Wow! I thought I would be able to add my tad-pole of knowledge here before the big dogs...but you have been useing a Meyers already.

I early on got a tweaked, refaced Meyer's 5, and it still blows away me and every alto I come into contact with live. Meyers, I was told, makes great 'blanks'; a master tweaker can greatly improve on an already great design...so I was told.

The way this tweaker, Joe Chankin told me...great mouth pieces, from great players in the past were carefully measured...thus, with the right blank, it is possible to recreate mp's that servered great artist.

True...? I don't know, but I like what I got...and like my Flordia tenor Link, would walk away from the horns, wife and chickens...but take the mouth pieces.

 

I guess the question is: what kind of sound are you looking for? And why do you want to change from the Meyer?

 

Why not try out some different reeds? Have you tried any fibracells? The Meyer 6M is a great piece.

Frank

 

Thanks for the replies so far! I made a mistake- I actually have a Meyer 7m, not a 6.

To answer your question J.Max:

I sometimes think my tone is too bright, even for jazz, and I guess I'm looking for a mouthpiece that would still be bright, but not too much.
I'm currently using Vandoren Java 2 1/2 reeds, and a Rovner Light ligurature, which I've actually switched to a Rovner Dark lig. It seems to keep the tone a little darker, but should I change the reeds first before I go and buy a new mouthpiece? Do you have any recommended reeds that would go well with my current set up? Also, would changing the Meyer number from a 7 down to a 6 or 5 help at all?

I guess the tone I'm looking for is to be similar to Cannonball Adderley's tone.

Thanks for the help so far!
Jai

 

Something similar to a Meyer but a little darker would be a Selmer Supersession. Also hard rubber Links and some of the Vandorens (not the high baffle models).

 

If you are using Java reeds, I'd first suggest switching to Vandoren Traditionals (blue box) and maybe going up to a 3. They're a bit thicker and going up a half step in strength should give you less "buzz" in your sound. You've already changed your ligature.

The problem that I have with telling you to change mouthpieces is that unless you want to go with a strictly classical piece, the Meyers should be plenty dark. A Selmer SuperSession or even a Hite might be slightly darker, but I think you'll probably be better off sticking with the Meyer.

 

For me, the alto Super Session is a bit to warm and spread - no focus, no projection (mine is an SS-F). I have a Meyer 7M-Small Chamber that is pretty good, but I usually rely on a Selmer Soloist F for my altos. Good focus, a large sound, and warmer than my Meyers (I have three Meyers of various designs).

Another choice may be a Morgan-Bilger. Mine is a 6M and it is very strong. DAVE

 

To avoid later regrets...stick the Meyers away...and buy what ever floats your boat. But a good Meyers may be worth more to you later on. We all change over time.

 

If you are using Java reeds, I'd first suggest switching to Vandoren Traditionals (blue box) and maybe going up to a 3. They're a bit thicker and going up a half step in strength should give you less "buzz" in your sound. You've already changed your ligature.

Jai -

Based on your follow up, I'd agree with this.

Frank

 

morgan excalibur

 

In addition to the other reed suggestions, try the Rico Jazz Select unfiled, probably around a 2 1/2 med. for what you're using now. I have never played a Meyer I liked until I got a hold of a customized 7m and my tech put the Rico JS on it. I insisted I wouldn't like it, I've never liked either the Meyers or Rico JS reeds, but the two together made a fantastic combo, in fact I purchased the mouthpiece! It's what I always have wanted my Super Session E to be, a little brighter and more projection, but still controllable. I would also suggest trying the Super Session E, but try several, I've used over dozen and only found two that I would keep, I have one, one of my private students has the other.
selmerfan

 

^wouldn't an Excalibur give a brighter tone than a Meyer? I don't know about you, but the reason I got a Morgan Excalibur was because my Meyer was too dark and I wanted a brighter piece, kind of the opposite of this guy. although i guess if he got a slightly smaller tip opening and a large chamber one, that might give him what he's looking for.

 

I don't mean to hijack this thread but I'm mouthpiece hunting also and I have a question.

What is the darkest sounding mouthpiece available?

 

I don't mean to hijack this thread but I'm mouthpiece hunting also and I have a question.

What is the darkest sounding mouthpiece available?

For classical: Vintage Selmer AirFlow...so dark, it'll make an alto sound like a tenor. (Runners up: Caravan large chamber, Rascher, vintage Buescher)

For jazz: Meyer "L" chamber (Runners up: Otto Link Tone Edge)

Now, "dark" doesn't necessarily mean "good"...

 

(Runners up: Otto Link Tone Edge)

Has anyone ever played one of these babies??????????????????

I hear good things.

 

Otto links arnt as good as the old vintage days...but they're ok.

Just a tip...Its a bad idea to go out trying to mimic the exact same sound as someone else, and its pretty impossible. Think of what sound you want, and try different mouthpieces and find the one that works for YOU because no one can tell you what works best for you. For instance, I could like peel paint on my dukoff but my friend isnt very bright when he plays on it...dunno why.

 

Otto Link Tone Edge - I played one for years on my Mark VI alto, I liked it a lot on the VI, butd didn't care for it on the Serie III, not enough projection, very dark, big sound, good for combo setting, but that was for ME. On the other hand, I just picked up a new Tone Edge refaced from vintage stock to
.108" opening for my tenor, huge sound, more projection than my metal link! The story is, take advantage of the try-out program from the various music warehouses and try LOTS of mouthpieces for little money until you find one that just fits, it might take a lot of mouthpieces, but you'll find one that fits you like a finely made boot, and if you do, buy two, one that plays well as-is, and if you ever think refacing or opening that mouthpiece up, you have a back-up to experiment on without changing your main piece.
selmerfan

 

I couldn't get on with A Meyer on a Yamaha 62. Claude Lakey seem to work well on the yas 62. I know plenty of players in the UK who swear by them, or is that swear at them?!! I blow a Barone, don't know if that would work on a Yamaha, works ok on Selmer and Yani's.Keep your Meyer,you might need it if you ever change your horn.......

 

Do yourselves all a favor. Get a FMaj7 from Fred Lamberson. You'll never need anything else.

Saxaholic

 

I played a Meyer 7M for years as well as a "g" 6. My favorite now is a Morgan 7M with a sterling silver lig and Lavoz med reeds. Gives me the best response and the tone I'm looking for.
Jeff

 

I've been using the Selmer Jazz metal E and F pieces, with Java reeds on my early YAS 62. The right ones are really an individual matter.

Sidepipes

 

This is an old thread and I certainly don't have the experience with the various mouthpieces that the folks on this thread have. But, in alto, I own a Meyer 5m and a 70's Brilhart Ebolin. The Brilhart is a little darker and in my opinion more resonant and fun to play, though they are very similar overall. I use the Meyer if I am in an electric band and am going to push it to get more cutting brightness. Not sure how it would sound on the Yamaha as these tend to be bright horns anyway. I am playing an Olds Parisian Ambassador which would be darker to start with.

 

Try a Yamaha 7CM with a Vandoren Java #2 reed. Sound will be bright.

 

Now this is only my advice, and I don't follow it when I buy mouthpieces, I just go by word of mouth, but
Go the the store and try out every mouthpiece they have in stock. Most of the sound comes from the player. But personally, I love my Meyer 5M and find it suits me for both jazz and rock (& roll).

~Jon