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I'm curious as to way we don't hear much about Meyer rubber tenor pieces. They don't seem to be as popular on tenor as on alto. On tenor, it seems like it's all Link, and Meyers are for alto. Wouldn't the attributes that make the Meyer such a good alto piece also make it a good tenor piece?

I've never played a Meyer on tenor, and don't know anyone who does, so I have no experience to draw on - only ideas.

Any ideas/thoughts? I'm just curious!
 

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I am curious too, any ideas?
 

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I used to play one on a Keilwerth SX90R that I had. I found Links too dark on it, but Meyers worked great.
 

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I play a Meyer 5M on my Conn 10M tenor. Its a good combo although I am in the market for something else. Its not that I don't like the Meyer, but it is not the most interesting sound. It lends what I would call a very "neutral" sound to a horn. It has a slightly "warm" and refined sound that is pleasing but not very nuanced. I really like it because it is easy to play.

Its actually really good for play testing a new horn because it lets the horn's sound shine.

They are great mpcs and tend to make really good buys (tend to be undervalued).
 

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I think the explanation rather simple: Links have large chambers, typically. Also typically, Meyers have medium chambers. I say typically because you CAN order a large chamber Meyer, but it's not the same style or design as a Link and, by default the Meyers you order online or purchase at the stores are going to have medium chambers unless you specify otherwise.

In order for a medium chamber mouthpiece to work on tenor, the baffle has to be just right. I feel like the only person that gets this right is Ralph Morgan with his "Excalibur" mouthpieces. I've played a few other medium-chamber HR tenor pieces and they don't seem to work, stuffy as all hell. Mostly though it's that tenor players just tend to prefer larger chambers. I know I do! They achieve a deeper, louder sound when pushed and the extreme registers are a lot more satisfying. There is also more room for error and experimentation with baffles in a large chamber on tenor; I really don't know why this is true but I've played many many tenor mouthpieces and this is the trend I notice.

I played a Meyer 6M on tenor for two or three years in high school. I really had to work extra hard to get a decent sound out of that mouthpiece but I feel like it paid off. When I played my first Link my sound was tremendous after pushing so much air through that little pea-hole for those few years! I still have that mouthpiece and when I get curious or antsy I sometimes stick it on and play. The same thing always happens: I can't believe how stuffy it is or how I ever got a decent sound out of it. I think the La Voz reeds I was using had enough edge to cut through it a bit and produce a tone suitable for jazz...

So anyway, that's why I think Meyers are not popular on tenor. The Meyer design seems really to favor the alto, probably why I've used one on alto for five years with no problems...
 

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I play a Meyer 6M on my tenor and I don't have any stuffiness problems, but thats because I put enough air into the instrument to need any extra. With the horns I play it on (Series II and a YTS-23) they are loud enough that "more" is too much.
Does this make any sense? It was a little stream-of-consiousness.
 

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I think Jimmy Heath play a Meyer on tenor...But if you are serious about your playing invest a little money into a mouthpiece and watch it pay itself off in dividends... There are great makers around and you can get a smokin piece for under 300$ RPC, SR Tech, JJazz, Barone, Morgan, Tenney Links, Powell and Mojo Dukoffs...etc...

G'luck...
 

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I have a Meyer 7M that I used to play on my Buescher serie one tenor. It plays very easily with a warm sound from bottom to top, but it's difficult to get an interesting sound on it. I now play a Morgan 7L wich give a more complex sound, but I begin to find it's still not enough and think I will loof after metal Links ...
 

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I have played Meyer HR pieces on my Mk 6 tenor. Both Meyer 9M and 10M. I've even thought of having the 10M refaced, or "perfected", the tip opening is ok but the facing could be just a little longer for me. Other than that the 10M is quite a good piece.
Neither of the pieces have been stuffy, but maybe a little bright.

My main pieces so far for some years have been Link-style HR pieces.
 

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I think Junior Cook played a Meyer on tenor also. It seems that a medium chamber would make it close to a short shank Selmer Soloist sound.
 

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nitrosax said:
I think Jimmy Heath play a Meyer on tenor...But if you are serious about your playing invest a little money into a mouthpiece and watch it pay itself off in dividends... There are great makers around and you can get a smokin piece for under 300$ RPC, SR Tech, JJazz, Barone, Morgan, Tenney Links, Powell and Mojo Dukoffs...etc...

G'luck...
I think Jimmy Heath plays an RPC presently.
 

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This kid from another high school in our area sat in with our band every once in a while. He was a hardcore jazzer (while we were all funkers:)). He played a mark vi and used a 6m. All i gotta say...way to blank tone. kinda stuffy and at times i could tell what he was trying but it wasnt coming across in tone or expression.
 

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Discussion Starter #13
I understand (and agree with) the whole tenor/large chamber view. But I would think that the medium chamber would make it brighter (and maybe more focused), but not really a less complex sound because of the round chamber.

I can't help but wonder how much of it is hype - you know - the great tenor masters played Links and the great alto masters played Meyers.

Heath used to play a Meyer, and I thought he sounded pretty good.
 

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Check out Bob Kindred's recordings for the Meyer on tenor sound. During a telephone conversation about a year ago, Bob told me that he used the same HR Meyer mouthpiece for about 25-years, but had recently switched to a Link when the Meyer was damaged.

Although little known, Kindred has a fantastic, BIG sound. Arnie Krakowsky also uses a Meyer from time-to-time.
 

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I played a NY Meyer 6 reface by Ron Caravan for 10 years. Wasn't even looking for another mouthpiece. I just thought my VI had a stuffy low end or I just needed to practice more. Altissimo was OK but the tone was really nice. Not loud but FULL.

I then bought a slightly damage Slant Sig 6 a couple years ago and realized that the Meyer was creating all sorts of stuffy issues. Of course, I never noticed because I had ONLY played the Meyer FOREVER. I've switch to the Tenney Slant Signature Tone Edge 7 and it's seem to free up the horn tremendously.

I thought the MEYER was IT - until I tried a really good Otto Link. But everyone is different. I posted many years ago HOW MUCH I LOVED THE MEYER ON TENOR. I guess I've changed. Sorry:(
 

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Meyer on tenor

I have tried a few several years ago but could not get a very good sound out of any. Quite stuffy and bland. I don't know how they sell them. Love the one I have for alto but tenor is another story.
 

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whaler said:
I think Junior Cook played a Meyer on tenor also. It seems that a medium chamber would make it close to a short shank Selmer Soloist sound.
Right; it's in the the same tonal area.

The Brilhart Personalines have that aspect to them also.

I think that's why [some]people felt that Joe played like Junior Cook when
he got to NYC in 1962 - he was even staying w/ Junior at one point; I'm told.

I think the tonal similiarities were just a coincidence.

Was Junior still on a Meyer in the 70s ?

Those Muse records have him sounding even brighter ..maybe it was eq'd
that way, or he had a bright VI ?

I know some of the late VIs are pretty edgy.
 

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I recently bought a Meyer Brothers 6M with a medium chamber (0.90" per the charts that I've seen)that had been opened to 7* (0.105") by Brian Powell. When I played Alto, my primary piece was a Meyer (varying current production models, not a Meyer Bros) and I play one on bari from time-to-time, but I'd never tried one on tenor until now.

My initial reaction to this combination is very positive. My tenors (Conns and Keilwerths) tend to have darker and more spread sounds than Selmers, so the additional brightness and focus that the Meyer provides I view as being a good thing. There is also a nice "POP" to the sound. So far I'm finding the Meyer to be somewhat more free blowing than a rubber Link (same tip opening) while still retaining some resistance and tonal flexibility.

I'm not sure why this is not a more popular combination, but at the moment I'm glad its not, because unlike Meyer Bros alto pieces, the prices haven't become "stupid" either:D .
 
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