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As the official YouTube poster, I'm surprised you haven't posted Jay's reporting on how TV musicians are being ripped off. I'd'v thought that would be interesting to some here
lesacks - Thanks for the info.
I hadn't seen Jay's video. As you say, definitely interesting to some here.

I've posted the video link in YouTube videos.
 

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The best thing about these 3D printed pieces is that it will drive down the price of the high priced boutique makers.
Yeah, witness the impact of fast food on restaurants. Why would anyone pay for a real meal when you can get a huge bun filled with mystery meat and sauce?
 
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The best thing about these 3D printed pieces is that it will drive down the price of the high priced boutique makers.
I'd'v thought, just now, it'll impact most on the Vandoren / Rico / Yamaha etc. midrange lines, a bit. And they're big enough to cope. To hit the boutique, hand adjusted market I suppose you'd need an AI powered tester machine...
.... Something Star Trek left out of their replicators!
 

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The best thing about these 3D printed pieces is that it will drive down the price of the high priced boutique makers.
My hope is that it brings down the price of other FDM printed mouthpieces (plastic glops - not the laster etched like Getasax). It's really about $2-$3 worth of filament. There's a certain popular brand of 3D mouthpiece that seems to have a great deal of affiliate sales markup. I hate kids paying $200 for a lil' chunk of unfinished filament, thinking they're going to sound like their instagram heroes.

I liked the WCW, but wouldn't pay a penny over $80 for it. My Philtone feels well worth 4x-5x the price.
 

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I think the emblem at the top of the mouthpiece should be a deep dish pizza instead of the Willis Tower (formerly the Sears). The baritone sax mouthpiece design is of interest to me, it looks like there is some Berg influence. I checked out their Facebook page and they're in the Chicago Suburbs. I'm thinking it may be fun to go there and check it out but I have so many mouthpieces as it is.
 

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“I play sax but mostly it plays me”
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I'm currently working with a 3D printer to supply me with his mouthpieces for review. I doubt that they will be very good at first
and they probably will need refacing but these are issues that this person is willing to allow me to interject my opinions.

I already tried the baritone mouthpiece and although I could play my reed on it, the shaft hole was too small to fit a baritone neck.
 

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I watched this video yesterday (after reading this thread) and I have to say, while I enjoy Dr. Wallace's videos a great deal, that is did not sound to me like a good thing to throw at students. I would rather (if it were my student in question) have them buy a D'Addario Select Jazz and give them a free lesson, assuming that money was an issue (as it often is with students).

There was a noticeable difference in tone quality between the Meyer and the Windy City Blue... especially in the 2nd register. Ease of playing is always a good thing, but tone quality is just as important. I like my D'Addario 6M on alto quite a bit (not as good as my 10M Fan Alto Madness, but around 1/3 the price...). After hearing that video, and listening to Wally's other videos over the last year or so, I'd pass on the blue bomber.
 

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I watched this video yesterday (after reading this thread) and I have to say, while I enjoy Dr. Wallace's videos a great deal, that is did not sound to me like a good thing to throw at students. I would rather (if it were my student in question) have them buy a D'Addario Select Jazz and give them a free lesson, assuming that money was an issue (as it often is with students).

There was a noticeable difference in tone quality between the Meyer and the Windy City Blue... especially in the 2nd register. Ease of playing is always a good thing, but tone quality is just as important. I like my D'Addario 6M on alto quite a bit (not as good as my 10M Fan Alto Madness, but around 1/3 the price...). After hearing that video, and listening to Wally's other videos over the last year or so, I'd pass on the blue bomber.
I've listened to players with the D'Addario alto mouthpiece, and there was always something missing in the tone. The 10mfan Alto Madness sounds fantastic.

In the clips Ive heard of the Windy City, the tone sounds like what i would expect based on description. Also, there is a tendency for a new student to drop their mouthpiece several times during there development. I was one of these students and the tip broke off the mouthpiece when it hit the floor. Windy City offers a 30 day money back guarantee.
 

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jazz, rock, funk, fusion and gospel on tenor, alto and soprano
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I know this thread is 2 years old, but I thought it was time to resurrect it since I just had a chance to play test the WCW 3D printed mouthpieces at Midwest Band and Orchestra Clinic last month. I don't know how well the pieces played 2 years ago when this thread was started, perhaps they needed finishing and refinements in order to be playable. But the alto and tenor pieces I play tested in December of 2021 played very well for me. I tried all 3 of the models currently in production, the 56, the Jazz Classic and the Jazz Bright models. On the alto, I was able to produce a tone on the 56 that to my hear was hardly distinguishable from the tone I produce on my Meyer 7M. I wasn't a big fan of the Jazz Bright model, but the Jazz Classic also allowed me to produce a professional quality tone with ease. I would absolutely recommend the 56 and the Jazz Classic models to students because it is an inexpensive option for students to get a mouthpiece with tonal characteristics and response similar to a Meyer. The jazz bright model produced to my ear a tone that was rather thin and I will stick with my Theo Wanne Durga for gigs where I need to produce a rock/smooth jazz tone. But for big band or combo jazz, I would have no problem gigging on the 56 or classic models. If I recall the differences correctly, the 56 has a medium chamber and the Jazz Classic model has a large chamber. For whatever reason I thought the baffle, tip opening, etc. paired nicely with the medium chamber of the 56. I wasn't as big a fan of the tenor pieces, although they were decent. To me the WCW tenor 56 model played similar to a Meyer and the Jazz Classic played similar to a D'Addario select jazz, which wasn't very impressive to me because I am not a big fan of those mouthpieces for tenor. I do greatly prefer the tone and response I produce on a Phil Tone tenor mouthpiece to the WCW, but I suppose you get what you pay for.
 
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I just received a 56 II .80 and a Jazz Classic .85 for alto. After playing them a couple days I really like them both - good even response, easy to play in both the bell notes and te pal keys, consistent and pleasant tone, good intonation, nice in mouth feel. There are no inherent problems or downsides with either, as far as I can tell, and they're both absolutely "professional quality." I played the JC at a swing dance gig in a big hall and the next day at the Sunday brunch gig in a duo and it was totally comfortable to play and sounded great in both settings. So I'll be keeping it and using it as my main mouthpiece until further notice.

The 56 had a slightly smaller in mouth feel, and was also more focused, with a bit more edge around the edges of the tone. I tend to have a very focused sound anyway (people always said I sounded just like Paul Desmond when I played tenor for crying out loud) so I felt less comfortable on it. Kinda focus overkill. Maybe the slightly smaller tip contributed to this also.

The JC on the other hand blows warmer, rounder, and with more flexibility for me. Less edge, which I like. Maybe a touch quieter than the 56, to my surprise, but wide dynamic range and that nice bit of good resistance which feels like it gives you a balancing point or sweet spot. The shank is bit loose, that's the only thing I can find to complain about :)
 
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