That's odd because I find the opposite. I use a very wide tip on tenor, but on Soprano I use a Selmer Soloists C* (occasionally an E) with quite soft reeds. This gives me the best tone and versatility. Recently been using a Link 6 which I really like but not as versatile. Having said that my embouchure is different on soprano as I take in an awful lot of mouthpiece but very little mouthpiece on tenor usually.My opinion; Always play the largest tip opening, and the hardest reed you're comfortable with on soprano. You'll have the best control over tone, dynamics and intonation. In the case of the Soloists-bigger definitely is better....
Why is that? Although I may have some differences in my approach, there must be quite a lot of common ground.It would be odd if you didn't.
This chart says D=1.30mm and E=1.35mm. But this is just a guideline. Due to manufacturing variation, I have measured C*'s that are larger than D's.I think D is 1.25 mm and E is about 1.5
I am ashamed to say that I have never seen Carrington all the way through! But I do love the music for that film, it's a dreamier calmer side of Nyman that I love.BTW Dave. I was rewatching " Carrington" the other night. Saw your name there in the credits.Love that film.
I think that Selmer mouthpieces are consistent, just consistently inconsistent with certain parameters. I think that a C* is generally a C* and a D is basically a D etc, but within that there is enormous variance.Interesting opinions about Selmer mouthpieces. I have three soprano Super Sessions in J, all purchased at different locations at different times. They play exactly alike. I have two S-80 J and two S-80 G, purchased at different places and times - both play exactly alike. I have a variety of facings in their S-80 series (C*, D, E, F, and the previously mentioned G and J) and while I haven't measured any of them, they play progressively "more open" (I know that is pure conjecture) as the tip measurements increase, indicating to me a consistency in manufacturing over the years.
True, as the accusation was made in another soprano mouthpiece thread this week, this is anecdotal only, even though some of you may NOT have had as many experiences with the pieces as I have. I don't doubt that some of you have come across inconsistencies, but from my limited experience, I'm not ready to accept the conventional wisdom that Selmer mouthpieces are inconsistent. DAVE