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…...For tenor saxophone we'd be talking about a HR link …...I guess for alto the equivalent would be a Meyer 6 …….What are soprano equivalents?:
Bari HR 64
 

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This thread is becoming what all mouthpiece threads become - a popularity contest. There are a lot of soprano mouthpieces out there that any one of us favor, but many of them are not "standard, default" soprano mouthpieces. I'll repeat what I posted earlier in this thread - mouthpiece selection comes down as, for those who are asking what to buy, there is no other way to make a selection than by going out there and testing them all. That's what I did (and still do) and I have a shoe box filled with soprano mouthpieces to prove it. I don't regret it, though - I enjoy re-visiting them from time to time.

As far as "standard-default" goes, that would be the Yamaha 4c and the Selmer S-80 C* (and obviously the Yanagisawa 5, which is included with all new Yanagisawa sopranos). All of the others - the high-end Selmers and Selmers bigger than C*, Morgans, Phil-Tones, SopranoPlanet, and STM Links, etc. (all of which I have), they are all good. What matters is how you, the player like them - and that may not be consistently positive across all of them.

For jman's problem with the Concept . . . my experience with it shows that the individual reed I'm using at the time is critical to how well it plays. I just went through that within the last few days. I'd been using a Legere 2 on it and when I put on a cane reed, my results changed. So I dug out another reed and immediately the Concept took on a new strength and depth of tone missing with the Legere and the other cane reed I was using.

But my horn (a five-digit MKVI) played well, top to bottom with my Concept. My Concept is very much like my S-80 D - i switch back and forth between the two and can hardly tell the difference. If I had to decide on one, I'd pick the Concept - maybe just a tad smoother in response, top to bottom. DAVE
I remembered that I had a bunch of Legere Signature 2.5's that I hadn't really been using because they felt too stiff on my Open Sky 2. The strength chart indicates that a Signature 2.5 is equivalent to a 3 on Vandorens and 3.5 on Rico cane reeds. I foolishly bought them without checking the chart because I use 2.5's on the alto and tenor... for some reason, it turns out sopranos are on a different strength level compared to altos and tenors.

Anyway, I took one out last night and put it on the Selmer Concept. No more warbles and I can play all the way to F#3 (regular, not with the F# key) with no issues (haven't tried to play any higher than that. I had tried different reeds on the Concept before (Rigotti 3S, RW 2.5H, BSS 2.5, Marca 2.5) and still got the warbles. Now I have Marca 3's on the way and I'm thinking of getting 3's/3.5's of the BSS and RW to see if I can replicate what I got with the Signature.

Still curious to see how the S-80 D and E that I have on the way play for me.
 

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Discussion Starter · #43 ·
Just wanted to say thanks all for the mpc recommendations.

I got to a local sax shop and tried a few pieces; S80 C** and E (they didn't have a D), V16, otto link, Jodyjazz HR*, Selmer Super Session, Selmer Concept and a Barri piece.

For me (possibly because the link and v16 were a bit too open). The three clear winners were the S80 E, Super Session and JodyJazz HR* 6. The Jodyjazz was a noticably louder, a touch brighter and bigger sounding, whilst the S80 E was more focussed and centered, easier to play and had a slightly sweeter sound. The super Session was somewhere in between.

I ended up going for the S80 E, partly because it was a little cheaper. But I really couldn't decide between that and the JodyJazz, I haven't developed my sopano sound concept so I liked both and didn't really know which direction to go in. I figure the S80 will be a good starting point and if I find I need something louder, more spread but retaining body...I'll get the Jodyjazz HR*

Thanks again!
 

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I remembered that I had a bunch of Legere Signature 2.5's that I hadn't really been using because they felt too stiff on my Open Sky 2. The strength chart indicates that a Signature 2.5 is equivalent to a 3 on Vandorens and 3.5 on Rico cane reeds. I foolishly bought them without checking the chart because I use 2.5's on the alto and tenor... for some reason, it turns out sopranos are on a different strength level compared to altos and tenors.

Anyway, I took one out last night and put it on the Selmer Concept. No more warbles and I can play all the way to F#3 (regular, not with the F# key) with no issues (haven't tried to play any higher than that. I had tried different reeds on the Concept before (Rigotti 3S, RW 2.5H, BSS 2.5, Marca 2.5) and still got the warbles. Now I have Marca 3's on the way and I'm thinking of getting 3's/3.5's of the BSS and RW to see if I can replicate what I got with the Signature.
I really liked my Concept soprano but just recently have been experiencing those warbles around G, G# and A in the lower octave. I thought that the horn might have sprung a leak but now, following the suggestions on this thread, I have put a Legere Signature on it and the warbles have gone. I'm enjoying it again and it's my favourite soprano piece for its sound quality and intonation.

I wonder aspects of the mouthpiece makes it so sensitive to reeds that it can warble. Maybe there are some embouchure / technique issues contributing, but this mouthpiece seems much worse than others I have.

Rhys
 

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Personally, I've been playing a Morgan J7 for 30 years. Sure, I've tried others, but I've always gone back to old faithful. I don't even look anymore ...
Famous last words on SOTW.
 

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Sop: Yam 82ZR, Yani SC-WO20, Tenor: Yam YTS-62iii, Ishimori WoodStone "New Vintage", GS Reso FG 7*
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I'm a recent convert to the Selmer Concept. I find it very easy to blow and produces a sweet pure tone throughout the whole range of the sop. My preferred sound is like Walter Beasley.
 
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