[DryMartini]

For you guys that play both alto and tenor a lot-

What went into you thinking about how to choose each? Did you want them to share similar characteristics as far as Tip, facing, chamber, and material?

Or did you treat both instruments as totally separate with the idea that each instrument needs a mouthpiece with distinct qualities to really speak?

 

[Hassles]

hmm, this is gonna' be interesting. Personally, and most I know, treat each mouthpiece choice as unrelated entities. A very close friend uses metal on tenor but HR for alto while I use HR on both just because these fell to hand.

 

[10mfan]

I treat each piece separately in terms of tip opening and sound. They are each unique and you need to treat them that way. Completely different animals for me.

 

[1saxman]

Different saxes will need different mouthpieces. Today you can get any kind of mouthpiece in traditional full-sized hard rubber or compact-sized metal or non-metal materials. So, even if you need compact-sized pieces on alto and tenor, for whatever reason, this does not mean you're stuck with high-baffle pieces.

 

[J-Moen]

They should be treated completely separate, as should Bari and Soprano. They have different voices, and you should want different things from them. Tip, material, chamber, baffle, etc should be considered unique to what you want for each horn respectively. I used to play a Jody Jazz ESP .120 tip on tenor, a .065 Drake Ceramic on alto, and a .065 Yani HR on Soprano. The tip was just because I liked that level to play and the sound I was getting. Now I play near.105 Tenor, .075 Alto, and a .055 Soprano, on a mix of metal/hr. The point is, what I play in Tenor doesn't change what I play on alto, other than the fact that I really enjoyed my 10mfan mouthpiece on alto and wanted to try one on Tenor 🙂

 

[blaine hoopes]

I see them as completely different instruments. I'm really familiar with Tenor and what I want a tenor to sound like and what kind of mouthpieces I like -- but I'm just now starting to get familiar with alto. I just feel like it's a completely different animal with a completely different purpose and voice.

 

[Hassles]

-- but I'm just now starting to get familiar with alto. I just feel like it's a completely different animal with a completely different purpose and voice.

yep - two decidedly different creatures with distinctive voices and powers of expression.

 

[SoulMate]

I simply use what works. Could be totally different brands and tip sizes, but could also be exactly the same brand and tip size.
It's not because they need a slightly different approach, that you need different mouthpieces. If it works, it works.
On Bari and on Soprano I use other brands, but that's pure by trial and error.

 

[dexdex]

For me too, totally different horns, different expectations. I identify who are my heroes on each respective horn. How they sound, what they are using, how near I can come to the sound I’d like to hear. Very naturally I gravitated toward rubber Meyer on alto and metal Link on tenor, because these are played by my heroes, but also because I tend to approach the sound and playability I wish.
I tried to play same brand and model on both horns, but it just didn’t work. Only thing in common now: the Carbon reed.
One point I already mentioned in other contexts: I avoid by all means to play alto and tenor in the same band or gig. Different embouchure, approach, vocabulary, it makes the switch on the fly quite tricky, sound wise, as well as in terms of intonation. Almost a different player.

 

[BrianMitchellBrody]

I have literally trialed 100's of mouthpieces before finding pieces that stuck. I still try out new pieces but I always go back to my set up.

 

[Randyfast]

I don't know if anyone has tried this; I bought a used cheapo student sax, just for something to practice scales and such and leave my good horns for playing. The cork was too large for my alto MPCs. I could barely fit them on and they were a nightmare to try to remove; so, I discovered that one of my Yammy Tenor MPCs (I don't use it with the tenor) with a Legere Signature #2 reed just fit over the cork, going to the end and not overly loose. I've played quite a bit with this setup and my $250CAD sax doesn't sound half bad. Of course, the MPC doesn't fit perfectly; but for its intended use, it works well...just wondering if anyone else has ever tried this.

 

[swperry1]

I don't know if anyone has tried this; I bought a used cheapo student sax, just for something to practice scales and such and leave my good horns for playing. The cork was too large for my alto MPCs. I could barely fit them on and they were a nightmare to try to remove; so, I discovered that one of my Yammy Tenor MPCs (I don't use it with the tenor) with a Legere Signature #2 reed just fit over the cork, going to the end and not overly loose. I've played quite a bit with this setup and my $250CAD sax doesn't sound half bad. Of course, the MPC doesn't fit perfectly; but for its intended use, it works well...just wondering if anyone else has ever tried this.

So...you do the majority of your practice on a completely different sax and mouthpiece than you play when you're actually playing? (Whatever that means)...sounds about as counterintuitive as you can get. I understand the cats who have a beater horn or three for gigs they don't want to bring their nicer horns to, but this sounds pretty ridiculous. Also, it doesn't relate to the OP's question at all.

OP: I spent a lot of time and money trying to find an alto and mouthpiece that was like a mini-tenor for me in terms of sound and feel and was never happy because one isn't enough like the other and the voices do different things. I think people do best with set-ups that closely match their own vocal characteristics, and not many of us can sing with the same tonal quality in the tenor and alto ranges so why should we try so hard to sound the same across two (or more) saxophones. Treat each voice uniquely and you'll find more peace and happiness in your doubles. When I played Bari, tenor, and alto I was surprised at how different I sounded on each voice and decided it was best to go with what works and doesn't get in my way on the secondary instruments and focus my energies on developing my primary voice (tenor). Man I wish I still had a baritone...someday I'll be able to add one again. At that point I might yeet my alto off a cliff lol!

 

[Dr G]

I don't know if anyone has tried this; I bought a used cheapo student sax, just for something to practice scales and such and leave my good horns for playing. The cork was too large for my alto MPCs. I could barely fit them on and they were a nightmare to try to remove; so, I discovered that one of my Yammy Tenor MPCs (I don't use it with the tenor) with a Legere Signature #2 reed just fit over the cork, going to the end and not overly loose. I've played quite a bit with this setup and my $250CAD sax doesn't sound half bad. Of course, the MPC doesn't fit perfectly; but for its intended use, it works well...just wondering if anyone else has ever tried this.

It is easy to make the cork fit the correct mouthpiece - there is no reason to use a tenor mouthpiece on an alto.

If you need to learn how to sand down the cork, just ask (or search). There have been many threads on the topic.

 

[Dr G]

For me too, totally different horns, different expectations. I identify who are my heroes on each respective horn. How they sound, what they are using, how near I can come to the sound I'd like to hear. Very naturally I gravitated toward rubber Meyer on alto and metal Link on tenor, because these are played by my heroes, but also because I tend to approach the sound and playability I wish.

Treat each voice uniquely and you'll find more peace and happiness in your doubles.

I, too, treat each horn as its own voice. Each will respond differently, even if you have similar brand mouthpieces. Optimize each instrument with the mouthpiece and reeds that work best for you on that instrument.

FWIW, I would not even presume that a mouthpiece that works great on one tenor, to work equally well on a different tenor.

 

[skeller047]

I tried once as a young man - with a Link STM on both alto and tenor (7 tip opening, if I remember correctly). It was a failed experiment, though I played the Link on alto for a couple years. (I got a different Link for the tenor...).

Since then I have looked for mouthpieces that put that "ring" in the core, and treat each horn separately, in the same way I treat clarinet separate from saxophone.

 

[Canadiain]

Separate entities for me too. Whenever I have found a piece I really liked on one horn and tried its sister piece on the other it hasnt quite worked. It has come close a couple of times such as with HR vandoren V16s and Morgan Excaliburs, but never quite close enough to have matching mouthpieces in play. Ive since decided that the best way to improve is to stop chasing mouthpieces and stick with one that is "pretty good" and at least doesnt get in the way, and to practice. I still dont practice enough though.

 

[turf3]

Well like anyone else I treat each horn as its own entity - but what I mostly want in mouthpieces is something that gets out of my way.

For me a medium opening Meyer has fit that description best on alto tenor and baritone for many years now.

With the basic response characteristics similar, I can focus on playing alto like an alto player and playing tenor like a tenor player and playing baritone like a bari player.

I use the same ligature and reed spec too.

No one thinks it's weird when classical guys play Selmer SA 80 with Selmer S-80 C* pieces on everything.

 

[Atonal]

My classical setups are fairly homogeneous between soprano, alto, tenor and bari. However, my jazz setups are quite different from one another.

 

[Reet McVouty]

It's just a matter of identifying the sound you're after and finding the mouthpiece that gets you there. Alto, tenor or soprano, are all different for me.

 

[Reet McVouty]

I don't know if anyone has tried this; I bought a used cheapo student sax, just for something to practice scales and such and leave my good horns for playing. The cork was too large for my alto MPCs. I could barely fit them on and they were a nightmare to try to remove; so, I discovered that one of my Yammy Tenor MPCs (I don't use it with the tenor) with a Legere Signature #2 reed just fit over the cork, going to the end and not overly loose. I've played quite a bit with this setup and my $250CAD sax doesn't sound half bad. Of course, the MPC doesn't fit perfectly; but for its intended use, it works well...just wondering if anyone else has ever tried this.

Sound's ludicrous to me. You can't possibly play in tune that way. Cork can be sanded to fit your mouthpiece properly, I would suggest you do it or have it done. Also, why would you practice on anything but your main horn?