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Discussion Starter #1
Well, I have just acquired a Super 20 alto, it is a very early Eastlake one (428k) and has silver neck, underslung octave key, engraved lower key cups etc. Also, has a really nice case and accessories, very flash! At the moment, it leaks like a sieve in the RH stack and needs setting up properly, I think it was repadded by a chimpanzee.

Anyway, what do you Super 20 fans use by way of mouthpieces on these? I am a Selmer player usually and have a Jody Jazz classic 5 and a Bari Richie Cole 5 that I use for edgier in your face kind of playing on my Ref 54. However, just wondered if there is any consensus on really works for a Super 20 - I tend to prefer medium close facings as I also play classical on a C* Soloist (probably not on the King...) and find a wide tip on alto too much of an adjustment for my embouchure. Also, I have never really got on with metal pieces on alto for some reason.
 

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I have a S20. I have found that a good ol' Meyer 5 or 6 suit it great. Even the new ones. The Lamberson SBs are really nice as well. I'm going for a phatter sound so I'm using big openings with large chambers, but those 2 mouthpiece (Meyer being a lot cheaper) should be a great start. I hear the Berg Larsens are VERY nice with the S20 and I've tried a metal on with good results. I can't get into how high the beak is on the rubber Bergs so I have not tried them.
 

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Discussion Starter #3
The Bari Richie Cole should work well then, it's one of the nicest Meyer-like pieces I have played. I'd still be interested in other thoughts - e.g. small or large chamber, baffles etc, from other S20 alto players.
 

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Try one of the Vandoren V16 alto mpcs. Try both the small- and medium-chambered models. Or a Hite hard rubber. Or a hard rubber Berg 0 or 1 chamber.
 

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Prodigal Son and Forum Contributor 2008
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I recently tried several pieces after having my '44 Zephyr tuned up.

So far, the Runyon is the only one giving me an in-tune scale top to bottom. So far I've used a red #7. I felt it holding back on me but it blew fine in the whole range, and in tune with the freakin guitar at the end of the night.

I just bought a Bionix #9, I still feel it pushing back.

My Meyer 5, both Dukoffs, all three links, and a Jody Jazz were relatively tough to keep in tune while the Runyon 7 made it happen.

Tomorrow night's my second gig with this Blews Band. I've replaced the harp player, and I'm copping all the harp licks with my alto. I'll see how it goes with the 9.
 

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I've played a few well set up Super 20s. One thing I found is that you need to keep your embouchure REALLY consistent throughout the range of the horn. Its not a horn that you can get all excited on and tense up with. That may be the goal on any horn, but the Super 20s altos really respond to any tension. I have a S20 tenor that is not so sensitive to my tension. If I play any palm keys and I'm all in my David Sanborn squeal mood, it might come out pretty sharp, but if I just relax and let the notes pop out, they are very close with a super phat tone.
 

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King Super 20 Alto Mouthpiece

Someone suggested to me that a Saxscape Wilton is a good match (see the site for details) and that also possibly a small chamber piece would help.

Marty , how did the Runyon work out?
 

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Prodigal Son and Forum Contributor 2008
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baylistenor said:
Marty , how did the Runyon work out?
I didn't have time to work with the Bionix before the gig, so I wimped out and continued with the 7.

I'll try again because I want to push more and I'm hitting a wall. It does stay in tune though.
 

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Prodigal Son and Forum Contributor 2008
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Well, I took out the Zeph and the Tuna with a Runyon (Jazz) 7, Runyon Bionix 9, and my trusty Meyer 5 while marinating beef ribs. Even though the aroma of ribs tempted Asta, my Cairn terrier, he still ran upstairs at the first sight of my sax.

I found the Red Runyon 7 to be as it has been. Consistent and somewhat flexible. Low Bb to 4 octaves higher seemed to come out at all levels.

I then tried the Bionix. Using the same V16 21/2, I had to pull out a little, but it stayed in tune. All the notes were coming out fine, but it didn't seem as warm. It had relatively little life.

I then put the ribs on the Weber kettle.

I then tried my trusty Meyer 5. It was like hopping on stage with an old friend. The tuning difficulties weren't as apparent as a few weeks ago. Suddenly I found myself playing Take 5 and Yardbird Suite as an intermingled melody.

The ribs tasted awesome, and Asta is enjoying his reward as I write this.

It looks like my Meyer is back on the road!
 

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I use a vintage Runyon 22 on both my Super 20's (and Zephyrs, and Zephyr special), the same as Charlie Parker. I stumbled upon this combo not due to hero worship (although I do adore Bird), but after experimenting diligently with different setups over a period of a year or so. I have a couple of Runyon made, stencil marked mouthpieces that are obvious Model 22 designs which I utilize with my King altos as well.

That path of discovery led me to the same conclusion as one of my inspirations on alto by taking the scenic route! ;)
 

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saxismyaxe said:
I use a vintage Runyon 22 on both my Super 20's (and Zephyrs, and Zephyr special), the same as Charlie Parker. I stumbled upon this combo not due to hero worship (although I do adore Bird), but after experimenting diligently with different setups over a period of a year or so. I have a couple of Runyon made, stencil marked mouthpieces that are obvious Model 22 designs which I utilize with my King altos as well.

That path of discovery led me to the same conclusion as one of my inspirations on alto by taking the scenic route! ;)
Saxismyaxe, how do the vintage Model 22s differ from current production?
 

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Not much as far as I can tell. I just happened to get a nifty 50's vintage Runyon model 22 with a vintage horn I purchased, and it became my favorite. I have a few newer vintage versions, both Runyon marked and "stencils", and they all play about the same.

Thanks for asking, as it clarifies things quite a bit.
 

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saxismyaxe said:
Not much as far as I can tell. I just happened to get a nifty 50's vintage Runyon model 22 with a vintage horn I purchased, and it became my favorite. I have a few newer vintage versions, both Runyon marked and "stencils", and they all play about the same.

Thanks for asking, as it clarifies things quite a bit.
:) It's great to see a recommendation for a lower priced mouthpiece that is readily available. I think I'm going to buy one of these (#4 or #5) for my son. Please tell me which reeds you like with the 22's. Thanks!:)
 

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Hi 3 Olives,

Provided the reed is of good quality cane and properly made, matching the right strength and cut to the mouthpiece setup is the most critical element. I won't suggest a reed strength vs. facing size/tip opening, as this varies from player to player, and is also reliant on the individual's embouchure and breath controll/airstream development.

I personally favor Vandoren Java, V16, some ZZs (go for a higher strength than normal with these, they soften quickly!), and La voz as far as brands go.
I work on tweaking my own reeds, and carefully hand select the reeds I buy regarding cane quality etc., so buying the pricey "designer" reeds provides little benefit to me.

I like Santee Runyon, Ralph Morgan and Jody Espina's JJ HR* designs, and feel that they are the best deal on a great, low priced range of MP's on the market today. Although I don't personally play them, many also give the Vandoren mouthpieces high marks for a low priced, good quality MP.

I'm a die hard Otto Link fan as far as Tenor pieces go, but despite arguments to the contrary, I find that many of the current JJ Babbitt produced pieces need a little to a major bit of tweaking to get them to play their best. Most of the previously mentioned mouthpiece maker's output USUALLY play quite well out of the box.

If your son plays a Buescher True Tone (I noticed your avatar), the Model 22 will work VERY nicely matched with that horn.
 

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skip the 22 and go to the custom . this mpc will serve your son better as a jazz mpc for many years to come . also they come in cool colors.(red best) .but i dont advise it for use in school band as the director will most likely pitch a fit when he notices it. . if you want a mpc for school band only -a 22 fill work fine . the director wont notice anything if you get black. the ultimate 22 is called the tone-link and is customized by johan gerber? of south africa. -these are truly amazing! i have a vintage white parker one from the 50,s but it need s a reface badly. just having it is cool enough
 

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Hi Super20dan,

The Customs are nice, giving about the same playing characteristics as the 22, but a bit louder and more flexible. As I said, I play a vintage 22 from the Parker era, but my experiences with the current production ones make me think there is very little, if anything other than cosmetics, that has changed about them.

I wonder if the current production Custom is almost triple the price better than the 22, especially for the student?

I'm asking in earnest, not questioning your suggestion, mind you.
 

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saxismyaxe said:
Hi 3 Olives,
If your son plays a Buescher True Tone (I noticed your avatar), the Model 22 will work VERY nicely matched with that horn.
He plays a True Tone and the Model 22 is a steal at $30.+. As you mentioned, the SR and Custom are about 3 times that price. I plan on buying a more expensive mpc for his 13th. birthday in Aug., so I'll probably go with a 22 for now. Thanks!:)
 

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I have been switching back and fourth between these four mouthpieces on my silversonic Super 20 alto: A Selmer short-shank Soloist D, a Selmer Jazz D (metal), a metal Yanagisawa 6, and an Aizen ASNY 7.

Here is my finding on these four mouthpieces:

-Selmer Soloist D: This mouthpiece has a spread, somewhat dark tone. It is even across registers, but a little resistant. I don't think this mouthpiece was made for a bright horn like the King silversonic.
-Selmer Jazz D: As its name suggests, this mouthpiece has a very jazzy tone that brings out that King Super 20 vibe. But it is still somewhat resistant.
-Yanagisawa 6: My favorite mouthpiece on the King. It is more free-blowing than the two Selmer mouthpieces and has a bright, lively sound that is also very jazzy.
-Aizen ASNY: This is the most free-blowing mouthpiece. It plays like a NY Meyer 6M, but a bit brighter. While I like the lower register and bell notes, the upper register and altissimos are kind of shrill.

So far, I keep going back to the Yani as it gives me the sound that I like most. Please let me know if you have had luck with some other mouthpieces on your Super 20 alto.

On my silversonic tenor, I alternate between a Miami Dukoff D7 and a Link Early Babbit 7. Both play well on that horn. So, for now, my search for a tenor mouthpiece is over.
 
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