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Discussion Starter #1
So I've been looking for new mouthpieces for my alto.

The classical one I think I'm going to go with is the Optimum AL3. Anyone have any comments on these? Consistency especially because I've played on one but I don't want to have to buy 30 to get one like the one I played. I currently have a Selmer S80 C*. I'd like something that plays a little more fluid and smoothly than it.

As for jazz, I'm looking for more of a Desmond style sound. I want to sound LIKE him while still adding some of my own personal touches for obvious reasons. I've done searches for this and have come up rather empty handed. All I've seen so far are some suggestions of the Morgan 3C and the Meyer G. Any comments on any of these? What facings are the generally played with the Meyer G? Are there any other mouthpieces that offer this type of sound? I really don't want to spend more than $200 on a mouthpiece so please keep than in mind.

Thanks!
 

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Try an old Brilhart for the Desmond thing, or even use the Optimum with a different reed.
 

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murphy235 said:
So I've been looking for new mouthpieces for my alto.



As for jazz, I'm looking for more of a Desmond style sound. I want to sound LIKE him while still adding some of my own personal touches for obvious reasons.


Desmond used an MC Gregory mouthpiece. They are available on Ebay or from vintage mouthpiece dealers, but are very expensive. A modern Meyer 4M with a Rico Select Jazz 3H or 4S Unfiled works for me for that style sound.
Martin
 

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Discussion Starter #4
martinm5862 said:
murphy235 said:
So I've been looking for new mouthpieces for my alto.



As for jazz, I'm looking for more of a Desmond style sound. I want to sound LIKE him while still adding some of my own personal touches for obvious reasons.


Desmond used an MC Gregory mouthpiece. They are available on Ebay or from vintage mouthpiece dealers, but are very expensive. A modern Meyer 4M with a Rico Select Jazz 3H or 4S Unfiled works for me for that style sound.
Martin
Yes I'm aware of what he used. The price and availability of it were the exact reasons I gave up on what he had to be exact and was looking for some modern alternative.

But thank you for the tip!
 

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Regarding the Vandoren, a guy in a concert band I direct plays one and he gets a beautiful, smooth and somewhat darkish sound. Absolutely beautiful. I kept his mpc for a week and it never rang my bell. There was just something missing -for me- so I have continued playing my S80 C*.

Funny thing is, IMO you already have the one mpc you need for both. If you were playing hard aggressive jazz or pop, maybe not, but I don't know why your C* can't do both of what you are looking for. I played jazz on a C* the first several years I played sax. I didn't know any better, LOL. It worked fine.
 

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gary said:
Regarding the Vandoren, I a guy in a concert band I direct plays one and he gets a beautiful, smooth and somewhat darkish sound. Absolutely beautiful. I kept his mpc for a week and it never rang my bell. There was just something missing -for me- so I have continued playing my S80 C*.

Funny thing is, IMO you already have the one mpc you need for both. If you were playing hard aggressive jazz or pop, maybe not, but I don't know why your C* can't do both of what you are looking for. I played jazz on a C* the first several years I played sax. I didn't know any better, LOL. It worked fine.
"The Hoff" is right. The whole "Jazz" mouthpiece, "Classical" mouthpiece thing, is a bit misleading. Get a mouthpice that allows you some flexibilty and doesn't lock you into one end of the tonal spectrum. Which is to say, stick with what you've got. I play a soloist on Alto and now I can get pretty much whatever sound I like out of it. Took a while, after playing a JJ but it is possible.
 

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Aww! You guys are no fun!! How's about a nice vintage Berg duckbill for the jazz and one of Rascher's old pieces (with authentic documentation to prove it) for the classical? Get back to us when you've found them. ;)

[only kidding, murphy!! gary and DP are right, of course. stick with the C* until you can play the hell out of it.]
 

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RootyTootoot said:
Aww! You guys are no fun!! How's about a nice vintage Berg duckbill for the jazz and one of Rascher's old pieces (with authentic documentation to prove it) for the classical? Get back to us when you've found them.
I which case, I've got a Caravan and a Lakey I'll sell you, LOL.
 

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i played the AL3 for a while, its beautiful but maybe a little to beautiful for me it was difficult for me to project and play more aggresive styles. It restricted what i wanted to do.
However im still searching for the right mouthpiece, im currently playing on the A28 and a 70s soloist
 

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Discussion Starter #10
I know the C* is a popular mouthpiece but it doesn't give the type of sound I'm looking for no matter how hard I try. It just feels like when I'm doing classical I have entirely too much edge to the sound and it feels hard to control the lower register, where on the AL3 I played I had none of those problems.
 

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murphy235 said:
I know the C* is a popular mouthpiece but it doesn't give the type of sound I'm looking for no matter how hard I try. It just feels like when I'm doing classical I have entirely too much edge to the sound and it feels hard to control the lower register, where on the AL3 I played I had none of those problems.
My post above notwithstanding, if the Selmer has too much edge for you, have you tried a Caravan?
 

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Discussion Starter #12
gary said:
My post above notwithstanding, if the Selmer has too much edge for you, have you tried a Caravan?
No, I haven't ever heard of Caravan mouthpieces. I'll check them out. Thanks.

Or is that a joke I'm not getting? lol
 

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Martinman said:
or even use the Optimum with a different reed.
That's probably a good idea - desmond's sound is really round and pretty and a "classical" peice might just do it for you. Otherwise try a Selmer Super Session or a Soloist - nice pieces just make sure you try like 5 of each in each facing that you try to be sure you get one with a nice facing/chamber etc.


Perhaps you could try a rubber link - that being said you'd have to treat it completely different to how I treat mine - I get a real rough dark sound out of it - but the lack of projection might help you get that understated sound.

I haven't really toyed with classical mouthpieces - my C* works fine.
 

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murphy235 said:
Or is that a joke I'm not getting? lol
No joke - google. ;)
 
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