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Discussion Starter #1 (Edited)
I bought one of these mouthpieces from Junkdude (.110" tip) two weeks ago and am very pleased with the results so I wanted to offer this review. The description from Junkdude’s website is as follows:

“Possibly the best baritone/bass mouthpiece we have found. The double chamber makes this a deep and warm mpc and the baffle gives it power. These are fantastic on vintage baritone saxophones and bass saxes. Nearly identical to and older Double Chamber mpc which is no longer available.
We recently expressed an interest in finding a wide body rubber mouthpiece which is like an older Double Chamber mpc which is no longer available. Erik did some digging in our inventory and found that the Vandoren V5 mpcs are very similar to the blanks he used to make the older baritone mpcs from. Since Vandoren uses an excellent rubber, he thought this would be very similar. Erik completely modifies the interior of the mpc and puts on a new facing curve. As it turns out, these are nearly identical to the older mpcs, and this is easily the best baritone mouthpiece we have found. Deep, rich and warm sound with plenty
My baritone is a 1953 "The Martin". These horns are well known for having a big, robust sound and good ergonomics, but with somewhat quirky intonation (not unlike many vintage horns). Specifically, the horn can go sharp, particularly when it is pushed hard. Furthermore, F2 and E2 can play 10 cents or so sharper than the rest of the horn. A search of SOTW Forum will turn up plenty of discussion about this issue, along with that of various solutions that players have tried, including various mouthpieces, extending the neck and tone hole crescents.

I mainly play in jump blues/RnR bands and in the section of big band that is devoted to the “sounds of swing”. Hence, I need to be able to play from ppp to fff with a full sound and remain in tune. My sound models include guys like Doug James, Leo Parker, Heywood Henry, Hog Cooper, and Charlie Fowlkes; in other words a deep, rich sound with plenty of guts, but warm and not too edgy. Having tried various Links, a Lamberson 7M, a RPC 110R and a Meyer 9, all terrific mouthpieces with well deserved followings, I was still not satisfied that I had the best set-up to meet my objectives. After playing the subject piece (with a LaVoz medium reed and Optimum lig) extensively during the past two weeks, however, I can say with confidence that the Greiffenhagen V5 B75 is exactly what I've been looking for. The combination of the large volume of the chamber and the baffle configuration helps me get the full depth of sound that my horn is capable of, with good intonation and enough punch to get the job done.
 

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I have a Riffault customised by Erik - essentially the same as the Morgan double chamber - which is a work of art. He was quite excited about the V5s when I was last in contact.
 

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Discussion Starter #3
Pinnman-

Rumor has it that the Riffault is the actual blank used by Ralph Morgan to make the Morgan Double Chamber bari piece, so I'm not surprised at your comment.

In doing my homework before I bought the Greiffenhagen V5, I came across your posts looking for information on the Morgan Double Chamber. Your comments were part of the reason that I placed the order to begin with.
 

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Yes, I wqs tipped off about the Riffault relationship, and bought mine for $5.50(!) on eBay before sending it to Erik.

I didn't realise anyone took so much notice of my posts. I will have to be careful what I say, but I am sure Erik will be pleased.
 

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I discussed this mouthpiece with Dave and JunkDude for my Yani B901-he thought that it wouldnt work as well with a modern horn. I have no technical knowledge to evaluate this statement-can anyone provide insight on that?

Thanks~
 

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Discussion Starter #6
I'd suggest you e-mail Erik directly and ask him about how the piece would work with a modern horn. His e-mail address can be found at themouthpieceguys.com website.

FWIW, Erik plays a vintage Conn 12M.
 

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I've read all the posts about these pieces and, needing a large-chambered bari mpc to go with my Dolnet, I ended up getting a Jary Custom with a large chamber, scooped sidewalls, and a med/low rollover baffle.

Can anyone post some photos of the Morgan double chamber or Greiffenhagen mpcs that show the shape of the chamber and baffle?
 

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I haven't seen any. E-mail Erik and see how it goes. I have a Conn 12M which is what Erik plays, too, so the match is good for me. I can't say for more modern saxes, except that mine is essentially a Morgan (based on Riffault) and the new ones are Vandoren based and therefore a different animal - but same quality workmanship.
 

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Oh, very nice. I didn't realize Junkdude had pics up. I can see the shape of the baffle but what is this "double chamber" thing? Do these pieces really have a huge low end and are they really comparable to the ones Morgan used to make? I wouldn't expect Morgan to ever make a bullet baffle like that.
 

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Discussion Starter #11 (Edited)
I have never seen a Morgan Double Chamber (even a picture), so I can't comment as to how physically comparable the Vandoren based mouthpiece is to a Morgan, beyond what is said on Junkdude's site, nor do I know why its called a "Double Chamber". Erik should be able to answer any questions like this that you have, however. Since Pinnman owns a Greiffenhagen bari piece made from a Riffault, which reputedly were the blanks Morgan used to make the double chamber piece, he might be able to add some color too.

Regarding the playability of the piece and its suitability for my horn, I can say that does everything promised on Junkdude's site. My horn has a great low end anyway, but this mouthpiece is the most responsive piece that I have played on a baritone sax. With this set-up, the bottom end of the horn is big, whether I'm playing ppp or fff, which is critical to me as a big band bari player.

Interesting side note...Morgan Double Chamber pieces must be exceedingly rare. Nobody on SOTW Forum seems to own or even actually played one, nor did a Google search turn up any comments on or pictures of this mouthpiece. In a thread a few years ago, Bootman, who was playing a Martin Magna bari at the time, commented that instinctively he felt it would be a good match.
 

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As I have been called upon again, here is one of the e-mails from Erik when we were discussing specifications:

"i think i'm clear on what you want done. any other particulars regarding the work you could email at your convenience. fortunately, i also play on a 12m baritone # 265xxx so ensuring that the chamber is large enough for good intonation won't be a problem. my basic m.o. is to create a secondary tone chamber between the bocal and the primary tone chamber portion located more near the baffle area. riffault blanks are not so numerous in their variety that producing a consistent result should be a problem"

I have a feeling that Erik designed this originally for Ralph Morgan rather than the other way round, though I can't swear to it. Erik was apprenticed to Ralph some 20 odd years ago and has worked for him ever since, mostly, I think, on a free lance basis. Check his web site (themouthpieceguys) for a better explanation of te relationship.
 

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I was interested in this piece, so emailed Erik about whether it would work on my Selmer SA80 Serie II. Here's his reply:

as far as my vandoren piece is concerned it's a medium shelf style hard rubber mpc to which i add "balloon" section in between the primary tone chamber and the bocal section which results in a deeper more resonant sound which improves intonation on older horns and would mean only that you'd have to push the mpc on a little farther than you're used to with a regular baritone. the main thing is i feel it adds quite a bit of body to the sound and most of my customers so far agree.
I may have to get one.

Rhys
 

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In most cases, a double chamber is another name for a squeeze throat or squeeze chamber design. Looking from the shank you can see a step where the chamber bore is smaller than the shank bore. It is just past the window "U". Theo has some pics on his site I think.
 

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Morgan's L chambers also have this "squeeze" or "double chamber" design, correct?


By the way, if anyone is looking for a large-chambered bari mpc for a vintage bari--especially if you want an alternative to spending $300 on a Greiffenhagen piece--you should talk to David Jary. He made me a piece for about $180 and it plays BIG. The intonation is good on my big bore Dolnet and the low end is phenomenal.
 

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Interesting. I've been doing the same thing to my personal Vandoren bari/bass pieces for years.
 

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MojoBari said:
In most cases, a double chamber is another name for a squeeze throat or squeeze chamber design. Looking from the shank you can see a step where the chamber bore is smaller than the shank bore. It is just past the window "U". Theo has some pics on his site I think.
The Morgan 1C baritone piece I used to have was similar to this, but it had a circle instead of a U at the step like his (old) 1C soprano pieces.
 

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I'm talking circular cross-sections too. I was refering to the window "U" shape. Not a horseshoe chamber cross-section found in vintage Selmers.
 
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