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Discussion Starter #1
Based on all the positive comments on the Morgan's, I purchased a 3C for my new legit mouthpiece. While it plays very easily and in tune, the tone seems to be more broad, almost "tubby"-certainly not focused, ie the French sound that I prefer.

Is this how the mouthpiece is designed, or will I adapt to it over time? (I normally played S80,90, or Optimum mouthpices with smaller chambers, and not accustomed to large chamber mouthpieces.)

I've tried to tone it down with various ligature changes without much success.

Setup is the same as with the mouthpieces: Selmer Series III alto, Vandoren Traditional 3 reed, FL lig

And its a disaster on my Buffet S1...

Thanks in advance....
 

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You can get the 3c to tune on your series III? On all of my medium chamber pieces, I have to push in ALL the way. I can't bring any large chamber pieces up to tune. The 3c doesn't work too well on my conn either. To be honest, I can't get any small tip opening pieces to work well with me. Stuffy stuffy stuffy stuffy.
 

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SOTW Columnist and Forum Contributor 2015-2016
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And that's why the gods (or Ralph Morgan, take your pick) invented the Morgan 6C alto. Ahhhh....relief. It's in the "Mouthpieces Wanted/For Sale" section ;) :D

Saxaholic
 

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Ha, I wish I could buy it. Too bad for me :(
 

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Discussion Starter #5
I have to push the Morgan all the way in to tune. How is the 6c different from the 3c, except for tip opening?
 

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The 3C has a more rounded tone than the S80 (one of the worst alto pieces of all time). To me, it has a more Paul Desmond vibe like a nice vintage Gregory.
 

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Hurling Frootmig said:
The 3C has a more rounded tone than the S80 (one of the worst alto pieces of all time).
So I'm not the ONLY one who thinks that about the S80 then? ;)
 

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My 3c has some marks on the tip rails (not from me) so I think I might send it to Brian Powell to clean up and open up to perhaps around a .70 opening. Blasphemy..I know.
 

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Not at all, considering Brian may very well have done the original facing work on it.

Saxaholic
 

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Hm...quite true. And I feel like I'm wasting the piece since I never use it. Everytime I try it is discouraging and I just go back to the magic of a morgan 6m :)
 

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SAXISMYAXE said:
So I'm not the ONLY one who thinks that about the S80 then? ;)
There's a large number of people who think that the square chamber wasn't the best idea to ever come out of Selmer. In fact, I would put it ahead of the Mark VII on the list of stupid things Selmer has tried over the years. They also screwed up the re-issue of the Soloist pieces in that it is only the inside of the piece that resembles a soloist. The beak doesn't have enough material. It's basically based on the S80 mold.

In all fairness I have to say that I recently acquired a S80 D that was by far the best playing S80 I have come across yet. This design isn't terrible on Soprano and Bari. I just find it lousy on alto and tenor.
 

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I actually really enjoy soprano S80 C** pieces.
 

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Discussion Starter #15
Hey You Hijackers....

Enjoying the conversation, but still looking for the answer to the original question: is the Morgan going to prove to be impossible or difficult to get the standard French sound


And I think Selmer Square chambered mouthpieces are awful, except for my C* soprano
 

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rdf2 said:
Enjoying the conversation, but still looking for the answer to the original question: is the Morgan going to prove to be impossible or difficult to get the standard French sound...
To put the question slightly differently, is it a good choice for someone desiring the "standard French sound?" The quoted term is subject to interpretation, but I would suggest that if you think of players typically associated with the French school, few or none of them play Morgans. Not sure of the design of the Vandy Optimum, but I'm guessing small round chamber? If so, then one can even say few or none of them play medium or large round-chambered mouthpieces. That answers your question I think.

Please correct me if any of the above is incorrect.
 

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rdf2 said:
Enjoying the conversation, but still looking for the answer to the original question: is the Morgan going to prove to be impossible or difficult to get the standard French sound


And I think Selmer Square chambered mouthpieces are awful, except for my C* soprano
You will not get a french standard sound out of the 3C. Personally, I would opt for a vintage scroll shank or soloist.
 

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You will not get a french standard sound out of the 3C. Personally, I would opt for a vintage scroll shank or soloist.
+1 - If you read Saxaholic's review on all of the Morgan mouthpieces, I'm pretty sure he mentions that the 6c doesn't have your typical french focused sound. The 3c should be similar since the only significant difference is the tip opening. Personally, I love the sound I get from my Morgan classical pieces and my s80 c*. Different, but I like them both.
 

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I'm using an S-80 C* on my altos now. I love it. The trick FOR ME is the 1 1/2 Fibracell reed I have on it. I still have the Don Sinta as a back-up (a piece I got from Ed - Hurling). DAVE
 
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