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Discussion Starter #1
I have a harry lindeman mouthpiece that I pulled out of a box of like 20 mouthpieces one day, tried it out against my selmer paris HS*, vandoren b45, and clark forbes piece, and this one came out on top, hands down, but I've never heard of it.

All it say is

"steel ebonite"
"reg. m.s. pat. office"
"Harry lindeman"

no other markings that i can see, no facing markings or anything.

Anyone ever seen, played, or heard of one of thesE?
 

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Isn't it Henry Lindeman? He has a lineage of students in the U.S. through Phil Sobel, some of whom have posted here, do a search. I've got one of these. Probably Woodwind Co. made, with a strange chamber that's like someone shot a bullet through the top of the chamber.
 

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Discussion Starter #3
Sorry, it looks like it could say Henry...it's kinda hard to read, even though the bite plate looks like new...

I'll do a search on Phil Sobel to see what I come up with. Thanks.

Funny thing is, I know a sobel family...i wonder haha...

Out of curiosity, what do you think of playing it?
 

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I see one reference to a Henry Lindeman steel ebonite mouthpiece when I google "henry lindeman," but the link to the page is dead.
 

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saxandstrings86 said:
Sorry, it looks like it could say Henry...it's kinda hard to read, even though the bite plate looks like new...

I'll do a search on Phil Sobel to see what I come up with. Thanks.

Funny thing is, I know a sobel family...i wonder haha...

Out of curiosity, what do you think of playing it?
Do a search on Lindeman.

I tried it only briefly and wasn't impressed, but it really wasn't a conclusive trial.
 

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I think a good way to get a good clarinet mouthpiece is to try a box of them and not look inside them or at the names on them. There is bound to be a random variation that suits you. I did this a while back and came up with a Selmer C85 120. I doubt I will like all Selmer C85 120's, but this is a good one. Vandorens are more consistent.
 

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Lindeman

I have been fortunate to study with Leo Potts, who studied with Phil Sobel, who studied with Henry Lindeman. One of the books used was "The Lindeman Studies" unfortunately now out of print.
I have heard of Mr. Lindeman's legendary dual chamber mouthpiece, which it appears you have aquired. If you ever decide to part with it, please let me know.
Phil Sobel is in his eighties, residing in LA and still playing. About a year ago he had me fabricate a high E key for his very vintage Buffet soprano (previously keyed only to Eb). Leo Potts moved up to Spokane a couple years ago (after about 30 years teaching sax at CSULB) and is very busy playing and teaching in eastern Washington, Idaho, and surrounding areas. Leo will be down next week to visit Phil and have me tweak his flute and alto sax. I will ask him to fill me in some more on Mr. Lindeman and his mouthpiece.
 

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Oops, I didn't even notice we were talking about clarinet mouthpieces. Just saw "Lindeman" and fired away. Anyway, I was talking about an alto mouthpiece, for what it's worth.

Horn Improvement, "legendary" how? I suspect very few saxophonists have heard of Lindeman, his studies, or his mouthpiece.
 

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chitownjazz said:
I suspect very few saxophonists have heard of Lindeman, his studies, or his mouthpiece.
Yes, that is unfortunate. Many player's struggles would be lessened if these methods were more widespread.
Charlie Parker studied with Mr. Lindeman in 1948, but who's heard of him? http://www.brain-juice.com/cgi-bin/show_bio.cgi?p_id=130
The mouthpiece is "legendary" to those of us who have studied in this teaching lineage, not necessarily to the saxophone world in general.
 

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hornimprovement said:
Yes, that is unfortunate. Many player's struggles would be lessened if these methods were more widespread.
Charlie Parker studied with Mr. Lindeman in 1948, but who's heard of him? http://www.brain-juice.com/cgi-bin/show_bio.cgi?p_id=130
The mouthpiece is "legendary" to those of us who have studied in this teaching lineage, not necessarily to the saxophone world in general.
OK, now I'm interested. ;) I take it you are also talking about saxophone not clarinet mouthpieces.

So, can you tell us something about the precepts of the "Lindeman school?" Which way is the lip rolled? :twisted:
 

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I had one for an alto that I sold recently on Ebay. Same thing on mine Henry Lindeman steel ebonite.
 

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Jeff (HornImprovement) states:
"I have heard of Mr. Lindeman's legendary dual chamber mouthpiece"

Dr Wyman's "AN ACOUTICAL STUDY OF ALTO SAXOPHONE MOUTHPIECE CHAMBER DESIGN" includes a double chamber piece called the "Meliphone Special" produced by the Woodwind Company. The piece rated high in most of the tests. Could this be Lindeman's design?

If I understand the drawings correctly, the main chamber's max dimension
was vertical, and the smaller chamber (nearer the tip) had a max dimension in the vertical direction.

The study also showed that a bump in the end wall was an advantage. This, to me, is counter-intuitive (turbulence); unless the bump formed a quasi double chamber.

Fletcher claims that the chamber forms a Helmholtz resonator, and that
this resonance doesn't affect frequency but amplifies the level around
the Helmhotz's frequency. Could it be that the double chamber reinforces two frequency ranges that are typically weak on some saxophones?

jim
 

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I recently got a Henry Lindeman mouthpiece with an old alto I bought. Very interesting piece. Nice sound. Very warm, dark, and full. I'm considering selling it because it is a rather small tip opening, I measured about .059, and I play larger tip openings. Any idea what it's worth?
 
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