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Are you more satisfied with you jazz or classical mouthpieces.

  • About equally satisfied

    Votes: 17 23.3%
  • More satisfied with my jazz mouthpiece(s)

    Votes: 43 58.9%
  • More satisfied with my classical mouthpiece(s)

    Votes: 13 17.8%
1 - 20 of 29 Posts

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Discombobulated SOTW Member, Forum Contributor 201
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Discussion Starter · #1 ·
This is a question for those who play both jazz and classical. Overall, are you more satisfied with your jazz mouthpiece(s), classical mouthpiece(s), or about equally satisfied with both? I'm testing a theory but I don't want to say what it is up front for fear of biasing the results.
 

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Overall response and character of my classical setup is good, however, I like the feel, response, and character of my jazz piece a good deal more. I've already voted, care to PM me with what you're thinking as I have a thought as well relating to this topic?
 

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Discussion Starter · #3 ·
dburlone said:
Overall response and character of my classical setup is good, however, I like the feel, response, and character of my jazz piece a good deal more. I've already voted, care to PM me with what you're thinking as I have a thought as well relating to this topic?
I'll chime in here after a few people have voted.
 

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chitownjazz said:
This is a question for those who play both jazz and classical. Overall, are you more satisfied with your jazz mouthpiece(s), classical mouthpiece(s), or about equally satisfied with both? I'm testing a theory but I don't want to say what it is up front for fear of biasing the results.
I use the same setup. I adjust the reeds differently.
 

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I use a Yamaha 4C for concert band unless more is called for. Unlike a typical jazz venue, projection and brilliance are not necessary; what I want is to be able to play pianissimo passages and generally not stand out when playing in a section.
 

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dangerous question. In fact, my classical mouthpiece plays easier (defenitely on bariton and soprano). On the other hand, my BergLarsen (I presume it is a jazz piece) does have more character.

Since I play mainly ska and gipsy, I need a tone that cuts. So regarding my personal preference and playing style, my jazz piece is more satisfactory for me.
 

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Forum Contributor 2011, SOTW's pedantic pet rodent
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I've been messing with setups a lot in the last 6 months or so and for the first time i really moved towards different m/ps for different styles but i found that for me this was unsatisfactory. I found the adjustment from a "classical m/p" to a "jazz m/p" very difficult in the sense that whilst the tuning on the classical piece tended to be stable, i'd then have considerable difficulties with intonation on the jazz pieces. If I use the jazz piece exclusively on each sax then my tuning is ok.

Since i'm really most interested in playing jazz and blues styles, I think my solution is to use the jazz pieces for any "classical" playing i have to do and see if i can adapt my "tonal concept(!!)" enough to sound appropriate for that style. The main problem with my current jazz alto setup (when i'm trying to demonstrate a classical piece) is it's difficult for me to get really good control on quiet notes below D. But i'm working at it. This is probably not ideal but it seems the best way for me at the moment.
 

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Discombobulated SOTW Member, Forum Contributor 201
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Discussion Starter · #9 ·
The results so far are consistent with my expectations - by a wide margin in a small, unscientific sample players are more satisfied with their jazz mouthpieces.

I hypothesize that it is because the market is larger for jazz mouthpieces and consequently a lot of effort by a lot of makers has resulted in a lot of good options. Also, Selmer has dominated the classical mouthpiece market for years (I think I'm on safe ground making this assertion, but don't ask me for statistics) and that has stifled innovation in these mouthpieces.

In my own case, I'm in the process of selling jazz mouthpieces (because I have others that I like even more) that I'm more satisfied with than my best classical mouthpiece.
 

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RootyTootoot said:
I think my solution is to use the jazz pieces for any "classical" playing i have to do and see if i can adapt my "tonal concept(!!)" enough to sound appropriate for that style.
I'm moving in that direction, also. If the community bands don't like it, they can kick me out.
 

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My hypothesis for this little experiment was that more people would like their jazz pieces mearly because the more open facing may allow them to be more flexible. I also felt to some degree (again I'm not an expert by any means) that the more open piece can also help to cover up some potential problem areas (save intonation).

It is an interesting result. I'm wondering of those that voted, what the breakdown of their practice time goes into (classical time vs. jazz time). I'm relatively sure the results are just a bit scewed. I'm pretty sure that most people who classify themselves as mainly jazz players who also play in a community band (so to say), will perfer their jazz mouth pieces.

Myself, I say that I'm about 60/40 (jazz/classical) ratio on practice and performance.
 

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Since we're listing our own hypothesis, here's mine with some overlap.

1)There are more jazz makes than there are classical makes and there are more models and variations in the jazz makes than there are in the classical makes. There are enough options in jazz pieces that (if you have the resources) you're bound to find something that gives you what you're looking for.

2)There are more custom makers for jazz mouthpieces. (Is there a custom classical maker?)

3)The spectrum of good jazz tones is larger than the spectrum of good classical tones. With classical tone, there's a general consensus of how it should sound and you have to find a piece that allows you to sound that way. There are so many acceptable tones in jazz that you can sound great even if you don't quite have the the tone you're aiming for.

For me personally, I'm a jazz guy. I spend more time on my jazz setup and naturally have a more developed sound with it. Also, since I'm hardly ever in a classical setting, I have no inclination to try mouthpiece after mouthpiece in search of what works best for me.
 

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Billt4mn said:
I'm moving in that direction, also. If the community bands don't like it, they can kick me out.
As long as you blend, no problem.
 

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I like my Selmer metal Classic in C** for just about everything on alto. It does everything I ask it to do.
 

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Since I've been using the same classical tenor mouthpiece (Morgan "C", refaced to .088) for about 5 years, I guess I'm in the minority.

For my tastes in jazz, I know Fred Lamberson is the maker of my favorite jazz mouthpieces - that's the problem, I enjoy them so much that I don't play just one.
 

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Dr G said:
Since I've been using the same classical tenor mouthpiece (Morgan "C", refaced to .088) for about 5 years, I guess I'm in the minority.
The minority just got bigger. :twisted:

I have been having a problem with my tone for several months with my present Selmer S80 C* but I will either:
- send it to a refacer to see if it has become warped
- get another S80 C*
- try a S90
In any case, this is basically saying I'm sticking with what I've got. But with the jazz mpcs, I've been trying a lot this past year, although trying and switching isn't the same. That is, while I've been trying, I've still been playing mainly my Tenney Link or Ponzol M1.

So I guess in general, I'm slightly more satisfied with my classical mpc.
 

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I use my jazz pieces for both jazz and classical. I don't care for the tiny tip openings on the classical mouthpieces. Also, I just like the sound of the jazz pieces better they work well for everything you can play any dynamic you want on them and I find them more expressive and flexible.
 

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I use different mouthpieces on alto and tenor, for jazz and classical. On soprano, I use the same piece for all styles, an old selmer C*.
 
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