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I am primarily a tenor player but I have been revisiting alto sax since getting my YAS 52. I have been through tons of alto pieces over the years including vintage Selmer, MC Gregory, Brilhart Levelaire, a Fantastic Phil Tone piece and many more. However, I am really digging the sound of the 4C that was already in the case. I love the sound, intonation and control I am getting from this cheap plastic piece. My questions are, is there something wrong with me? Should I just enjoy it and get over my cheap mouthpiece (plastic at that) prejudice? Is there a hard rubber piece that will get me the same sound?

I have gotten closer to the dry martini Desmond tone than ever with this piece and a harder reed than I have used in the past. I have discovered that the dry martini tone has in inner core of brightness that I have only been able to nail with this mouthpiece. I really wonder if, in my golden years, I am on to something or just getting sexagenarian, "get off my lawn!!" mentality that defies reality. Please help me understand!!:(
 

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There is "something" with you....... maybe not wrong but different. I think you disregarded the millions of opinions on material, manufacturers, student pieces vs. pro pieces, "high price=good mouthpiece for everyone" and opened up a whole new adventure in your playing. That's happened to me once or twice over the years. That's why I don't write off "the mouthpiece that came with the horn". Sometimes it just works for you.
 

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Nothing at all. I still enjoy the 4C alto piece, and use it along with a Phil Barone NY 7, and a Link STM 6*. The 4C is a nice mid chamber piece, and they're well manufactured. They also work well on every mouthpiece picky horn I've tried it on. If a piece jives with your particular voicing and style, then it's a great piece regardless of price.
 

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The 5C is the one.....it will handle most things alto but, I get the OP's point. Stock Yamma pieces are probably the most consistent sax mouthpieces out there and do just what it says on the box
 

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The 5C is the one.....it will handle most things alto but, I get the OP's point. Stock Yamma pieces are probably the most consistent sax mouthpieces out there and do just what it says on the box
My 4C came with a used Antigua alto so... no mouthpiece box . What did the box say ?
 

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From a saxophone teacher's perspective, the Yamaha 4C along with the Fobes Debut and Hite Premiere are "safe" mouthpieces. By that I mean that they are quite forgiving when played with a still developing embouchure. To have this quality their design has a smaller tip opening, and wider tip and side rails. Mouthpieces that are considered more professional typically have a larger tip opening and narrower side and tip rails giving them more volume and flexibility and a quicker response so it is a trade off of sorts. An accomplished player will sound good on a well made "student" mouthpiece with the right reed, but there will be limitations to the volume and projection possible. I am by no means an expert on mouthpieces so if anything I have written is incorrect I invite the SOTW members who are more knowledgeable in this area to make corrections or add additional information. I would not hesitate to play a classical recital on a YAS-23 and a 4C mouthpiece if that is all that were available or all I could afford.
 

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Discussion Starter #8
From a saxophone teacher's perspective, the Yamaha 4C along with the Fobes Debut and Hite Premiere are "safe" mouthpieces. By that I mean that they are quite forgiving when played with a still developing embouchure. To have this quality their design has a smaller tip opening, and wider tip and side rails. Mouthpieces that are considered more professional typically have a larger tip opening and narrower side and tip rails giving them more volume and flexibility and a quicker response so it is a trade off of sorts. An accomplished player will sound good on a well made "student" mouthpiece with the right reed, but there will be limitations to the volume and projection possible. I am by no means an expert on mouthpieces so if anything I have written is incorrect I invite the SOTW members who are more knowledgeable in this area to make corrections or add additional information. I would not hesitate to play a classical recital on a YAS-23 and a 4C mouthpiece if that is all that were available or all I could afford.
I don’t mind using a “safe” mouthpiece for alto. I use pro pieces on tenor and have no issues. My alto playing has pretty much been limited to tunes that work best on alto and I had considered the alto kind of a necessary evil. (Alto players, please don’t beat me up. It’s just a personal thing for me.)

For some reason, the 4c has made alto playing more enjoyable and I’ve been playing it more. I get compliments on the sound too.
 

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Dont worry, you will get over it.

The 4c is easy to play but its a tad on the thin side.

There are better pieces that can be really comfortable to play. To many players get caught up thinking they need big tips.
 

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Discussion Starter #10
Dont worry, you will get over it.

The 4c is easy to play but its a tad on the thin side.

There are better pieces that can be really comfortable to play. To many players get caught up thinking they need big tips.
I am open to suggestions.
 

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If the secret to happiness is being happy with what you have you're one lucky player!
I tried a Lakey HR 7 back to back with a metal piece costing 8x the price and preferred the Lakey. That Xmas it was my girlfriend (who was buying the gift) who was lucky (and happy).
 

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I use a 4C on Bari when I get called upon to do sax quartet gigs. My other Bari pieces are a Berg and a Rico Metalite, they are a bit....impolite for classical stuff.

I'm a bit jealous of you - if I used 4Cs on all my other saxes, I'd have saved myself hundreds of pounds! Enjoy it.
 

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I am primarily a tenor player but I have been revisiting alto sax since getting my YAS 52. I have been through tons of alto pieces over the years including vintage Selmer, MC Gregory, Brilhart Levelaire, a Fantastic Phil Tone piece and many more. However, I am really digging the sound of the 4C that was already in the case. I love the sound, intonation and control I am getting from this cheap plastic piece. My questions are, is there something wrong with me? Should I just enjoy it and get over my cheap mouthpiece (plastic at that) prejudice? Is there a hard rubber piece that will get me the same sound?

I have gotten closer to the dry martini Desmond tone than ever with this piece and a harder reed than I have used in the past. I have discovered that the dry martini tone has in inner core of brightness that I have only been able to nail with this mouthpiece. I really wonder if, in my golden years, I am on to something or just getting sexagenarian, "get off my lawn!!" mentality that defies reality. Please help me understand!!:(
They make good mouthpieces, just not popular among players. Just stick with it and don't let names trip you up, they're meaningless. Phil Barone
 

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Discussion Starter #14
They make good mouthpieces, just not popular among players. Just stick with it and don't let names trip you up, they're meaningless. Phil Barone
Now, coming from an outstanding mouthpiece maker like you, that is quite an endorsement!! By the way, I have one of your HR tenor pieces. It is a monster!!
 

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Now, coming from an outstanding mouthpiece maker like you, that is quite an endorsement!! By the way, I have one of your HR tenor pieces. It is a monster!!
Thank you, the Yamaha is a really great mouthpiece. Players are WAY too hung up on mouthpieces, believe me I know. How do you think I got into the mouthpiece business? One of the most important things you can do is to once you get a good mouthpiece, to stick with it. A lot of people on here get way too involved with gear as I was. It boils down to practicing and forgetting about your gear. I studied with Vick Morosco and he played a Yamaha mouthpiece and he sounded fantastic. Phil Barone
 

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Thank you, the Yamaha is a really great mouthpiece. Players are WAY too hung up on mouthpieces, believe me I know. How do you think I got into the mouthpiece business? One of the most important things you can do is to once you get a good mouthpiece, to stick with it. A lot of people on here get way too involved with gear as I was. It boils down to practicing and forgetting about your gear. I studied with Vick Morosco and he played a Yamaha mouthpiece and he sounded fantastic. Phil Barone
Great tidbit of info there. I'd also extend that thought to the horn as well. People get too hung up on gear, and sometimes you can find the right tools for very little money.
 

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They make good mouthpieces, just not popular among players. Just stick with it and don't let names trip you up, they're meaningless. Phil Barone
What more could be added to this opinion, coming from somebody whom I consider an authority when it comes to mpc.
 

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Great tidbit of info there. I'd also extend that thought to the horn as well. People get too hung up on gear, and sometimes you can find the right tools for very little money.
Yes I agree, thanks for saying it. Musicians with experience and the “ear” will (should) be able to discern the difference at a refined level. The audience will enjoy the music or not....the players execution.
Yamaha makes fine durable goods affordable....by the thousands. Yes I have a 4C & 5C, YAS & YTS-23. Like an AK-47 you can get knocked into the swimming pool with a Yamaha and I will keep playing.
 
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