[nicocarrre]

I have been playing for a while and after looking at mouthpieces i see *7,*8,*9
and i see C*,C** and 4C, and 5C. what are the differences in the mouthpieces? I do not understand to well. If anyone can link a guide or something to explain better i would greatly appreciate. I was thinking of getting a new bright and edgy mouthpiece that gives you a jazzy sound and still can be used all around? what do you suggest?

-Noob Question.

 

[claxton]

This link has some nice diagrams and explanations of the terms to help you in understanding much of the discussion that goes on in this forum: www.mouthpiecemuseum.com

The forum keeps all of the old discussions, and you will find that many others have posed similar questions in the past. Don't expect one clear answer, though. There isn't one.

If you are looking for recommendations, the folks here on the forum will need to know exactly what you are playing right now: your horn (make and model), your current mouthpiece, your current reeds, and a sense of your level of ability.

 

[nicocarrre]

If you are looking for recommendations, the folks here on the forum will need to know exactly what you are playing right now: your horn (make and model), your current mouthpiece, your current reeds, and a sense of your level of ability.

I play a Yamaha-62. Current mouthpiece is a Selmer Paris C*. My current reeds are Vandoren Java 2 1/2 and 3. Well when it comes to ability i can get my notes out and i have an ok strong embouchure but im not looking for a very open mouthpiece that requires more that i can handle. I am looking for a warm and bright sounding edgy responsive mouthpiece.

 

[Dave Dolson]

Nico: Thanks to claxton for that link. I took a quick look at it but did not see a facings' chart. Maybe I just missed it. Good resource, though.

Basically, mouthpiece makers use various methods to show the tip-opening on their pieces. Selmer uses a letter system, Link uses a number system. Both systems usually identify the tip-opening from small to large; e.g., a Selmer C* is more closed than an F; a Link 6* is more closed than an 8*, etc. The asterisk merely denotes a slight increase in tip-opening over the basic letter or number.

There are charts around that show what each maker's designations equal in inches or milimeters. Sorry, I don't have a link to one of those, but the WW&BB seasonal catalog has the charts - for most saxophones and clarinets.

Other factors not so well charted (if at all) are chamber sizes, baffle design, mouthpiece length, etc. All of those factors make a difference but there is no consensus as to exactly what combination is best for the reasons I cite below.

As to making a mouthpiece recommendation to you, many try to do that and I fear sometimes (often?) miss the mark only because what works well for them may not not work well for you. I've tried mouthpieces that others raved about and walked away wondering what they were thinking. When I think that everyone has a different embouchure, tonal goals and playing styles, then I realize that there is no ONE mouthpiece that most players will like.

Most of us did the field work ourselves (sometimes at great expense) to arrive at what we like best. I suspect you will have to do the same - there rarely is a quick-fix for your situation. DAVE

 

[claxton]

Here's another link with even more detail:

www.theowanne.com Click on the "University" tab and there is a plethora of information, including tip opening comparison charts. I like the mouthpiecemuseam site for its simplicity for starters, though.

I'm guessing you are playing alto.

FWIW, I just started on tenor (first sax of any kind), and, like you, thought an edgier sound might be kind of fun to try even though I like the warm sound of my Brilhart Toneline3 (which I think is similar to your Selmer). I bought a used Otto Link STM 7* from a fellow here on SOTW. Apparently, that mouthpiece is sort of a standard jazz metal mouthpiece. To no one's surprise, blowing on it for the first time was like somebody hooking a vacuum cleaner up to my mouth. Shoo-whee did it need a lot of air, especially in the lower end. But my teacher and I liked my overall tone, and I'm going to work with it over the next few months to see if I can develop it in to something I like.

Other mouthpieces my teacher recommended I might try were a metal Dukoff in maybe a 5 or so opening, or perhaps a Brilhart Levelaire in a 4 or 5 tip opening. But he and nobody else can predict exactly how they will work for ME.

Good luck in your learning! There are lots of really smart and helpful people on this forum. I try to be helpful, even if the smart part doesn't fit too well.