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I don't switch tenor mouthpieces anymore, but I do switch tenors depending upon the venue. However, I'll used either horn for rock or jazz; the 10M with a fairly open RPC rollover and the Silversonic with a very open high baffle RPC.
 

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Drake Ceramic Mouthpiece - "Double Ring" model. It's darker and brighter at the same time than most others I've tried, totally free-blowing, very loud but with tons of control. I've just done a handful of jobbing dates on this piece, and I can go from dinner jazz to screaming rock with no problem. And they are currently $159, which is crazy.

But make sure you experiment with different reeds if you try one! I had to go a full 1/2 strength harder than I usually play on other pieces (I've owned slants, Florida STM, Morgans, Ponzol, and many others). I needed a few days of playing it, and that combined with the harder reeds made it really sing for me.
 

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I think you could do this with a lot of mouthpieces. Right now, I would choose either a Barone Jazz or a Barone Hollywood. I'm thinking, though, that a Theo Wanne Kali (or maybe even a Gaia) would do it for me, too.

I keep wanting to do this, but it's hard to part with good mouthpieces. I like trying different pieces, but it's difficult to sell the ones that are great -- even if they don't fit your own concept or style well enough to become your number one. Maybe this should become my New Year's Resolution.
 

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Drake Contemporary 8. I would still be tempted to drag out the Dukoff for a screaming altissimo gig, but I could cover it on the Drake as well (as well as I could cover it at all, that is -- screaming altissimo on tenor is not my strong point).
 

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Hey grumps, I think that still counts as two mouthpieces (rollover/high baffle), although probably as close to one feel as you can get...

I would go with the RPC 115B I have had for the last 5 years or so, I can cover all the bases with that even though I find it thins out a bit for the softer stuff.
 

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Hey grumps, I think that still counts as two mouthpieces (rollover/high baffle), although probably as close to one feel as you can get...
And I might still be switching mouthpieces back and forth between horns if I hadn't listened to recordings of each horn with its chosen mouthpiece and not been able to tell them apart. But it's a known fact that certain mouthpieces work better for certain players with certain horns. So it would be counter-productive to use only one mouthpiece for two entirely different horns, expecting it to work well with each of them.
 

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I have committed - sold my last Lawton, shed my Lambersons, ditched my Barones, lost my Links... I hope you get the picture.

I play a Vandoren V16 T9 refaced by Juan I. Caino to .122" (with chamber work).
One backup exists - another V16 refaced and modified by Juan. I need nothing else.
 

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I don't switch tenor mouthpieces anymore, but I do switch tenors depending upon the venue. However, I'll used either horn for rock or jazz; the 10M with a fairly open RPC rollover and the Silversonic with a very open high baffle RPC.
Yup, I get that---but the title of this thread is "Just 1 tenor mouthpiece" if you had to choose, not "Just two mouthpieces matched to two different horns". Which of the two horn/mpc combinations would you choose if you had to?
 

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Rousseau JMT8. It's an unusual choice, but it works really well for me...
 

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Which of the two horn/mpc combinations would you choose if you had to?
Really tough question because if I had to pick a mouthpiece that could work with both horns, I'd take the high baffled RPC. However, if I had to pick a horn... it would be tough, but I'd take the 10M; and for that the rollover RPC would be the best match. But the high baffle RPC is my favorite all time for a variety of horns...

Nah, I'll interpret it as just one mouthpiece per tenor. :roll:
 

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Discussion Starter · #38 ·
Lamplight, I think I would have a difficult time picking just 1 out of that list you have. Do you actually own all of those at the moment?

Sigmund, do you mean your Phil-tone model? If so, I would agree that it is a very well made piece that is quite flexible.

Dr. G, when you say chamber work, do you mean the chamber/throat was opened?
 

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Thanks Grumps, I was curious if you would go with the rollover or the baffled one. I think the utility factor is higher on the baffled models, but the rollovers I had were not too shabby either--I should have kept one of those around...
 

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I have the same issue as Grumps. I'm ready to commit to a single mpc for each horn but can't commit to one horn. So - Super 20 gets the Berg 120/2 SMS metal and MK VI gets the Wanne Amma 8*. These would not be my choices if I wasn't forced to make each horn play in all situations!!
 
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