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Discussion Starter #1
hi guys....

i play the soprano with a selmer s80 facing E.
i would like to try a super session.

is there anybody that knows this kind of mouthpiece???

what are the differences???

thank you so much.fabio
 

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There is a thread on this. I recently added to it!!!!I recently bought a super session E mthpc for my Selmer Super Action 80 series II soprano. I used a C** mthpc since I bought the sax in Jan 04. The super sessions are a bit brighter but seem to respond easier!!!The palm keys speak easier w/ the super session. The super session has a round chamber. The s80 mthpcs have a square chamber. Maybe Dave Dolson(resident soprano expert{compliment}) can add something to this thread. He highly recommends super sessions(the reason I bought one) and has quite a bit of playing experience on them.
 

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No expert here, but I DO have an opinion! Thank you, sycc.

I used to play S-80's in G and J facings exclusively. When the Super Session hit the market, I switched to the SS-J and never looked back. For me, the SS-J is much more responsive in all registers, has a more open sound, and better intonation. They are short, so they tune up sharp on my vintage sops (I had to have my S-80's barrels cut down to do that).

The SS-J plays well on both my modern and vintage sops. I've been toying with the Morgan Vintage lately, but find the SS-J gives me more focus and equal power. The Morgan is a good alternative for those who like the SS-J, but in the end, I'm favoring the SS-J.

How does all of this relate to smaller tip-openings? Can't say, but if my experience correlates to smaller tips (like C* through F), I'm guessing that the Super Session will give similar results when compared to the S-80's. DAVE
 

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For about 25 years I used a S-80 D and about 2 years ago I got a Super Session E (the closest facing). Recently I got the S-80 out and after having played the SS, the old mouthpiece played like it had a rag in it. The SS is far better.
 

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Recently, I had a problem develop with my Runyon Custom 6 where I was getting overly enthusiastic playing jazz and chewed up the inside of my lower lip. I went back to my SS F which has been safe for me in the past but the problem continued on that. I had really gotten into a bad habit. Then I went all the way beack to the S-80 E that I had not played much in the past 18 months. It was easy to play and sounded good. Now that is my main piece and I use the SS F on occaision when I want expression. The S-80 is pretty much a straight tone but a nice one. The SS is something you can play with. It can be very loud or very soft or medium with slight edge and considerable expression.

You can overblow anything and, when you do, it feels like it has a rag in it. But each of these pieces has very nice qualities. I suggest you play them both for a long time, looking and listening and feeling for the differences. Find which one works for you. Maybe you'll be like me. On some days, one works. On other days the other works. It also may depend on the music and the acoustics of the place you play.

Today I played an hour of slow blues on the S-80 that really sounded great.

Earlier in other posts I have knocked the intonation of these Selmer pieces on the real high notes. I found it difficult to play G3 with them compared with the Runyon on which those notes pop out and stand out. But recently, with practice, both F#3 and G3 are coming out well on these pieces though the S-80 just sounds "high" - not piercing.
 
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