[Ken Janak]

I'm wondering what others have experienced regarding low note response on your JodyJazz HR tenor mouthpiece. I have a JJ HR7* on a Chicago Jazz Series tenor and after numerous trials, I always return to my Berg SS 110/2 mouthpiece, mainly because the low register is much fatter and more free blowing. It seems that the smaller throat/chamber area in the JJ creates some extra resistance, which for me, is uncomfortable. I can get better response down low with a softer reed but then the overall tone is too buzzy.

I guess I bought the JJ for gigs where I need a darker, more controlled tone, i.e. pit orchestra, symphony pops, etc. I do like the basic sound but don't find it comfortable enough to play it often. I've had the crazy idea of taking a drill bit and boring out the chamber but chances are I'll ruin it.

What are your experiences with this mouthpiece?

Ken

 

[benjamin1979]

For me the jj hr always have the easiest low and better response than tons of mpc i tried.

 

[bfoster64]

I have a JJ HR* mpc and I like the way it plays on my B&S Allora (which is the same horn as your CJS), but I agree the low notes are somewhat resistant. Actually, I find the B&S horns to have a somewhat resistant low end with any piece, but maybe that's because I'm comparing mine to my SDA, which is ridiculously free-blowing and easy to whisper in the low end.

Regardless, the question is whether another piece will solve that problem. After comparing my Morgan 8EL to my JJ HR*, I'd have to answer "yes." The 8EL has a bigger chamber and the sidewalls are more scooped out. Consequently, the low end is easier than with the JJ HR*. I imagine other large-chambered pieces will give you a similar advantage, though I think the Morgan 8EL is a truly exceptional design for many applications, and I'd recommend it (or an 8L) to anyone playing jazz, rock, r&B, funk, fusion, and the like.

 

[MojoBari]

I would say the low note response has much more to do with the quality of the facing curve and your reed choice vs the tip opening. Since you do not care for a softer reed on the 7*, you should consider a smaller tip opening. Boring out the chamber will mostly just make the piece darker and will change its intonation tendencies to be sharper for the high notes and/or flatter for the low notes.

 

[Ken Janak]

Thanks for the feedback. I've only tried the Morgan ProTone pieces and they play fine...I should try a Morgan Jazz for tenor and alto as I keep reading rave reviews on SOTW.

Mojo - have you had a chance to examine/play any of the JJ HR* pieces? Is there something about the facing curve that could be changed to improve low register response? I'm not sure I want to go to a closer tip because I'm afraid I'd lose too much flexibility and volume. Then again, I'm basically looking for this piece to play in more subdued settings as I can get plenty of volume and edge from the SS Berg. I guess there's always a compromise.

 

[gary]

FWIW, I tested for a couple of weeks the HR* 6 on tenor with a JK and had no problems with the low notes. As good a quality control as Jody has, all his mpcs do not play exactly the same. Maybe you should have a refacer just take a look at it or send it to Jody for an evaluation. I've played this one, his HR* 6 and 7 on alto, his ESPs on alto and tenor and in no case were the low notes difficult. Actually the opposite.

 

[Ken Janak]

Thanks for the suggestions, Gary. I'll try it on a few different horns to see if I get similar results and if so, I might consider sending it to a refacer or Jody for evaluation.

 

[MojoBari]

I have only seen one JJ HR*. So I can not conclude anything about 'all' HH HR*s. It had a decent facing on it. If you tried 3-5 of them and they all played the same you could conclude they are fairly consistent. But they still would probably have some small facing curve irregularities that a precise hand finishing could remove. Nearly all MPs do. I would need to analyze your particular HR* to estimate what I could do for it.