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Hey guys,

I was hoping I could get some advice regarding whether the metal link or yanagisawa is more suited to the soprano sax. I currently use a 7* NY NSTM link on my Yani T992, which I personally love and seems to work well with my more mellow tone, and had considered getting something similar for the soprano. However, the metal yani mouthpiece also seems fairly popular for soprano, and obviously while it is very much player preference when it comes to mouthpieces, I'm wondering if people have any opinions on the general face of it.

(Soprano info)
I currently use an ebonite yanagisawa 6 on the soprano (P.Mauriat System 76 2nd Edition UL Straight) which I originally bought alongside the sax as a placeholder to avoid using the plastic one that came with it. Over the years, upgrading second study woodwind instruments took priority so I've only just got round to looking at this now. In terms of tone, again it's a pretty dark/mellow sound (by soprano standards :tongue1:)

Thanks
 

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Soprano: 1983 Keilwerth Toneking Schenklaars stencil
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I have a Yanagisawa 9 Metal that’s had some work done on it by unknown parties and a Yanagisawa 5 HR that was balanced by Joe at SopranoPlanet, which is my primary mouthpiece. I have used 4-5 strength reeds from a variety brands with the HR. I use a 2.5-3 strength reeds with the metal. The HR has a round chamber and the metal a square chamber similar to a Selmer S80, FWIW. I have no experience with Links.

I don’t quite understand your question about being “more suited to the soprano sax.” Or rather, since each of these mouthpieces have been worked on, I cannot answer that question because both work very well.

Comparing the two Yanagisawas, the metal can get a lot louder and is generally more free-blowing, but that is not to say that the HR is resistant it just has some resistance. I have always thought that this was more a function of the reeds than the mouthpieces though. I don’t play the metal that much because it moves my sound away from my intended concept, which is a clear tone with little or no edge suitable for classical music.

I hope this is at least a little helpful.
 

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I wonder if our new member, with just one post, stuck around for a month before anyone posted?

At any rate, again I don’t think anyone can generalize these things because of each player’s unique embouchure and tonal concepts. I have a good friend (and a superb player of reed instruments) who uses Link STM’s on all of his saxophones, sop to bari. On soprano he uses a #3 reed. He loves ‘em. He let me try his soprano set up and for me? Not so good.

I’ve tried metal and stock Yanagisawa soprano pieces (alto as well - owned a metal alto Yana piece and several plastic/HR sopranos and alto pieces for years) - nothing to rave about. My cousin-by-marriage uses a Yana HR on his SC901. It is all SO personal. DAVE
 
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