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Discussion Starter #1
Just curious if anybody uses one mouthpiece for loud gigs, quiet gigs, blues, jazz, rock, etc.? What's your vote for "most versatile use it for everything" mouthpiece? I'm mainly asking about tenor, but feel free to talk SATB.
 

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I don't use one for everything, but I think the Rousseau Sudio Jazz is the most versitile mouthpiece I have ever played.
 

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Yes,

With practice, the Link STM can handle just about all types and styles of music. And when playing a very straight, reserved and tempered score there's no better consolation than knowing you could really push and grind it if you really wanted to. ;)
 

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Most of the time, it is just at the embouchure, not the mouthpiece. It is all about control. But personally, I do use a more "quiet," more reserved mouthpiece for classical (although I'm rarely playing that these days). That would be less of a chamber, almost no baffle.
 

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I use my RPCs on alto and tenor for everything, except classical (orchestra or concert band).

Then I use a selmer s80 C* on alto, or a MC Gregory 4A 18 on tenor. It's much easier to blend in a band or orchestra section.
 

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At the moment I use one mouthpiece for everything, that mainly being because my other two got broken, one got kicked, and the other one I lent to another tenor player and he "lost" it, so I'm down to one, but I'll be buying another soon.
 

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Right now I have only 1 mpc that works on my tenor. I sound like Sh&%, so I guess it really doesn't matter.
 

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On alto (my main horn), I used a Link STM 5 for about nine years, for everything. Last year I got a used Meyer HR 6M and I now use that for everything - jazz, pop, concert band.

On soprano I use a Yamaha 4C for everything with occasional use of my Berg HR S5S.

In tenor, which I hardly ever play (I should correct this), I use my Otto Tone Edge 5* with rare use of an STM 6*.
 

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I find that the barone hollywood is very versitile. It easily handles all jazz and when pushed it can wail in a rock or R&B situation
 

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EZ'd STM - does everything bar the washing up!
 

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On alto, I use a V16 A5 M for everything (I rarely play alto). On tenor, I use a Link STM 8 modified by David Jary for everything except for serious symphonic wind ensemble where I use a Vandoren V5 T35 ( a classical mouthpiece with a 'humane' .090 opening so it is not too big of a change). For concert band situations where I just double bones and euphoniums, I prefer to use the Link (helps 'light them up'). On bari, I use a Kessler Custom 7 for all situations.
 

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Up until a few months ago, I used a 60's Berg Larsen with my Martin Music Man tenor ever since, well, the 60's. Thanks to SOTW, I recently decided to try a more open piece so I got a Link NY 7. I'm still getting used to it, but if I can keep pushing that additional air, it will probably be my one-and-only and I'll either carry the Berg as a backup or place it in a museum display case. That piece served me well for over 40 years - as did the horn - so I'm kinda sentimental about them both.
 

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I've changed on a few occasion but I usually commit to a certain set-up for everything. I know players that have various mouthpieces. I like to keep things as simply as possible. One mouthpiece - one tenor.
 

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i try not to change pieces,thats the way my teacher taught his students,i have used maybe five tenor pieces in 50 years otto link rubber 6 metal berg 130 over 2 otto link metal 9 dukoff 10 and now metal otto link 7* approx. 10 year intervals,i had friends that carried 10 15 pieces around with them, different teacher
 

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I use my Meyer 10M for everything on my main horn (alto), because it helps me get the most balanced sound top to bottom.

I recently tried a couple of metal Dukoff mpcs on my alto to see if it improved my altissimo. The higher notes did come easier, but my overall sound sucked bigtime, something like what I would expect to hear if Lucille Ball trying to audition to get into her husband Ricky's band.
 

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I use a modified Guardala Studio for everything on tenor. The key for me is that I use a dark horn (Couf) combined with a bright-ish mpc gives the flexibility to use for any type of gig I play these days.
 

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I use my Link 8 (refaced by Eric Drake) for everything on tenor, but for me, "everything" is jazz, r&b and rock.
 

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i've got a small bag of tricks, so take my 2 cents with several grains (or pounds) of salt... but that said, i have had no gas-pangs for (tenor) mouthpieces since i was introduced to the j&d hite in 1992. terrific, versatile mouthpiece...i can't speak however to any changes that may (or may not) have cropped up in the hite line since they've been folded into babbitt.
 
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