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Discussion Starter #1
I will be getting my first C-sop (Carl Fischer, LP, #155,xxx) in 2 weeks time. It comes with a mouthpiece (no idea if it is a Bb mpc or C). I am too excited I don't know what to expect.

1. Will the sound be anywhere near my Yani S992?
2. Where can I buy C-sop reeds?
3. I heard a lot about C-soprano intonation problem. How bad is it actually?

Thanks.
 

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The reeds are the same as Bb. I have owned Martins, Conns, Bueschers and Holtons, at least 2 of each and the Martins are far better intonation and sound wise. I had Theo Wanne send me some C mouthpieces and none were any better in tune than the Yamaha Bb ones. Both of my Martins have the original mouthpieces and they are fine but tubby sounding. Try whatever you use for Bb but not more than about a .050" tip.
 

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Bruce's advice about using Yamaha Bb sop mouthpieces (4C) is good, I bought one too for my 1921 Buescher TT C-sop on his recommendation and it works great (I cut down the bottom of shank a little, but probably didn't need to), it has a lovely mellow sound actually, with good intonation and tuning, using Bb sop reeds and a standard metal lig (nothing fancy!). Or if you want something with even more ooomph! and character then try the Selmer Super-Session Bb sop piece (mine's an E facing) and that works brilliantly too!
 

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The Yamahas in the other facings work too but I didn't like the Custom models. Actually someone here at SOTW sent me on the Yamaha route.
 

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I have a 1914 King C soprano, the intonation is very good, I use a Selmer C** Metal Bb soprano piece (refaced and chamber modified), but I have a second piece a Selmer S80 E (standard, not modified) which works perfectly well too.
If you are a Bb soprano player, you will find a great pleasure on a C soprano, and probably no intonation issues.
I use Bb soprano reeds #2 .
 

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When I play a Bb soprano, it doesn't feel right anymore. I really like the ones in C. There is one on ebay going off in the morning (US EST) that is a decent looking Martin that needs a repad. If anyone here gets it, I have all the pad size measurements printed up.
 

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Discussion Starter #7
I received my C Soprano yesterday. It is a Buescher stencil bare brass horn with a couple of dings. It is really a beautiful horn but I had to replace two of the pads. It came with a S80 Henri Selmer mpc.

As I have expected intonation was a nightmare; Initially middle C sounded like a B however I think I am getting better handling this problem. Lots of work actually. I didn't like the stock mouthpiece. It has no power and tone that I expect. My Link 7* did the magic (with a plasticover 3 reed).It sounds like a modern soprano with my Link but it has to be pushed all the way in to get in tune. Strangely I find that it is pretty easy to play on low notes.

I think I'm going to love this little horn. My wife loves it (luckily). We played some hymns and she was rather surprised with its powerful tone. I bought a soprano gig bag from CE Winds which is just nice for my c-sop.

My C-sop pic.
http://www.flickr.com/photos/ezronz/5447970555/
 

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Thats a good looking horn ezronz, it looks very early (metal touchplates), I wonder when it dates to? If you still experence intonation or tuning problems try the Aquilasax Metalpro C-sop mouthpiece (from Aquilasax.com) that improves my intonation quite a lot on both by C-sops, and it has a good, mellow, tone.
 

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Intonation problems on the Eb sopraninno sax can sometimes be minimized by making the lay shorter to about ten or eleven mm, especially for the upper end of the scale. Thus, shortening the lay on a C soprano might be a good idea, but I have not tried it on mine yet.
 
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