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Discussion Starter #1
Hi, I've just moved into a house after 14 years in a small flat in London, for most of which I had a Jupiter 547 sitting in a bedroom cupboard. Now I can get stuck into it without worrying about the neighbors!

I have to say, tho I still sound terrible when I listen to myself, I'm amazed at the progress I've made in a month or so. I'd sort of given up on the horn, but it just needed a good service (leaked everywhere!) and now it's sweet. I'm using a Meyer 6-M mp and trying different reeds... just now I'm trying Vandoren java 2 1/2.

Intonation's not as bad as I thought, though it's still out a lot at the top end, esp. when I get tired LOL - so I thinks it's just a case of more practice.

Before this I played flute and guitar, but I've really got into the sop, and I'm listening to Steve Lacy and Coltrane, and some Branford Marsalis.

I'd be very interested in any helpful hints/feedback. I'm sure I'll upgrade at some stage... I'd be interested to hear suggestions on other mp's I could try to get a different sound. I much prefer Coltrane to Kenny G (no offence meant!). Also, whether I'd benefit from a pro horn?

thanks, this forum has been really useful so far!
 

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After playing sop for 55 years, I still have mouthpieces that won't let me come to pitch on the high end. The issues are too many to go into here. A strong embouchure (maybe "mature" would be a better way to put it) helps, but if all things are working right, maybe you need to explore mouthpieces.

For sure, someone who plays a Meyer on soprano will post that he doesn't have that problem but let me tell you, we all react differently to mouthpieces. DAVE
 

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Non Resident SOTW Eccentric & 2012 Forum Contribut
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I found that the Bauhaus Walstein M2 sop that i had was noticeably easier to play in tune than the Keilwerth SX90II that I now have. The tone I got the M2 worked for me however the Keilwerth was similar but magic. Perhpas a little more responsive would be the intelligent answer... The palm key notes on the KW are very critical of larynx control and tongue position ... get it right they rock get it wrong they won't speak. I think that this is a quirk of this particular horn.

A good responsive horn is a joy to play so I suggest if you can afford it get the best horn you can and check out Joe Giardullo's SopranoPlanet site. He's fabulous on soprano mpcs.

BTW the main reason for changing was the ergo's.. i play a lot each day and the ergo's of the KW are just right for my body hence less stress.

While a challenging process (I'm in the midst of changing) I have converted to the Allard/Leibman airstream control methodology and I love the flexibility of tone. I have Leibman
's book as it is a little clearer however it's all there in the online stuff about Joe Allard.
 

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Discussion Starter #4
thanks, guys, I've ordered a book from the local library; 'Developing a Personal Saxophone Sound' - is that the book you refer to, Jazzaferri?

I'll try whatever mp's I can get my hands on... easiest starting place is probably the Yamaha; not pricy, and some sort of benchmark I guess...

I saw a gold Otto Link thingy today... it was so damn pretty! I had to put it down or I would have had the credit card out. Wish I hadn't seen that aaaagh GAS strikes again :-(

... Oh, btw, do the Yamaha custom series sound any different to the ordinary series? Thanks...
 

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I don't know the Meyer specifically. But 6 is already pretty open on sop. You might try a bit a smaller opening: this usually helps to get things in place in terms of intonation and evenness over the whole range. I used a Yanagisawa 5 which is really very easy going, but the standard Yamaha seems to have a good reputation on sop too.
 
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