[harmonizerNJ]

I just read the positive feedback on RPC mouthpieces in this thread:
http://forum.saxontheweb.net/showthread.php?t=70824

This makes me want to ask about RPC mouthpieces, and risk a self-inflicted GAS attack. First of all, does anyone have feedback on RPC mouthpieces for the alto? If you love your RPC, why? - what did it give you that you did not have before? If I am using a mpc with a large tip opening today, does that give any reason why an RPC mpc might be especially useful (or not) for me?

I was hoping I could share a little bit about my sound, and see if anyone had advice to share. Here are two sound clips of my playing:

I play a basic rock solo on alto: http://mailmansband.org/audio/OnlyOne.mp3
(my solo starts about 50% through this song).

I play a ballad in church on my alto:
http://www.mailmansband.org/audio/ComeSundayHarmonizerNJ.mp3

For both songs, I used my Meyer HR 10M with a LaVoz medium reeds (for the church ballad, I used one that was a bit softer than usual). This combination of Meyer 10M and LaVoz medium is not an accident; about 25 years ago my a teacher coached me through a process of going to successively larger tip openings, which gave me a much improved sound from top to bottom. My altissimo is mostly missing (I think it was better before I did this change), but I suspect this has at least as much to do with me not having tried the altissimo practice techniques suggested on this forum. I would really love it if I could reliably master the F#3 and A above that, not sure I really need anything more than that. But altissimo is not the be-all for me. Just to be clear, I am happy with my Meyer 10M, but I am curious what you folks might think.

 

[Reedsplinter]

I have an RPC alto piece, one that Ron calls the 90N, which is not generally available (the "n," he says, stands for "new"). I don't know how it differs from the usual RPC, but it is a wonderful piece. It has all the same advantages that my tenor piece has: rich tone, flexibility, amazing dynamics. When I was ordering it (4 years ago) I told Ron I wanted a piece that would help me open up the harmonics of my 6M -- give me a broader, fatter tone. This piece definitely does that. I had used Myers and Links (metal and HR) before; I had a Guardala alto piece that I picked up used (and never liked). Also various Selmers, and a metal Brilhart. Probably some others I've forgotten about. The RPC is the best piece I've ever played. Highly recommended by me.

 

[Agent27]

I got mine in college. I was playing lead alto and tried a number of pieces. A Tenney Meyer, VanDoren V16's, JodyJazz ESP, Lamberson, Barone HR, Morgans, and when I played the RPC 90R for the first time I went HOLY CRAP!!! Instantly my sound was louder, stronger, fuller, and more complex. I mean it was deep. It's been my piece ever since. It's flexible too. I've used it for lead alto in a big band and jazz combo playing and I can sound like Johnny Hodges, Marshall Royall, or Cannonball, or my favorite, Vincent Herring. I've played salsa and funk on it. For some the party bands I play with I have to do some smooth jazz stuff. I never thought I could get a smooth jazz tone (never wanted too) but I played along with some recordings and BAM, I can sound like a smooth jazzer if I want too. This piece is awesome.

 

[Reedsplinter]

"Flexible" is the word that keeps coming up in descriptions of RPC's. Both my tenor and my alto pieces are the most flexible I've found in decades of playing sax.

 

[Grumps]

If I am using a mpc with a large tip opening today, does that give any reason why an RPC mpc might be especially useful (or not) for me?

90R
Call Ron to discuss, or try your luck picking one up second hand.
I've scored two alto rollovers on the second hand market; though it took me four years. The 80B is a nice piece, but you can get edge if you need it on the 90R; and quite frankly, I mostly just prefer the more open tip. Ron told me his N model for alto was envisioned as a bee bop piece with a smaller chamber than his regular models. You don't see those around too often.

 

[Reedsplinter]

Ron told me his N model for alto was envisioned as a bee bop piece with a smaller chamber than his regular models. You don't see those around too often.

Ron told me that he plans to make the 90N (perhaps with a different letter to designate it) part of his regular lineup sometime in the future, and charge more for it; $350 was the figure he mentioned. I'm very pleased to have got mine for the same price as the usual mouthpieces.

 

[BariSaxzinger]

Whats the big deal with there RPCs. I havnt played one or even seen one. Should I look into it? or what?

 

[Martinman]

Whats the big deal with there RPCs. I havnt played one or even seen one. Should I look into it? or what?

Read the thread on RPCs that is in either the tenor section or the general mouthpiece section.

 

[Grumps]

Should I look into it? or what?

Not if you're happy with what you're playing.

 

[Rackety Sax]

...bee bop...

Working too hard Grumps?

 

[Toot Sweet!]

I have a RPC .85 rollover baffle Ron made for me in '98 plus .80 high baffle alto mouthpiece. The play quite similar, but the high baffle one of course projects more and has a brighter sound. I mostly use the .85, but it depends of the context - the more electric guitar and electronic keyboards, the more I use the .80.

The .85 is very versatile, as others have said. It gives a warm, fat sound. What I like most of it is that it gives a very personal sound. What I mean is that some mouthpieces (e. g. a Guardala Studio, probably also a Dukoff) impose their sound on you. Different players can sound very different on an RPC.

 

[chengccs]

I got my RPC 90R alto mpc around 2 months ago.

To answer harmonizerNJ's questions, firstly, I tried to find a mpc that can help me to get the high notes easily and at the same time still provide me dark tone in low register. When I tried the RPC mpc, this mpc can provide me what I want.

My alto tone is always the worst compare with my tenor or soprano's tone. So far, I am satisfied to use RPC 90R mpc or Yamaha 5CM mpc. I use BG L10/L11 ligature on these 2 mpcs. The ligature can give me even brighter sound and still preserve the dark tone.

Hope this is helpful.

-Stanley

 

[qwerty]

I play a 90R on alto. I play it for all of my pit orchestra and show work and most of my big band, combo work. It is the most flexible alto piece I have ever played, in that I can go from dark and mysterious to wailin' with very little effort. On gigs where I want to play a little louder, brighter and get a little more buzz to the sound, I use a Link that has been opened to .095, as well as creating a little baffle by Ed Zentera.

I use a 120R on tenor and again, it is sooo flexible. I think however it ought to be rated NC-17. If you don't have some serious chops, I think this mouthpiece could be brutal.

I recently played an engagement of Rocky Horror Show and wished I had something a bit brighter/louder to compete with the keys/guitar/bass/drumset. I am hoping the 115B i just bought from the marketplace and should be arriving any day will fit that bill.

If you see them in the marketplace for sale here on SOTW and the price is something you'd be willing to pay, strike quickly as the secondary market for these is hot.

You might also check the Saxquest's trading page. I scored my tenor 120R for $165 there. Seller told me it was a 110R....Played it for 2 years before I even noticed it was a 120R!

Steve