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Discussion Starter · #1 ·
Hello, everybody, what reed do you recommend for the Soprano mouthpiece, Selmer Super Session "i" ?

Just as a parameter, I have a Selmer S80 C* mouthpiece, with which I mainly use these picks:

1º =Vandoren ZZ 2 1/2
2º =Vandoren Java Red 3
3º =Vandoren Tradicional 2

Thank you very much !
 

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VERY personal decision. I have SuperSession-J (three of them) and I use Vandoren ZZ #2 that I've shaved down with a sharp knife. I used to use Vandoren Javas (#2) but after playing many examples of those two designs (ZZ and Java) settled on the ZZ because overall they seemed more substantial and didn't stop playing when I put the pressure on them. The Javas would sometimes cut out on me when in the middle of something requiring some pressure.

I also have a Super Session E with which I use the same ZZ reeds but without adjusting them, meaning that the E takes a bit harder reed than does the J. I also have some ZZ #3's I use on the SS-E, but they needed some heavier adjusting. I'm guessing the next box of ZZ I'll buy for the SS-E will be 2 1/2 ZZ reeds.

I owned an SS-I once (came new with a Selmer Serie III soprano) and I didn't like it, so I have little to say, reed-wise, about the SS-I.

In the past, I've had success with Alexanders in #2 and #2 1/2 strengths, but I had to adjust them to play well on the SS-J. Just my experiences. DAVE
 

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Discussion Starter · #3 ·
VERY personal decision. I have SuperSession-J (three of them) and I use Vandoren ZZ #2 that I've shaved down with a sharp knife. I used to use Vandoren Javas (#2) but after playing many examples of those two designs (ZZ and Java) settled on the ZZ because overall they seemed more substantial and didn't stop playing when I put the pressure on them. The Javas would sometimes cut out on me when in the middle of something requiring some pressure.

I also have a Super Session E with which I use the same ZZ reeds but without adjusting them, meaning that the E takes a bit harder reed than does the J. I also have some ZZ #3's I use on the SS-E, but they needed some heavier adjusting. I'm guessing the next box of ZZ I'll buy for the SS-E will be 2 1/2 ZZ reeds.

I owned an SS-I once (came new with a Selmer Serie III soprano) and I didn't like it, so I have little to say, reed-wise, about the SS-I.

In the past, I've had success with Alexanders in #2 and #2 1/2 strengths, but I had to adjust them to play well on the SS-J. Just my experiences. DAVE
Thank you, Dave! I also like the ZZ, maybe if I try a 2 ...
 

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You are welcome. In re-reading this, I see I didn't address the closer-tipped soprano pieces (like the S-80 C* you mentioned). I have an S-80 C* as well as a scroll-shank C* I bought when I was a kid. The scroll-shank is a much better player than the S-80. In fact, whenever I compare any of the Super Sessions to comparable S-80's (J, G, F, D come to mind and are facings I have), the Super Sessions are far superior to the comparable S-80.

But the issue here is reeds and what I find is that the close-tipped Selmer pieces like the S-80 C*, the S-80 D, and the scroll-shank C* all play better with a soft Fibracell synthetic reed. They actually develop some power whereas with cane, up to #3 ZZ, they all play but they lack the fullness and the power provided by the Fibracell.

Standing alone, these close-tipped pieces sound okay and if one didn't have other choices, the player of the close-tipped pieces would be satisfied. It is only when I switch to a bigger tip-opening (such as the SS-E or the SS-J) that a HUGE improvement is evident.

I'm not sure from your first post whether you actually have a Super Session I or that you are merely contemplating one and currently only play a C*. If you already have the SS-I, then I'm sure you have discovered for yourself what an improvement it is over the C*.

If you don't already have an SS-I, maybe you should consider going up one measurement to the J. I know many who have done this and they were amazed at the difference. And, please keep in mind that we all react differently to mouthpieces and reeds. So maybe none of this will aply to you, but it sure did to me. DAVE
 

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Discussion Starter · #5 ·
You are welcome. In re-reading this, I see I didn't address the closer-tipped soprano pieces (like the S-80 C* you mentioned). I have an S-80 C* as well as a scroll-shank C* I bought when I was a kid. The scroll-shank is a much better player than the S-80. In fact, whenever I compare any of the Super Sessions to comparable S-80's (J, G, F, D come to mind and are facings I have), the Super Sessions are far superior to the comparable S-80.

But the issue here is reeds and what I find is that the close-tipped Selmer pieces like the S-80 C*, the S-80 D, and the scroll-shank C* all play better with a soft Fibracell synthetic reed. They actually develop some power whereas with cane, up to #3 ZZ, they all play but they lack the fullness and the power provided by the Fibracell.

Standing alone, these close-tipped pieces sound okay and if one didn't have other choices, the player of the close-tipped pieces would be satisfied. It is only when I switch to a bigger tip-opening (such as the SS-E or the SS-J) that a HUGE improvement is evident.

I'm not sure from your first post whether you actually have a Super Session I or that you are merely contemplating one and currently only play a C*. If you already have the SS-I, then I'm sure you have discovered for yourself what an improvement it is over the C*.

If you don't already have an SS-I, maybe you should consider going up one measurement to the J. I know many who have done this and they were amazed at the difference. And, please keep in mind that we all react differently to mouthpieces and reeds. So maybe none of this will aply to you, but it sure did to me. DAVE
Thanks Dave, yes I have a Selmer Super Session Mouthpiece "i" too! She arrived today!
 

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Discussion Starter · #7 ·
I used a Superial 3 on my soprano SS I, but since moved on to a J with a green Java 3. My flirtation with Superials on alto, tenor and soprano didn't last too long.
Thanks Grumps, I got a Vandoren Java Red 3, but for me it is very hard.
 

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It goes without saying that reed strength is critical to mouthpiece set-ups (but I said it anyway!!!). Don't be afraid to adjust that hard #3 - some scraping of the vamp (being careful not to ruin the edges or the tip, or dig into the piece itself) with a sharp knife will do wonders for how that one reed will play for you. Scrape, rinse, and test; repeat until you get it the way you want it to play. You'll probably notice an immediate improvement on the first blade application. DAVE
 

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Discussion Starter · #10 ·
It goes without saying that reed strength is critical to mouthpiece set-ups (but I said it anyway!!!). Don't be afraid to adjust that hard #3 - some scraping of the vamp (being careful not to ruin the edges or the tip, or dig into the piece itself) with a sharp knife will do wonders for how that one reed will play for you. Scrape, rinse, and test; repeat until you get it the way you want it to play. You'll probably notice an immediate improvement on the first blade application. DAVE
Well, I took my soprano to the store, and bought some Reed's.
I tested in an acoustic shop room, Vandoren Traditional 1 1 / 2 and Vandoren ZZ 2.
Vandoren Traditional works well, but the Vandoren ZZ nº 2 was excellent in this setup.
Thank you very much for your help, guys!
 
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