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Somebody on here (I think maybe Joe Giardullo) said that if a soprano - any soprano - won't play in tune with a Selmer S80 C*, then something is wrong with the horn and/or the player. I found this to be very true and helpful. I think my old Conn horn is set up now pretty all right, but there are things seriously wrong with me as a player, yet I can play a really well in-tune scale, top to bottom, with an S80 C*. Even better, it sounds really nice with this horn when you put the right reed on it and the right kind of soprano air to it, which is not at all what I expected based on listening to S80s on baritone, tenor and alto.
When people say "tip opening is the least significant thing about a mouthpiece" and stuff like that, it is a truism. If nothing else, tip opening is a HUGE factor in pitch control, and while it may pose no problem for a decent tenor player, even an accomplished player faces unique pitch challenges on soprano, and I'm not that great but I really appreciate the pitch control I get from a close tip on soprano. As for "big sound", tip opening really is of little significance there. It may make you louder (SPL), but "projection", "big sound", etc. are more a matter of air and chops.
I would think an S80 would be very well-suited to your horn, which is basically a MkVI clone, right?
A lot of top (mostly tenor) players play on a C* or similar mouthpiece for soprano, even if they use a bigger-tip, more demanding piece for tenor.
I play a #8 Link-like piece on tenor, and I love the C* on soprano.
The usual disclaimers apply:
Every mouthpiece is different, even same make/model/facing.
REED is key. A crappy reed (which 3 out of 5 easily are, out of the box), or the wrong strength/cut of reed, can make the best (even the most "reed-friendly") mouthpiece play like crap, and vice versa.
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