[Macray]

Hi!

I'm interesting in buying Ted klums precision London mouthpiece, has anyone tried it?

Have anyone tried the hard rubber London and even new London metal piece?

I really like berg Larsen but haven't experienced a really good one yet, so Ted's pieces are interesting.



Sent from my SM-N960F using Tapatalk

 

[B Flat]

Why do you like Bergs if you haven’t experienced a good one yet?

 

[Nefertiti]

I reviewed one on my site about 4 years ago. https://www.neffmusic.com/blog/2016/06/ted-klum-london-model-tenor-saxophone-mouthpiece-review/
I was really impressed with it. One of the more powerful pieces I have played.

 

[Hassles]

well I kinda' understand the OPs comments. I have a Berg currently lost in transit (thanks to the current Zombie Apoclaypse) which while played / sounded fine - the tip rail was way outta' shape and what I would cite as 'not a good one'. So as much as I liked it I wanted it to be a good one also eg: symetrical.

FWIW - I had posted it to Kay Siebold for a touch up.

 

[Fltenor]

I have a HR London which is great. Tip opening is 7* (.105 +/- .02). Mine actually measures .107. Plays great. I would call it a focused "brilliance" without being strident. Clarity transmits to the lower notes without making them "harsh". Currently my go to mouthpiece with a TK FL HR 7 tip, a close second. Altissimo is a bit easier on the London while low notes are a bit easier on the Florida. Both are a joy to play.

Ted's pieces have a certain resistance that make them very controllable and responsive but not super free blowing which can be seen as a desirable trait depending on preferences. Of course you can adjust this by just changing reeds or tip opening.

As far as comparing it to a "real" Berg, I have never tried one but based on reviews stating their inconsistencies, I would rather get a TK London instead.

BTW those new London Precision look gorgeous.

 

[buddy lee]

I had a metal London piece for a while a few years ago. Loudest piece I've ever owned, it's incredibly heavy (which doesn't matter I guess). Loud but not overly bright at all, I sounded like myself on it. I have no problem recommending them if you're looking for a "good Berg"

 

[Macray]

Why do you like Bergs if you haven't experienced a good one yet?

I like Bergs cause I can get the sound I want and I can be loud when I need to and cut through the mix.
The bergs I've been playing haven't been vintage one that everyone talks about, they have been ok and I haven't found any other mouthpiece that I like.

Thanks for input, anyone tried the new precision brass mouthpiece yet?

Sent from my SM-N960F using Tapatalk

 

[14470]

If anyone wants a great Berg Larsen inspired mouthpiece:

https://www.ebay.com/itm/Saxscape-D...342573?hash=item4b7d09d12d:g:GggAAOSwVQxfAin7

 

[Macray]

If anyone wants a great Berg Larsen inspired mouthpiece:

https://www.ebay.com/itm/Saxscape-D...342573?hash=item4b7d09d12d:g:GggAAOSwVQxfAin7

Is it you that are selling them?

Sent from my SM-N960F using Tapatalk

 

[14470]

Is it you that are selling them?

Sent from my SM-N960F using Tapatalk

Yes, it is. The contrast on the pics is very hard, so the chambers look rough, but it is some optical effect. They are very nice and Brian sweated over these.

 

[Macray]

Yes, it is. The contrast on the pics is very hard, so the chambers look rough, but it is some optical effect. They are very nice and Brian sweated over these.

You have any clips of you playing them?
How would you describe the feeling playing them?

Why are Brian so good at refacing (I don't know who he is)?

Sent from my SM-N960F using Tapatalk

 

[Dr G]

I’ve owned one.

From correspondence with Ted Klum Mouthpieces, I learned that the chamber size is 1 1/2, if you are comparing them to Berg Larsen chambers. It is indeed the most efficient mouthpiece that I’ve played.

I usually play Link-style ‘pieces, and tend to blow loud enough that I can solo over a big band without a mic. That said, the “London” was TOO LOUD for me to blend easily with my section when I wasn’t soloing. Yes, with practice and attention, I could have reined in the volume, but that was my impression at the time. I like blowing against more resistance, and throttling back just didn’t appeal to me.

Bottom line: If you love a Berg sound, and did having extreme volume on tap, the “London” is superb.

 

[14470]

You have any clips of you playing them?
How would you describe the feeling playing them?

Why are Brian so good at refacing (I don't know who he is)?

Sent from my SM-N960F using Tapatalk

No clips, but bright without overly bright, loud (albeit not as loud as suggested here for the Ted Klum "London" model), full bodied and some grit. That is the best I can do. Reeds do matter a lot for how mouthpieces sound in my hands.

Here is a bit of info on Brian Powell: https://www.mouthpieceguys.com

BTW, eBay cancelled my listing because I had used "not prototype" in the title, which I was told is gaining an unfair advantage with search terms. I am not going to bother again.

 

[Berg-Man]

Ted's pieces have evolved over time. The latest "New London" and "London Precision" are incredible pieces. They are not overly bright and will outplay any vintage Berg. Ted's facings work for me also and the London's are premier Tenor mouthpieces.

 

[ving]

Just tried a 8* hr London model. Really nice, I agree! It’s got a great complexity and power, lots of core. I am finding I need to explore darker reeds for it. It’s a change compared to what I have been playing, but it’s one of the mpcs I’ve played that I grew accustomed to the fastest so I bought it.

 

[pattysax]

I had a London Model from Ted some years ago. It had tons of power and was perfect for Rock´n´Roll soloing. But I must say the intonation was tricky. I couldn´t get the lower and upper octave matched on a good intonation in conjunction with my vintage tenor saxophones.
I tried my 10M, Martin The tenor, S20 silversonic. I talked to Ted and he offered to adjust the chamber. But since I am located in Europe I didn´t want to send back and forth to the States. In the end I sold it to a pro player in Austria. I have a bunch of old Bergs from the 60/70th which intonated better on my saxophones. But it is sure a great piece.

 

[Mark R]

I had a London Model from Ted some years ago. It had tons of power and was perfect for Rock´n´Roll soloing. But I must say the intonation was tricky. I couldn´t get the lower and upper octave matched on a good intonation in conjunction with my vintage tenor saxophones.
I tried my 10M, Martin The tenor, S20 silversonic. I talked to Ted and he offered to adjust the chamber. But since I am located in Europe I didn´t want to send back and forth to the States. In the end I sold it to a pro player in Austria. I have a bunch of old Bergs from the 60/70th which intonated better on my saxophones. But it is sure a great piece.

Not in any way trying to defend, in fact I don't own any TK pieces presently but I like others that craft, design and produce with time there is development and improvements made on a model so there is a chance a newer version of the mouthpiece might play better for you (or not).

 

[ving]

The one I’ve got at present plays very locked in with pitch. Although this is on a Selmer mark vi. Better with pitch than some other mpcs I have, fwiw.

 

[marc]

I just switched to a T.Klum London Precision 7* tenor mouthpiece. I play a mix of straight ahead jazz and funk (loud funk ...).
As said in early posts on this thread, it is a very very impressive piece in terms of craftsmanship, sound, projection and flexibility. It has a little bit of positive resistance, something I like a lot as it helps me to shape my sound. The piece is super reed friendly. Both the low register and altissimo speak like crazy, making from this piece a very versatile piece.
Some comments present it as the ideal Rock&Roll piece, but i would strongly question this because, for me, it also has all the qualities of a primer jazz mouthpiece, even on my Selmer Serie 3 (bright horn). Here is a jazz recording I made to show the "gentle" side of the London. Tell me what you think?