Definitely good to be flexible. I never tried to play pop/rock music quietly - I always had a mouthpiece with a lot of power and I used it. If I was too loud, I would put up a large Acrylic 'reflector' that mounted on my mic stand. This not only reduced my 'air' (on the 'air' in the room) volume, it was a terrific monitor. However, there are different situations for everyone and what you're doing is a good thing. You'll probably find a favorite 'quiet' mouthpiece and stick with that - there's a lot to be said for bonding with a certain mouthpiece. To anyone else trying this I would suggest using two different versions of the same piece where possible. Latenite has a super-duper 8* STM Link, so maybe he should go with a regular STM Link in maybe a 6.
Perform Rock/R&B on quieter low baffle etc. mouthpieces. I dare you.
I'm now finding myself in situations where I have to keep my volume very controlled, but I still want to get funky, rock out and let it all hang out. Tenor saxophones are very loud things especially when you really push a ton of air. The best way to get a handle on that is with a quieter mouthpiece.
I have zero problem doing this for alto or tenor on my rubber Brilharts, Rubber Otto Links, Kessler Custom (set up by Norbert Stachel as are some of the others), and my new and wonderful Phil-Tone Orion 6* (.095") and similar smaller tip, lower baffle jazz mouthpieces I have. These are easier to control for long periods of time at lower volume levels.
I have my superb brass Ponzol M2 s 110s, Bergs, Saxscape, custom 8* Otto Link STM with a beautiful baffle in it among other more aggressive high baffle more open stuff, but I do fine with the quieter mouthpieces for these gigs.
If you can ability to play a style, you can do it on a .120" Guardala or a small Selmer Goldentone. In some particular situations, that Selmer Goldentone just might be the better choice. While there are some things you can do with the Guardala you can't quite do on the Goldentone, it could be these correct choice given the live situation you find yourself in.
I have zero problem doing this for alto or tenor on my rubber Brilharts, Rubber Otto Links, Kessler Custom (set up by Norbert Stachel as are some of the others), and my new and wonderful Phil-Tone Orion 6* (.095") and similar smaller tip, lower baffle jazz mouthpieces I have. These are easier to control for long periods of time at lower volume levels.
I have my superb brass Ponzol M2 s 110s, Bergs, Saxscape, custom 8* Otto Link STM with a beautiful baffle in it among other more aggressive high baffle more open stuff, but I do fine with the quieter mouthpieces for these gigs.
If you can ability to play a style, you can do it on a .120" Guardala or a small Selmer Goldentone. In some particular situations, that Selmer Goldentone just might be the better choice. While there are some things you can do with the Guardala you can't quite do on the Goldentone, it could be these correct choice given the live situation you find yourself in.
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