, unfortunately. Also, I have found that some aren't particularly welcoming of customers who want to try all their stock.

 

[Bebopalot]

Your best bet is to try, try and try any and all mouthpieces you can get your hands on. That may mean buying and selling in order to afford the next. That is why we all end up with so many mouthpieces. Looking for "that sound". Very few music stores offer a reasonable selection so buying used, here or on Ebay may be the best bet. Also, you can develop your "jazz" chops. Mold them so you can play what you consider a "jazz sound" with just about any mouthpiece. For many years I used a stock Vandoren A45, which is not really considered a jazz mouthpiece and played only jazz with it. I now use a Saxscape Wilton for a bit more edge. If it's recommendations for certain mouthpieces you are looking for, you will get more than you bargained for here but it's really up to you. What works for one, may not work for another.

 

[RootyTootoot]

What are the significant differences between a metal and hard rubber mouthpiece for jazz? Any help or suggestions are appreciated!

Objectively, there are none but in fact, overall, (don't ask me why) there are a higher proportion of paint peelers among the metal mps than among the ebonite ones (at least among the well-known mass produced options). Also, in general, metal mps cost more.

As for finding what is right for you I agree with Bebopalot.

 

[exhilLARAted95]

oh hi. i came across this topic and thought how this related to what i'm currently obsessing about. My dad bought me an alto sax (Boston) off an auction site and when we picked it up, it wasn't what i expected it to be. the C key was not working properly and things like that. since we couldn't afford to get the sax repaired we just kinda did it ourselves and it became a bit better. a bit. however, i feel that the mouthpiece that came with it isn't decent enough (compared to the yamaha mouthpiece that came with my old rented yamaha sax) because i feel like i have to blow really hard to make a sound that can be heard. the mouthpiece has an "SR" on it and an "S1" at the bottom with the "USA" engraved on the metal thing (sorry not sure what it's called.) and so i'm just curious, is the mouthpiece that i'm currently using decent for a student or should i buy another one. i feel gutted that the first sax I own didn't meet my standards. i really need to get the sax working 'properly' by February and i'm running out of ideas on how to improve the performance of the old boston sax. oh, and just a random question, what does the number at the bottom of the sax mean? I mean i do understand that it has something to do with its manufacture date and things but could someone please explain it to me a little bit more?
thanks!

 

[exhilLARAted95]

^ and the number on my alto sax was this: "83258"

 

[Pete Thomas]

A few lessons to be learnt here:

• When you buy a saxophone from ebay don't expect it to be in good working order unless the seller has a good reputation in the field of saxophones. Budget for repiars.
• Don't rely on the mouthpiece that comes with it.
• The serial number should be a unique number, and if the manufacturer supplies the info, it will ereveal the date of manufacture, but you need that info first. there are possible other numbers, such as patent no, but these are not unique to the individual instrument.
• Buy the Stephen Howard Haynes saxophone manual if you are going to do DIY repairs.
• If in doubt, get a Yamaha 4C mouthpiece, they are among the cheapest reliable mouthpieces.

 

[milandro]

Objectively, there are none but in fact, overall, (don't ask me why) there are a higher proportion of paint peelers among the metal mps than among the ebonite ones (at least among the well-known mass produced options). Also, in general, metal mps cost more.......

Yes, but I think that that is largely due to what the customers expect and for many there is now the established notion that metal is bright and Ebonite is dark but we all know that there are extremely bright plastic or ebonite pieces ( e.g. Lakey) and not so bright metal pieces (Otto link......although many seem to favour them only on tenor).

Also there is much to say about the way one plays the mouthpiece and in combination with which reed because I have a Ponzol M2 (alto) which although high baffle can be very soft and warm indeed if you subtone with it rather than blowing through it lip out.

this is the Dutch Player Benjamin Herman , Mark VI alto and Otto link mouthpiece first video warm sound second video, same set up, different sound! That's sound control!

 

[RootyTootoot]

Yes, but I think that that is largely due to what the customers expect and for many there is now the established notion that metal is bright and Ebonite is dark but we all know that there are extremely bright plastic or ebonite pieces

Yes, totally. It's possibly also to do with famous players playing particular mouthpieces or even just metal v ebonite. eg Sanborn has always played a metal mp (as far as I know, i am open to correction). A fair number of people coming to sax playing prob like that type of sound so they (rather understandably) assume that an important part of that sound might be a metal mp.

 

[samuel asperger]

je n'aime pas vraiment auto link, mais ca depend d'un bec à l'autre, moi mon bec c'est un jody jazz HR 7* le son est rond et large, j'aime bien

 

[adamk]

A few years ago I went to a music store that I knew had alot of pieces to try. I brought a handful of pieces to trade toward something if I liked it. I spent a number of hours playing pieces and taking small breaks, kinda like wine tasting. In the end I did get a mouthpiece for my alto. I found that the SR Tech L85 lexan piece inspired by Meyer did what I wanted. It came with a Rovner 1RL ligature which I still use. The SR Tech works well with my Buescher 140 alto, together the tone is sweet, clear and not too bright. The price wasn't cheap but with my trades it was possible. Lexan is the same bulletproof plastic used at banks to thwart robbery. I also like that it's made in So Cal. I was using a Claude Lakey 6# which screamed. It was way too much for me, also altissimo sounded like whistling bombs coming in.

 

[Homely Saxman]

It really depends on you. When I started looking for a jazz mouthpiece, I tried several big name options, some of which I really liked but were far too expensive for a student. So what did I go with? The jazz mouthpiece I use right now is about as far off brand as you can get. It's made by a company called Belmonte that makes crappy music stands and crappier student horns, but they've made a pretty sweet metal mouthpiece IMHO; it's got a great high range and while I had to adjust my embouchure a little to get the low range the way I wanted it, in no time I could whisper out my low B-flat. It was a lot cheaper than my other options, and I liked it quite a bit more than most of 'em, too. Now, I haven't spent the amount of time others on here have, but I still have to illustrate a point: the only way to find a mouthpiece that works for you is to go out there and try a lot of mouthpieces. I don't recommend that you get the same mouthpiece that I did not because they aren't easy to find (it was a fluke that a music shop in Ashland, Oregon sold 'em because it was what their sax guy played on), but because you're not me. Suggestions from other people are a great place to start, but don't take their word for it because you might find that something else jumps out and surprises you.