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I was just in a music store a few days ago and spent 3 hours trying out tenor mpcs and alto mpcs and ligs for both. I ended up just getting a lig because I've just recently bought an early babbitt Otto Link tone master. I tried alot of cool mpcs. but I think my favorite of the day was a Selmer Super Session E it made me sound like Garrett it was incredible

I tried a Super Session I for tenor and it was way too big but I got that sort of Ben Webster sound but there was no real bite in it for me... the piece was way too big for me

I was just wondering what everyone else thinks of these pieces..
 

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A few months ago I went to look for a new mouthpiece for my alto and I tried a supersession F on my Martin, pretty amazing " hollow" sound! I didn't buy it though because I thought it was very similar to the already great combination Otto Link 7* - Martin the Martin alto I have already but on second thoughts maybe I will go to try it again with my Super Session 80 II (which I am not at all satisfied soundwise while I like the mechanics). I've never seen a Super Session for tenor (I thought they only had soprano and alto). At the moment I am working on the combination Mark VII blue Java t75 (not Jumbo) and optimum lig.
 

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So is a "hollow" sound good?

I'm curious about how the Super Session alto piece differs from the Soloist. Is the alto SS supposed to be more like a Meyer? Can anyone clarify?
 

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to me hollow sound ia a nice word , at least that is the way I describe this sound. A Meyer to me is not nice, very blunt (but plenty of people sound great on it). The soloist is very bright and resistive. The Supersession is free blowing and very " hollow", not unlike the Otto Link STM (don't like the ebonite). What I mean by that is a sound round within itself as opposed to a sound projected forward, a bit like when you wistle a high note wit tight lips (sound projected) or with your lips in a relatively more open shape like a O, that I call hollow.

Did I make myself as unclear as I think I did?.....Good! ;)
 

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Discussion Starter #5
Meyers - and I assume we are talking about the modern ones to me are a fairly bright mouthpiece with not much body. A good new meyer is hard to come by in my eyes. you can try up to 4 or 5 at a time and still have trouble finding one. I find the chambers are just a tad short and it's hard to make your horn ring with one.

I found the alto super session to be very full. Dark but with enough edge to give alot of definition. Like I said it made me sound a fair amount like Kenny Garrett - even the sax tech at the shop ran in to tell me that - it was the only mouthpiece that really jumped out at him.
 

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benbyrne said:
I tried a Super Session I for tenor and it was way too big but I got that sort of Ben Webster sound but there was no real bite in it for me... the piece was way too big for me...
Can you describe how it looked inside, and how its cut compares to the alto and/or soprano versions?
 

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I love the Super Session E. I just got an RPC 90 that I don't like as much as this SS-E. The RPC is a lot brighter when pushed.
 

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The SS has a long low baffle, flat sidewalls, and opens into a large chamber. Therefore it is focused but not edgy or overly bright and has a big fat low end. It is a good jazz mouthpiece but don't expect it to cut through in contemporary music.
 

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GAS_Wyo said:
I love the Super Session E. I just got an RPC 90 that I don't like as much as this SS-E. The RPC is a lot brighter when pushed.
Weird, If I remember right I experienced the exact opposite, but more volume with the RPC...
 

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Super Session

I've picked up a Selmer SS recently for my Couf Superba1 Soprano. I've got the "I" opening. I was using a Bari HR (70mm) before this and found control and tuning challenging. The Selmer SS has made my sound much more alive and singing and helped improve control and pitch. I haven't tried the Selmer SS's for other saxes.
 

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I switched to the SS for alto (D) and soprano (E) last year and I find them to be the best I have used. I started playing Selmers in 1964 and just keep going back to them. As far as the Tenor pieces, they DO have them outside the US. I guess Selmer US likes to keep us about 5 years behind the rest of the world (similar to Ford). I sure would like to try the SS for Tenor. Remember that Selmer facings for Tenor are Waaaaay more closed than the relative soprano and alto ones. I would compare a C* alto mouthpiece to an E or F in Tenor.
 

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Hi,
If you like hollow, have a listen to Bill Perkins on the 50's Kenton recordings,especially Stompin' at the Savoy . Thats as hollow as it comes,I like to think of it as wooden hollow.......................
 
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