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I'm just wondering if I'm the only one using these mpc's. I don't see a lot of post or in the real world hear or see them anywhere. I've been using the graftonite on both my tenor and alto with good results. I bought all three chamber sizes (A5, B5, and C5) for 45 dollars. Uses: A5 background; B5 intimate settings, weddings, etc; C5 for live club & festival gigs. I think I have a good ground for comparison. I also have OttoLink STM, OttoLink Tone Edge, Brilhart Level Air, Brilhart Tonalin, Hite Premier, and Vandoran Java. All good mpc's (Tonalin very good). Just wondering.
 

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I've used a 7 on soprano for about 10 years. It works nicely on my BN SX-90. It was an easy-playing piece right out of the box. I have tried many other pieces, but seem to end up back on the Graftonite.
 

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I have a B3 on soprano that I want to replace for a B5.
I have a Metalite M7 on Alto but would like to get an A5 for when I need a darker sound.
I have an A5 and B5 for clarinet.

I love my Rico mouthpieces and the price is right where I like it to be.
Cheap like me !!!

I'm tossing around the idea of trying out a tenor piece but quite frankly, I don't play my tenor that often.
 

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Hi,

I use a B5 (wind ensemble) and an M5 (jazz and shows) on tenor. However, for some gigs I still pull out the Dukoff D7. I have Harrison ligatures for all MPs and use fairly soft reeds. The sound is big and for what i spent (the M series are commanding a little more).

On alto and soprano, I still gravitate to my Meyer and Selmer Mps.

HRL
 

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I'm currently using a B-5 on one of my baritones. I have copies of all the Graftonites available, but the bari pieces are the cream of the crop IMO.

Good bang for the buck pieces.
 

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My C3 Graftonite or M5 Metallite have worked for me on a number of occasions. I tend to use these as back-up pieces but have played whole sets with them successfully. They sound a bit thin when miked, but the tone is so pure and clean they have alot to offer.I would use them exclusively if I had to and am sure I could learn to get a fuller sound from them with more work with various reeds..
 

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How close are the current Rico C mouthpieces to the Metalite pieces? I seem to be passing my Metalite to every bari player that sits in on our big band after the first funk chart and would love to tell them a similar piece could be had for just a few bucks.
 

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They aren't. The Metalites had a high, flat baffle and were LOUD. The Graftonites have a lower, roll over baffle with a slight pocket at the tip.
 

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Thats what I was afraid of. Somebody had said they were the same.

Glad we got that cleared up.
 

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I've got a C7 for my tenor. I think it's every bit as good as pieces that cost 10 times as much. Search on Graftonite.
 

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I also have been playing a C7 on tenor a good bit. It feels a little strange after a Dukoff D7, but plays great. Definitely not as bright as the Dukoff, but free-blowing and plenty of projection.
 

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Good description except I would call it a long arched baffle. The Ricos have a dip behind the tip rail where a roll-over would be located if it was there.
Keith,
You are of course correct. I was recalling the design from memory (apparently very fuzzy memories). Looking at one of the pieces in hand, I see the arched back baffle that you astutely point to clearly.
 

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i can and sometimes do use the m series from clarinet to bari sax. cant say that about many other mpcs can you
 

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I'm playing a C7 on my alto right now. Here's a clip:
 

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I played my C3 Graftonite tonight on a blues/rock gig in honor of this thread.:) It sounded really nice. I enjoy the beautiful tone it produces. I later switched to my Dukoff D7 for the last 3 sets, only because it is louder, and is more complex in tone- works better for growling and honking. I can see the Graftonite in a jazz environment- mine is like half way between a tenor and an alto in tone.
 

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I've played a Metalite M5 for years now. Still use it on rock and blues gigs. For jazz and quieter stuff I've gone to a Morgan 6L, but the Rico still gets used often.
 
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