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Discussion Starter #1
I’m curious what tips openings people are using for soprano compared to what they use on Tenor etc.
Generally narrower or more open.
Or similar.
EG: 8 tip on Tenor, 8 tip on soprano?
 

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Grafton alto | Martin Comm III tenor
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Given that people often use a different make on tenor and soprano, tasing about tip owning as a number , e.g. 8, may not make as much sense as talking about a tip opening in actual size e.g. thou or mm. Even then without the variable of facing curve and length, it is again not an ideal way to compare. However my mouthpieces do have consistent numbers (based on Otto Link measurements) and I use 9* or 11 on tenor and 6 on soprano, but the soprano facing curve is different so as mentioned maybe not as meaningful as we'd like.
 

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Discussion Starter #3
Re: Soprano tip openings v’s Tenor etc.

Yes I get the whole variables between tip openings based on a number such as 8.
But I guess in general what I’m asking is for those who play EG:8 (.110) on Tenor, would they perhaps also play an 8(.80) on soprano?
Or is it normal to play a smaller tip on soprano.
Typically I like Link STM’s from about 9-10 on Tenor but prefer around a 7*-8 Link STM on baritone.
On soprano I have used 4-5 tip openings and found tuning difficult but a 7 tunes way better and feels more free blowing.
Is this the norm?
 

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Until I played it, my soprano opening was a 70 on a Ponzol HR Vintage mouthpiece and I play a J27 Brancher which is the equivalent of a 7*.
 

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Grafton alto | Martin Comm III tenor
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Re: Soprano tip openings v’s Tenor etc.

Yes I get the whole variables between tip openings based on a number such as 8.
But I guess in general what I’m asking is for those who play EG:8 (.110) on Tenor, would they perhaps also play an 8(.80) on soprano?

That's my point , on tenor a Otto Link 8 is .110 Dukoff 8 is .98, a Meyer 8 is .92 (thou), hence I'd avoid talking about 8s, unless you only direct this to people who use an STM on every size horn.
 

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Discussion Starter #6
Re: Soprano tip openings v’s Tenor etc.

That's my point , on tenor a Otto Link 8 is .110 Dukoff 8 is .98, a Meyer 8 is .92 (thou), hence I'd avoid talking about 8s, unless you only direct this to people who use an STM on every size horn.
Understood.
But I was trying to say is it common to use a narrower or wider tip on soprano compared to tenor regardless of numbers.
 

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Grafton alto | Martin Comm III tenor
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Re: Soprano tip openings v’s Tenor etc.

Understood.
But I was trying to say is it common to use a narrower or wider tip on soprano compared to tenor regardless of numbers.
Yes and I understood you to mean that. I didn't mean to appear pedantic or critical of your post as it is a very valid question.

It was just to clarify especially for beginners who may not realise that the numbers are not uniform across brands, and even if the tip opening is the same between say a Link 8 and a Lawton 8, the perceived resistance (for want of a better word) can be very different due to curve/chamber etc.
 

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It varies a lot. But it is common to find players using .105” on tenor and .065” on Soprano. So like a .020” diff between tenor, alto and sop.
 

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Re: Soprano tip openings v’s Tenor etc.

That's my point , on tenor a Otto Link 8 is .110 Dukoff 8 is .98, a Meyer 8 is .92 (thou), hence I'd avoid talking about 8s, unless you only direct this to people who use an STM on every size horn.
Both the Dukoff 8's I had were closer to .110 from the factory.

My P8 was .108 and my L8 was .110 so I'm not sure where that's coming from.

Seems like most of the other makers around have adopted the Otto Link sizing as well. Modern Makers that is. But I do agree with you about the curve and chamber thing.

2 8's from different makers won't seem the same based on those factors for sure. Even if they are the same opening.
 

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My comfort zone on tenor is 7* (.105"), and on alto 5* (.073"); but I can happily play anything from a .049" (C**) to a .060" (G) on soprano, depending upon context, and in my case therefore, style of embouchure (classical or other). I think you can find a style of beak and a tip opening, facing curve and reed that feels 'right' in conjunction with the way your musculature is already developed.

If you are mainly a tenor player, then a more open tip will probably feel more like 'home' on soprano, but the likelihood is that you'll never get the soprano to play exactly like your tenor does. A certain degree of 'negotiation' will be in order. The soprano is bound to need more face muscle to play properly, in which case an open tip like an 8 on sop will be hard work. Better to come down to something between .055" and .065" and see what gives. Beak height can make a huge difference, as can facing curve.

Joe Giardullo of Sopranoplanet knows more about this than almost anyone. Ed Pillinger's soprano pieces - and by dint of being made by Ed - the PPTs are particularly good. I mention these three because a whole load of pain and frustration can be avoided with the right mouthpiece on soprano.
 

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Thanks.
Would you say you play soprano more so than tenor or the other way around?
I no longer play soprano but even when I did, I played tenor more
 

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It varies a lot. But it is common to find players using .105” on tenor and .065” on Soprano. So like a .020” diff between tenor, alto and sop.
That would include me. I typically play .105-.110” on tenor, .080-.085” on alto, and prefer tip openings circa .070” on sop.
 

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I think you are on to something. I’m pretty green on soprano but on everything else play a fairly open mouthpiece. On bari, .110 to .120, but on soprano prefer .055 or even smaller, like classical openings. I have only been working on soprano a couple of years, but it seems like the embouchure must be much firmer. Obviously, soprano would require a firmer embouchure, but maybe more than I expected?
 

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When I played Soprano, the mouthpiece that worked best out of the three I was using at the time was the Yamaha 4C that came with the horn.

I had a Jody Jazz Classic in a 7 which was very restricted feeling and kind of nasal. I had an Otto Link 6 that played really nicely but didn't have the kind of feel I wanted, or enough edge.

And the 4C just played effortlessly. All with the same reed.
 

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When I played Soprano, the mouthpiece that worked best out of the three I was using at the time was the Yamaha 4C that came with the horn.

I had a Jody Jazz Classic in a 7 which was very restricted feeling and kind of nasal. I had an Otto Link 6 that played really nicely but didn't have the kind of feel I wanted, or enough edge.

And the 4C just played effortlessly. All with the same reed.
Same here about the 4C. After years of soprano playing, the best. I find for soprano if you go too much over about .055, it sound too bright like a violin up high. If you like to blast like a trumpet, the more open tips should work but I find they lose a lot of sax warmth.
 

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I play an STM 7* (0.106) on tenor and a Morgan 7 (0.070) on soprano. I consider myself primarily a tenor player (and I've played tenor more than twice as long as I've played soprano), but these days I actually spend about the same amount of time on each horn.

I like a relatively dark/dry sound and, in contrast to Bruce, I find that closed pieces tend to play brighter. I'm also a lot more sensitive to differences in tip opening on soprano. I've got a few 0.065 mouthpieces, but I only use them when I've taken some time off and my soprano chops are weak. Otherwise, I always prefer the more open mouthpiece.
 
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