[saxmystro]

Hello,
I am going to be a Senior in High School and recently play on a Selmer Paris C* S80. My directors tell that the C* is my best bet for getting a nice classical sound, but i feel like it doesnt give me the projectory i need to stand out in a solo, gig, or an audition.

I feel as if it holding me back. I have several mouthpieces in mind, such as the Larry Teal; which i feel gives me a darker sound and projects more than the C*, but not as freeblowing. The Vandoreen Optimum is another mpc that i've taken into consideration and the Selmer Paris Soloist.

But i dont want to waste my money on a average mouthpiece. Please comment on what classical mpc you think is the best on the market.

Thanks, Mark

 

[david044058]

Whats up mark!

Hope you find one that gives you that sound.

MARK THIS IS A HIDDEN MESSAGE!!! DUUDE!!! CHEESE!!
MARK THIS IS A HIDDEN MESSAGE!!! DUUDE!!! CHEESE!!
MARK THIS IS A HIDDEN MESSAGE!!! DUUDE!!! CHEESE!!
MARK THIS IS A HIDDEN MESSAGE!!! DUUDE!!! CHEESE!!
MARK THIS IS A HIDDEN MESSAGE!!! DUUDE!!! CHEESE!!

 

[TenTenTooter]

My sax teacher, a classical sax major from Indiana University, plays on and recommends the Vandoren AL3 and Rousseau mouthpieces.

 

[NatureColor]

I think what you're looking for is a brighter sounding mouthpiece. I eprosnally think there is no problem with the C* at all.. anyways, try a different ligature. For example a metal lig will give you a brighter radiant sound, on the other hand, a leather or those rubbery types of ligs will most likely give you a darker sound without much projection. Try a BG France Goldplated lig, and you'll be just fine.

 

[bruce bailey]

Try an S-80 in a D facing as that has been my classical mpc for about 40 years. I recently got a Super Session and it is similar to the S-80 in feel but is much brighter. Now my #1.

 

[ChuBerry47]

Choose the Vandoren, (They make it as a doubler mouthpiece, for both jazz and classical), or choose a R. Caravan, they have a lot of volume (depending on how you play it), they have good intonation, and a very, very dark tone. The Caravan is the darkest mouthpiece you can find anywhere!

 

[thejoyofsax]

I don't think you'll be wasting your money on any of the pieces you're considering. None of them is average - all Selmer and the Vandoren Optimums are great bets. The key is to get out and try these mouthpieces. Once you lock into a model you like, play three or five or more of that singular piece to find the one you like the best. The mouthpiece is such a crucial element in your total sound.

Note that if you look into Caravan, you'll be getting a completely different sound than with any of your other prospective choices. Caravan is known for being very "Adolphe Sax" in construction, vis a vis the large, round chamber. The other mouthpieces you're trying are very French, whereas Caravan is more on the German end of things.

You may also want to consider trying Rousseau mouthpieces in your lineup.

 

[saxdude11]

Rousseau mouthpiece would be a great way to go. I played C* for years, but couldn't find the best sound I wanted so I decided to change and give other pieces a try. I went to WWBW with the trial policy and tried the LT and the Rousseau. The LT's sound just wasn't as nice and full as the Rousseau big fat gorgeous tone. The projection is actually pretty great on it too. Good luck and happy hunting.

 

[calisax]

Hello,
I am going to be a Senior in High School and recently play on a Selmer Paris C* S80. My directors tell that the C* is my best bet for getting a nice classical sound, but i feel like it doesnt give me the projectory i need to stand out in a solo, gig, or an audition.

I feel as if it holding me back. I have several mouthpieces in mind, such as the Larry Teal; which i feel gives me a darker sound and projects more than the C*, but not as freeblowing. The Vandoreen Optimum is another mpc that i've taken into consideration and the Selmer Paris Soloist.

But i dont want to waste my money on a average mouthpiece. Please comment on what classical mpc you think is the best on the market.

Thanks, Mark

You know what? Try the Runyon Custom Spoiler. The mouthpiece kicks serious butt at a very low price. It contains a removable baffle/metal reed that increases the projection of your horn considerably and produces a bright edgy tone. You can take the spoiler out, and then you have a mouthpiece that produces a very rich, classical tone. It's like two mouthpieces in one. Give it a go!

 

[J.Max]

You know what? Try the Runyon Custom Spoiler. The mouthpiece kicks serious butt at a very low price. It contains a removable baffle/metal reed that increases the projection of your horn considerably and produces a bright edgy tone. You can take the spoiler out, and then you have a mouthpiece that produces a very rich, classical tone. It's like two mouthpieces in one. Give it a go!

No. He's going to college next year and there isn't a college sax professor on Earth that would recommend a Runyon for classical work. Runyons are excellent mouthpieces, but not for this. Plus, there's the issue of tip opening. For classical work, you'll need a smaller tip opening than you will for jazz, especially if the jazz piece has a wedge baffle, which the Runyon does when you use the spoiler.

Second, check out my post in the classical section called "Index of Classical Mouthpieces". That should give you an idea of the qualities of different pieces.

Third, wait until you decide which school you will attend and ask that professor for help. More than likely, you will notice that the students at any one particular school will be playing on similar equipment, and you'll probably end up following suit. For example, if you go to Minnesota, you'll probably wind up on a Rousseau. If you go to SUNY Fredonia, you'll wind up on a Caravan or Rascher. If you go to Texas, you're keeping the C* and probably buying a new saxophone...etc.

 

[Martinman]

I would have to agree with JMax. I have a Runyon Custom for soprano, and there is no way it could be used for classical, espeicaly on the college level.

What kind of horn are you using? That could have some effect on projection along with air support.

I play a C* and have no problem with projection, but I use a lot of air.

 

[saxmystro]

Right now i am currently using a Super Action 80 Series, which is checked out to me by my school.
My setup is a Selmer Paris C* Mpc, 3 1/2 Vandoren Reeds, and a Eddie Daniels Rovner Lig.
And I am currently in the process of looking for a good saxophone to take with me to college.

 

[saxmystro]

I play on a Super Action 80 Series II, which is checked out to me by my school.

And my setup is a Selmer C* Mpc, with Vandoren Traditional 3 1/2 size reeds, and an Eddie Daniels Rovner Lig. But I feel as if the C* is somewhat restricting...Maybe I should try moving down to a 3, so that I can have more flexibility, but its hard because i love the dark sound i get with the 3 1/2 reeds.

I am currently in the process of looking for a good sax to take with me to college. So far i have either a Vintage sax or a Yanagisawa sax in mind.

 

[saxmystro]

I had not thought about the Caravan or even the Rousseau... I will be sure to try them out.

Still undecided on the mpc...but i'll be sure to inform you which mouthpiece i preferred best.

Thanks

 

[J.Max]

I play on a Super Action 80 Series II, which is checked out to me by my school.

And my setup is a Selmer C* Mpc, with Vandoren Traditional 3 1/2 size reeds, and an Eddie Daniels Rovner Lig. But I feel as if the C* is somewhat restricting...Maybe I should try moving down to a 3, so that I can have more flexibility, but its hard because i love the dark sound i get with the 3 1/2 reeds.

I am currently in the process of looking for a good sax to take with me to college. So far i have either a Vintage sax or a Yanagisawa sax in mind.

Again...better check with your professor before buying a new horn...you don't want to walk in to say, Texas, with a Yamaha. (OK, bad example). Seriously though, different professors are going to recommend different instruments, and if you go to a French/American school with a Buescher, you'll eventually want to buy a new horn. (Conversely, if you show up at a Rascher school with a shiny new SA80, you'll need the Buescher.)

 

[david044058]

Yeah dude, get tons of mouthpieces from wwbw and try them out. then get the one you like and send em all back.

 

[bruce bailey]

A C* is like a Honda. No one really will hate it and it always gets the job done. From your set-up, I would consider a different ligature. I never have found the Rovner to be that good. The only thing I like about it is that it is handy for trying mouthpieces as it adjusts easily. For classical, I would even prefer the stock Selmer lig.

 

[Lament]

I just finished my search for a classical alto piece. I tried tons of pieces, old and new soloists, old and new Rousseau, vandoren, s-80, s-90, all with more then one size, reed brands, and strenths. I choose a morgan 3c and am in love. It sounded good from the start and a month later I like it even more. I takes a while to get one new but Its worth it, at least for me. Also just because a mouthpiece sounds good on one horn doesn't mean it will on another. I had a sop and tenor setups that were great on school horns but I needed something different when I got my own. Good luck with your searches.

 

[J.Max]

A C* is like a Honda. No one really will hate it and it always gets the job done. From your set-up, I would consider a different ligature. I never have found the Rovner to be that good. The only thing I like about it is that it is handy for trying mouthpieces as it adjusts easily. For classical, I would even prefer the stock Selmer lig.

I don't know about that...Rascher folks probably won't like the C*, and there are many other teachers that are starting to turn on that piece. (They just aren't well-made pieces anymore. I don't think they are a good design either, but that's just me.) That's why I always recommend talking to a professor first. I absolutely agree about the ligature though. Rovner Dark ligs muffle the sound and that's never good.

I love my Morgan 3C and it's definitely worth checking out, but I still think it's better to speak with a professor and try a bunch of pieces. Once you find the one that you like, try a bunch of that particular model to make sure that you get a good one..unless it's a Morgan, they're all "good ones"!

 

[dpmusic]

screw the professor. find a piece and saxophone that YOU like. don't listen to anyone else, regardless of whether they are going to be teaching you or not. if you end up having the only C* or yani horn in school, then SO WHAT. it's art. it's about YOU not other people, so do what you like.
of course, in order to find out what you like, you have to try as many things as possible! many good suggestions have been given... here's another:
get your C* professionally refaced..perhaps opened to C** or D.
i had that very thing done to my C*(opened it to a C** and removed a bit of the baffle), and it's the BEST classical mouthpiece i've ever come across...for me anyway.. a saxophone friend of mine after playing on it dubbed it "the holy grail of classical mouthpieces".