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Discussion Starter #1
My 68XXX Martin soprano has fantastic sound with a SopranoPlanet Missing Link 65 except I am having difficulty going above high C#. Can barely squeak out a D and just air above that. Using a Hemke 2.5 or 3.0. I have a 3.5 on order.
I welcome any advice or guidance.
Thanks in advance.
 

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make sure you are not holding it like a clarinet. If you have the mouthpiece exiting the mouth like an alto, the high end should improve.
 

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Discussion Starter #3
make sure you are not holding it like a clarinet. If you have the mouthpiece exiting the mouth like an alto, the high end should improve.
Bruce,
Much thanks. I do avoid the clarinet angle and try to keep the horn straight.
Will try again...
 

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S: SA II. A+T: Martin HC1 T: Mark VI A:39 King Zephyr B: Martin HC imperial
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I play mostly tenor and Bari. I have an alto and soprano. Rarely play either. If

pull out the Alto I start running into response issues with High F and on Soproano D and higher. I know what my problem is: Air support. I am really flat up there.

I have to practice exclusively on soprano for a few weeks to address the issue.

I envy people that can get these notes to speak on the soprano. Hang in there.
 

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This thread encouraged me to dig my Martin soprano (serial 724XX, straight, silver-plate) out of the closet and try the high end - again. With my current set-up I use on my MKVI and curved Yanagisawa SC902 (a Selmer Concept with Legere #2 Signature reed), I couldn't get the Martin's palm key-notes to speak either. Those notes speak easily on my other sopranos.

So, I went through various mouthpieces I've collected over the years and found that the more open tips worked fine on my Martin - specifically a Selmer S-80 G and J, a Selmer Super Session J, a Phil-Tone Sapphire .070, a newly acquired Drake Son of Slant .065 (on a trade with a fellow SOTW'r), and a Morgan Vintage .065, all with the same Legere #2 Signature reed.

I'm guessing the OP just has to discover the right reed for his mouthpiece and chops. With a .065 mouthpiece, maybe going a bit softer (or adjusting the chosen reeds with a knife) on the reeds would improve his ability to get those notes to speak. DAVE
 

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I envy people that can get these notes to speak on the soprano. Hang in there.
I appreciate the players that can get those high notes and choose not to - at least not too often.
 

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Discussion Starter #7
Dave,
Thanks for the encouragement and I always appreciate George's gentle sense of humor...
Dowshu
 

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When I had a VI soprano, the high end always required more attention until I went from a C* to a G opening. Thing is though, it seems you're playing something rather open tipped for soprano at .065. Sometimes, for various reasons, we really, really want a certain mouthpiece to work with our horns. Maybe because others swear by them, or famous players used them; none of which are good reasons for an equipment mismatch. And if your current mouthpiece isn't a good match for your horn, it's time to move on and try something different to attain better results.
 

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I have a #67XXX Martin Handcraft soprano and a Missing Link 12 and no problems with palm keys and beyond. So I don't think that the issue comes from your gear.
 

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I have a #67XXX Martin Handcraft soprano and a Missing Link 12 and no problems with palm keys and beyond. So I don't think that the issue comes from your gear.
Everyone blows differently. So not all will have similar problems with equipment matches. There have been numerous threads on difficult top ends for certain sopranos, even for experienced players. Too many to count solved them by a better mouthpiece match; including me.
 

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Even a mouthpiece/horn/reed that works well (in my case Buescher True Tone with S-80 C*) the top notes on soprano require some precision so as to get reliable response - especially when there's a lot of tonguing, and at louder dynamic levels.
 
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