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Discussion Starter #1
I just started blowing the horn again after a 2 to 3 year hiateus...man, am I RUSTY :rolleyes:

My main piece right now is a Moran Jazz 9M. It seems to play well, but sometimes I think the tone is a little too sterile and a little too bright. My M2 120 I've found is way too bright for me (although it's still good in a loud/contemporary big band setting..and sounds good for a very high baffled piece). And my HR Link just doesn't project and sounds way too spread out and muffled.

I have a couple of other pieces that just don't play well, but sound decent:


Berg SS 120/2 SMS: I like the sound a lot, but it starts to feel closed up and resistant..not as flexible pitchwise as my main 3 peices. Also my subtones get muddy and undefined at times and it projects only moderatly better than my Link...


Lawton 9 (no b's).. : I like the sound of of this, a little more modern sounding than the Berg, but not as extreme as my Ponzol or as sterile as my Morgan.. I've had this mouthpiece refaced and tinkered with , but could never get the feel right...has the same pitch bending and closing up issues as the Berg, only worse...


I tend to like mouthpeices that I can bend the pitch up and down(playing on the MP alone, bending it up to concert Bflat, and down quite a ways below concert G)..ones that are flexible and free blowing, and don't cose up in the upper register... Also it seems like big bore mouthpieces like Links, Bergs, RIAs, etc. tend to be a bit too spread out soundwise, especially at lower volumes (unless it's a Ponzol..which I can't really get soft :D ) But if the baffle is too high or the chamber is too small, my sound gets shrill and too "needle-like", especially in the upper register...)


Otto Links, Morgans, Dukoffs, Ponzols, Claude Lakeys, Vandoren Java's, and RIA's I've been able to play on. Bergs, Lawtons, Meyers, Rovners, Yanagisawas....no dice...they close up on me no matter what the facing size is...:x

Funny thing.. the Morgan is the smallest tip I've used, but it plays much freer and more open than my larger Lawton and Berg...go figure :?

I would post some soundbites, but like I said, I'm very rusty and not a pro, and the recordings sound like they were done in the 1930's (a generic mic into a PC using the stock sound recorder program...LOL)

So, finally the question {SHEESH!}:

Is there a MP out there that is similar to the Lawton as far as bore size and chamber goes, that has the bending / free blowing characteristics I seek...???

Sorry for the long post... I' making up for 3 to 5 years since I posted last (I don't even remember my screen name :D )
 

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I suspect that the reason your Morgan plays bigger and freer than any of the other mouthpieces is because it's a small enough tip that you don't have to bite the reed down to play it. If you're coming back to the horn after 2-3 years away, you are almost definitely too rusty to be playing a mouthpiece with a tip opening of 120.

The first step is to find the problem. Is it you, or is it the mouthpiece? The less expensive (and more productive) route is to rule out the player (you) as the root of the problem. Stick with the Morgan until you're back in shape, then revisit your other mouthpieces. If none of them work at that point, then it's time to look for a new mouthpiece.
 

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Discussion Starter #3
dirty said:
I suspect that the reason your Morgan plays bigger and freer than any of the other mouthpieces is because it's a small enough tip that you don't have to bite the reed down to play it. If you're coming back to the horn after 2-3 years away, you are almost definitely too rusty to be playing a mouthpiece with a tip opening of 120.

The first step is to find the problem. Is it you, or is it the mouthpiece? The less expensive (and more productive) route is to rule out the player (you) as the root of the problem. Stick with the Morgan until you're back in shape, then revisit your other mouthpieces. If none of them work at that point, then it's time to look for a new mouthpiece.
I hear you... When I first blew on the Link 9 after all this time, it felt way too open... When I was playing more consistently, it felt fine. My Morgan has always felt a little closed, but playable...even now. I feel like the optimal tip for me at the moment is .115 instead of .120. The Morgan is .110 so it's a little closed. Even before my hiateus, I noticed these characteristics on the various mouthpieces when I played...I was still trying to shape my sound then...and now :D

Do I need a new MP?? Probably not... but I'm curious to see if there's something out there like the Lawton..but more free blowing and flexible pitchwise...
 

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I think after a 2-3 period of not playing, even a .110 is too big to be playing on. Go with something smaller to get your lip muscles back up to shape. Once you have the muscle and embouchure support, you'll be in good shape and should be able to make any of those pieces sing.
 

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Mouthpiece similar to lawton

I've been playing a metal LeBayle (9*) for a few years now and really enjoy it. I've played a Lawton, Links, RPC, Dukoff, Vandoren etc. and find that the LeBayle has a terrific sound, good projection, edge when you need it, good sub-tones, nice high end, just a good all around piece. Might be worth a try.
 

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Discussion Starter #6
ted said:
I've been playing a metal LeBayle (9*) for a few years now and really enjoy it. I've played a Lawton, Links, RPC, Dukoff, Vandoren etc. and find that the LeBayle has a terrific sound, good projection, edge when you need it, good sub-tones, nice high end, just a good all around piece. Might be worth a try.
Which chamber do you use?? And do these allow you to bend the pitch up a bit without closing off (like the many Bergs and Meyers I've played on :x ) ???
 

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Justinian said:
Which chamber do you use?? And do these allow you to bend the pitch up a bit without closing off (like the many Bergs and Meyers I've played on :x ) ???
If you can bend up, you may have an embouchure issue. Typically there is room to adjust intonation, but enough room to bend up sounds like an extremely loose embouchure.:shock: This might explain why you have issues with larger tip openings - you need a soft reed to speak which will close up when you push it.
 

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Discussion Starter #8
Carl H. said:
If you can bend up, you may have an embouchure issue. Typically there is room to adjust intonation, but enough room to bend up sounds like an extremely loose embouchure.:shock: This might explain why you have issues with larger tip openings - you need a soft reed to speak which will close up when you push it.
I should have made this clearer...

I actually can only bend the pitch up slightly on the horn, but I was really referring to bending the pitch up when playing the MP alone. The way I was taught, on tenor, a concert G pitch is the one to strive for...that means your embouchure is about in the right position. On MPs that I like, I can bend the pitch up to concert Bflat without the piece closing up on me... and then bend down from concert G quite a ways.... For me, this seems to equate to a more free blowing piece, especially in the upper register. The downside of this is I can hit overtones easily in the lower register and I have to be cautious down there... especially with a piece like a Ponzol M2 or a Lakey with a high baffle...


On a Berg or a Meyer, The piece closes up before getting to Bflat...sometimes I can't bend the pitch up from concert G at all.... For me, this normally equates to a piece that is more resistant and restrictive in the upper register, but a little more solid in the lower register. Sometimes a piece like this is so restrictive I need to use very hard reeds..and that normally doesn't help much...

So I like the former, even though the lower register can be a bit iffy at times. I normally like to use a piece that has a medium to large bore and medium large to large chamber..this can help the lower register issues without sacrificing the upper register openness...

Sorry about the confusion, I should have explained that better...:D
 

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Try an RPC. But also get back into playing shape. If you order an RPC, you'll have plenty of time to do that while you await its arrival.
 
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