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Discussion Starter #1
Who here plays a Meyer soprano mouthpiece. I'd like to know about how it compares to other mouthpieces, tip opening that you use, reed strength, tone quality, intonation (especially as compared to other pieces). I'm also interested to know if any of you use a Meyer with a synthetic reed. Anybody use a Meyer and decide that they didn't like it? What brand of horn do you use it on? What kind of music do you play? Spill it.
 

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I have a modern Meyer 7M that I got because I wanted to see if I could get close to Tineke Postma’s sound when playing jazz, but the Meyer was awful to play. I recently checked the table, and it was terribly concave. I leveled the table and checked the rails to make sure they were even. I tried to do as little as possible because I wanted to preserve the designer’s concept of the mouthpiece rather than impose my own preferences. It plays really nicely now, but I haven’t been able to put in enough play time to answer all your questions.

Here are a few things I can say about it. I usually play with hard reeds (4 or harder). Before, I had to go to a 2.5 Hemke to get it to play at all. I checked the table of all the mouthpieces in my mouthpiece drawer, and this Meyer was the worst. I had thought the difficulty was my embouchure with a bit larger tip opening. Now, it will play a 4 reed no problem, but I have some Vandoren ZZ 3.5 reeds. With them, it really sings. I have not been able to check the intonation in detail or play it a lot, but there was nothing particularly odious about it. I will be playing on it this week. I can tell you more later.
 

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Discussion Starter #3
I have a modern Meyer 7M that I got because I wanted to see if I could get close to Tineke Postma';s sound when playing jazz, but the Meyer was awful to play. I recently checked the table, and it was terribly concave. I leveled the table and checked the rails to make sure they were even. I tried to do as little as possible because I wanted to preserve the designer';s concept of the mouthpiece rather than impose my own preferences. It plays really nicely now, but I haven';t been able to put in enough play time to answer all your questions.

Here are a few things I can say about it. I usually play with hard reeds (4 or harder). Before, I had to go to a 2.5 Hemke to get it to play at all. I checked the table of all the mouthpieces in my mouthpiece drawer, and this Meyer was the worst. I had thought the difficulty was my embouchure with a bit larger tip opening. Now, it will play a 4 reed no problem, but I have some Vandoren ZZ 3.5 reeds. With them, it really sings. I have not been able to check the intonation in detail or play it a lot, but there was nothing particularly odious about it. I will be playing on it this week. I can tell you more later.
Thanks twocircles for taking the time to post that very helpful response. I'm not familiar with Tineke Postma but I'm going to look him up. I'm in the middle of a search for some specifics about the tonal/response characteristics of a few different mouthpieces and I'm really curious about the Meyer soprano piece. Thanks, again!

Oops. Just found HER. LOL
 

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I've tried a few Meyers on soprano and never liked any of them except for one that had been refaced and signed by Jon Van Wie and it played spectacularly well. They usually sounded a bit dull to me and the response lacked the clear definition I get from Selmers on soprano.
 

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I haven't come across a modern Meyer soprano piece that was worth a second glance. Bad facings, uneven tables. They make for a decent blank for refacing and that's it, in my experience.

Drake's Son Of Slant is an excellent vintage Meyer-esque piece.
 

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Discussion Starter #6
I've tried a few Meyers on soprano and never liked any of them except for one that had been refaced and signed by Jon Van Wie and it played spectacularly well. They usually sounded a bit dull to me and the response lacked the clear definition I get from Selmers on soprano.
That's interesting. John was definitely a wizard R.I.P. I haven't played a Selmer soprano piece in a long time. I might have to give it a go.
 

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Discussion Starter #7
I haven't come across a modern Meyer soprano piece that was worth a second glance. Bad facings, uneven tables. They make for a decent blank for refacing and that's it, in my experience.

Drake's Son Of Slant is an excellent vintage Meyer-esque piece.
That seems to be the commonly held opinion about Babbitt pieces in general. Joe at Soprano Planet could probably remedy the bad stuff.
I'm curious to know if anyone is playing a modern one that's an off-the-shelf piece with no reworking. Also, how is the tone on the bright/dark/focused/spread spectrum.
 

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Elaborating from another thread..its hard to find a good off the shelf sop piece.
Even a curve being slightly off uneven at all is killer to response and getting notes to voice at all.
A lot of players are struggling with sop for this reason and it is not just babbitt by a long stretch.
Sop is hard enough
 

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Morgan soprano mouthpieces are much better than stock meyers. Every Morgan soprano piece I've played including the budget models played better than every stock Meyer soprano I've played. But my JVW suggests that someone like Joe G could take a stock meyer and turn it into something special.
 

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About the Selmers - my fave soprano piece is a 70's era Selmer with the scroll shank, F opening. The closest thing to it today is the Super Session. These are squeeze throat, round chamber designs. I have a Super Session F as well, it's OK but not nearly as good (the facing is slightly uneven). Another option in that camp is a Bari HR piece. They are made pretty well.

If you buy a Link or Meyer soprano piece, factor in a reface fee - you have probably a 1 in 100 chance of getting one that plays well. Kritavi is right on the money about them being a good blank... maybe even a not-so-good blank.
 

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I play a Meyer 6 on my Yani soprano. Newer piece, plays great as is. I was on a Selmer 'D' for at least 10 years before this. The Meyer has a warmer full tone, the Selmer has more volume but is now too bright for my taste after the Meyer. Tuning for me is equal on both, even after all those years on a Selmer, I was fine on the Meyer after a few days. I use blue box vandoreen #2 or Lavoz med/soft with the Lavoz blowing 'darker' to my ears.
 
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