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Discussion Starter · #1 ·
I'm looking to try out a bunch of mouthpieces for classical soprano playing. I'm playing a Selmer S80. C* and am not terribly happy with it. What would you recommend trying? I'm gonna grab some S90's and I'm looking into Vandoren's right now, but I'm sort of confused as to which ones are jazzish and which ones aren't. Thanks!
 

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Soprano, Alto, Tenor, Baritone, Bass, Sopranino, C Melody, Clari, Bass Clari, Flute
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Just curious, what aren't you happy with on your C*? That would help narrow down the options.

With the Vandoren V5, the classical tip sizes go S27, S15 and S25 (from smallest to largest). Also do check out the SL3 and SL4. The Selmer S90s are great, maybe try 170, 180, 190 and maybe 200. You may also want to check out a different C* (they do vary alot) or C**, D.
 

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I wouldn't limit your choices to mpcs listed as "classical". Just stay away from ones with high-baffles or extra-small chambers.

The Selmer Metal "classical" mpc has a nice round chamber and works great (especially the vintage ones) even though Coltrane used them for jazz.

Look for medium chambered mpcs with a round chamber and see what you can do.
 

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If you can find one of the Morgan 1C pieces from before they started using the "vintage" blanks (the others were no longer available), they are excellent.
 

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The Vandoren Optimum SL3 and the Caravans seem to be the other standard options on soprano. I play a Morgan 2C, but they are difficult to find and expensive, so I generally recommend the Vandoren (which will give you about 99% of the Morgan, but at a much lower cost.)
 

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Discussion Starter · #7 ·
Thanks for all the suggestions. I say classical mouthpiece because I'm very happy with my jazz set-up right now (Link 8*), but when I go to work on my classical chops, my sound is kind of uncontrolled, spread, whiney sounding. I did just switch to a C* my professor lent me and it's a lot better than the C* I had, but I'd like to see what else is out there. Thanks again!
 

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Most of my soprano playing over the years (45) has been on a Selmer D in various forms. I switched to a Super Session E which although billed as a studio/jazz mouthpiece is a great full sounding classical piece. On modern horns or a Conn it just really opens up. After the S-80 the SS sounded like a rag had been removed from the horn.
On my vintage sopranos, (Buescher, Martin, King) I find that a basic Yamaha 4C works best. It may not be expensive but if it works.....
 

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I play a Selmer C* with Vandoren standard 3.5 and a BG super revelation ligature. I just moved to the super rev lig and found that it made quite a big difference. Allowed more direct tone and clearer articulation. If you're hitting the music store - try the lig too.
 

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I like the Vandoren pieces, particularly the S27 and SL3. I also really like two vintage pieces, a Buescher Bb and a Woodwind Co B5. These latter two are both large chamber pieces and are similar to the old Rascher mouthpieces. They give you a really silky nice sound.
 

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This probably just works for me, but I use a Yani HR 5 with a blue box vandoren 2 1/2. I have tried lots of other more expensive stuff, but keep coming back to that set up. Consistant, warm timbre up and down the horn, stable pitch but still expressive.
 

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This probably just works for me, but I use a Yani HR 5 with a blue box vandoren 2 1/2. I have tried lots of other more expensive stuff, but keep coming back to that set up. Consistant, warm timbre up and down the horn, stable pitch but still expressive.
Well, I agree the Yani 5 is a very nice mp and should have mentioned it. I almost wore one out before I got my S27.
 
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