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Discussion Starter #1
Anybody playing one of these who has some experience, knowledge, preferences for pieces for this alto sax ??
I only have a few alto pieces - I’ve tried more and sold or traded ones I didn’t like at all. Since getting this horn I seem to be going back to two pieces I had tucked away after I had liked a medium chamber CE WINDS Soloista Noir (or Noir Soloista!) which I had really liked. Now I’m pretty happy with my old hard rubber, Meyer 6* and - a little more so - a Vandoren V16 8. I am NOT knowledgeable about mouthpieces - why I like them or don’t. Except I seem to like high rollover baffles. (I think!). And I’m pretty content with Rico royal 2 1/2 or 3 reeds.
Thanks for any thoughts and discussion.
 

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I've got a Personaline S6 (.073 opening) that worked REALLY well with my TH&C, that I'm selling because I wanted something with a longer facing (tracked down a Great Neck 4). That opening should be fairly similar to your Meyer, and if your Ari plays anything like my TH&C, it will likely favor a piece with straighter side walls.
 

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I have a '38 Aristocrat and I use a Meyer G series 5*. I have a Morgan 6L, a Selmer Soloist D, a Meyer 6, and a Buescher, but I always go back to the Meyer 5*. I suppose it could also depend on the music you play and the sound you want. I am mostly a pit player. I'm sure you know that Forum member Maddenma is a great source for Buescher expertise. 10mfan would probably have some great mouthpiece advise, too :). Best of luck with your search, I'm having the same quandary with tenor pieces for an Aristocrat!
 

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On my NA I use the mouthpiece I've used for donkeys years on my first - still my backup - sax. A Meyer 6M ebonite piece. I have experimented with my Dukoff D7 but it sounds a bit harsh. Plus on both saxes, the Dukoff doesn't sound bright, I still sound mellow and dark, the opposite of what this piece is meant to be...
 

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Now I’m pretty happy with my old hard rubber, Meyer 6* and - a little more so - a Vandoren V16 8.
What do you -not- like about those two mouthpieces that has got you thinking about something else? Sounds like you may have a bit of GAS - "if it ain't broke" and all that.

I've owned over a dozen Buescher altos over the past 15 years and all of them were mouthpiece friendly with the exception of small-chambered pieces. I played various Meyers, Links (my favorite), Morgans, Vandorens, and others, and found none of them unusable. On my 271xxx Aristocrat I favored medium/large chambers with a pretty pronounced roll-over baffle, YMMV.
 

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Discussion Starter #7
I’m a tenor player who occasionally wants to switch to using alto more. I believe I’m fine with the mouthpieces I have but someone mentioned I might want a larger chamber piece - but I’m ignorant of whether or not mine are. Anyway. I am one of those people who DOES believe that a change in mouthpiece can change A LOT regarding sound. So, while I’ve been thrilled with my tenor piece for a few years, I have bounced between these three pieces on alto and am not QUITE sure I’m in the right place. So. It’s helpful for me to hear a discussion.
 

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. . . someone mentioned I might want a larger chamber piece . . . .
Unless you're having issues with your tone, intonation, or the general playing characteristics of the horn/mouthpiece combo (like stuffiness or resistance), that's pretty speculative. In my experience, Bueschers will let you know when your mouthpiece chamber is too small - you won't like the way the horn plays or sounds, you may have tuning issues, the low end goes wonky, something just feels "off."

I am one of those people who DOES believe that a change in mouthpiece can change A LOT regarding sound.
You're not alone there, and I'm certainly not going to tell you that changing a mouthpiece won't change your sound. My sax professor way back in undergrad used to tell all of his students who were on a gear quest "Until you can articulate what it is about your current mouthpiece that you don't like, you can't begin to search for something new."

. . . I have bounced between these three pieces on alto and am not QUITE sure I’m in the right place. So. It’s helpful for me to hear a discussion.
You say that you're ignorant about mouthpieces, but can you attempt to describe what you feel is lacking from your current alto pieces? - do you not like the physical playing characteristics (mouth-feel, resistance, response, etc.), or the tone (too bright, too dark, too flubby, no character). What do you like more about the Vandoren than the Meyer? What would be the "right place" for you? It's not like you're using a 4C, you're playing quality mouthpieces, and at a certain point there's no "better," only "different."

The three pieces you mentioned are all variations on a medium-sized chamber. If you like that vibe but want a slightly larger chamber, check out a Morgan Jazz in a M/L chamber, or go even larger to Morgan's "L" chamber. My favorite, and most oft-recommended, option is to send a mouthpiece you already like to a notable refacer. That way you know it's the best it can absolutely be.

You seem a little irked - I apologize if my first response struck a nerve, but the forum can't guide you to something different that may be better for you without knowing in what direction you want to move.
 

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Discussion Starter #9
Not irked at all!! Sorry. I’m not usually misunderstood and it may have been the capital letters that sounded like ‘irked’. I use them just for emphasis. I greatly appreciate your time and ideas. ... other have mentioned Morgan’s. I may take a look I. That direction. Thanks again.
 

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Discussion Starter #10
I keep forgetting to say - I’m looking for a sound close to Desmond. Whatever that’s called! He was the first sax player I loved to listen to. Then Getz.
 

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MC Gregory Model A. Good luck finding one.

Desmond is more attitude than piece, however, and he referred to his tonal concept as sounding like a "Dry Martini". Stylistically, he sounds like he was never in a hurry to go anywhere but would rather just sit an outdoor restaurant table and watch the world go by while sipping his drink.

You can get that sound on just about any medium chamber, low baffle piece. You can do the same with a Meyer if you work at how he plays rather than what he played on. Open your throat, pull your embouchure back a little towards the tip, play around with some different types of reeds to get the buzziness out of your sound, and play with a sweet, lyrical, relaxed style (this is the most important part) and you'll get pretty close.
 

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The New Crat is an outstanding alto and can essentially do anything, but at least historically, it's an odd choice of horn if one wants to sound like Paul Desmond. It's associated almost exclusively with Sigurd Rascher, perhaps the saxophone's greatest hardass. (Bird played one once, but Bird played one of everything once.)

Pieces I have used with good results include (vintage) Brilhart white, black, and rubber, Steve Broadus, Meliphone, and NY Woodwind B, G, or Stabile Special; (modern) Morgan M, J or L, and Link rubber. Ironically the Meyer, the standard go-to for Buescher altos is the one I've had the most trouble with - I found the top end so bright it almost whistled.
 

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On my NA, I played a Morgan 7L for a while, and now I'm happy with a Aizen ASJM 7. Don't play too loud for a Desmond or Getz sound.
 
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