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Discussion Starter #1
Hello everyone, I'm new to this place so sorry if this mpc in particular has been discussed before. But can anyone give me as much info on the vandoren s25 mpc for soprano sax? Like every single quality and characteristic you can think of, all the pros all the cons? i can't seem to find any useful review over the net besides Vandoren's own little blurb indicating that it's good for both "classical and dance music." Thanks.
 

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Love the piece. Very centered and easy to control. Sweet tone, with a dry and open sounding top end. Mine only likes Vandoren traditional reeds on a VI soprano. It won't play with or on anything else for me. I recommend trying as many as you can till you find a good one. They are radically different from piece to piece. At least the ones I tried were.
 

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Fighter, once again I will comment that the playing characteristics I may notice in a mouthpiece may not be the ones you notice. In other words, it really doesn't matter what someone else thinks about a mouthpiece.

But you asked . . . I recently tried two new V16 Vandoren soprano pieces. They played nicely enough. However, after playing both, I put my Morgan Vintage and Selmer Super Session J on the horn and there was really no comparisons for me. The Morgan and the SS-J were noticeably stronger, fuller, and nicer than either of the Vandoren pieces. DAVE
 

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Discussion Starter #5
Thanks for the responses. Yeah, I know that it all boils down to what each particular player can get out of a mouthpiece. To be honest, whenever I read someone describe a sound as "warm" or "bright" or "centered" or "dark" or "full," most of the times the difference in tone is not discernible. I think a lot of times we're all guilty of "the emperor's new clothes syndrome," when we try to over analyze every little thing about a certain sax sound. But anyway, I just picked up the S25 for my soprano and I like it a lot.
 

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Its what I use. But there are a bunch of other squeeze chamber design sop MPs that are similar. Morgan, Meyer, Ponzol, Bari, Barone, and Selmer Super Session. Just try a few, even a few marked the same, and pick the best for intonation and response. They will all have a similar sound.
 

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MojoBari said:
But there are a bunch of other squeeze chamber design sop MPs that are similar. Morgan, Meyer, Ponzol, Bari, Barone, and Selmer Super Session. Just try a few, even a few marked the same, and pick the best for intonation and response. They will all have a similar sound.
I have 4 Barones. 2 6* an 8 and an 8*, in comparison, the S25 (not a V16, they are very different to me) has way more center and balance to the sound. The Barones will blow louder, but the top end wasn't as sweet and I had pitch issues.

I have 4 super sessions as well. 2 Gs and 2 Hs. Again, not as easy to play in tune, and they have a harsher sound on my horns. Kind of Kazooish in my opinion. I could never get them to sound right on a mic.

I have a Bari #68 facing. Nice piece for sure. Not as centered in pitch though.

I was fortunate enough to have been able to play several S25s. I agree with Mojo, if you can play test as many in the group as possible and choose from that, you'll be in good shape. The nuances will be personal preference (horn, reed, player) You can add a hard rubber Beechler to the list as well. Nice piece in the same vein.
 

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FWIW, the V16 that Dave mentions is a different design than the more conventional S25. The V16 has more baffle at the tip, opening up more afterwards. As Keith says the S25 based on the Selmer sqeeze chamber design. There are a lot of variations....for example Bari is brighter than Selmer and I think Vandoren is in-between. Beechler soprano and Otto Link STM soprano are in the club too.
 

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MojoBari said:
I find metal Selmers similar, but the metal STMs have more squeeze and are very bright.

I think that they are modeled after the metal Selmers...the S25 is designed to be the "in between" mouthpiece and as such, it's OK (but not great) for classical playing and OK (but not great) for jazz.
 

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J.Max said:
I think that they are modeled after the metal Selmers...the S25 is designed to be the "in between" mouthpiece and as such, it's OK (but not great) for classical playing and OK (but not great) for jazz.
J.Max - I strongly disagree with your statement. It may have been designed to be a hybrid, although unless we spoke to the designer, one wouldn't know for sure, but saying it's not "great" at either is quite overstated in my opinion and my personal experience.

Having a drawer full of pieces (dukoff, Guardala, selmers, Bari, Runyons, Yani, Beechler, SRs, etc.), I finally found a home with the S25. I've recorded and toured with nothing but the S25 (95% of time) and a Guardala (5% of time) for the last 3 years. It is by far the most controllable soprano piece I have ever played. It can totally be pushed to rock or played sweetly with classical sensibility. I feel it is truly a "great" mouthpiece.
 

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I agree with Mojo the Link STM is likely the brightest of the mpcs mentioned, though not quite as extreme as Kenny G's Dukoff. The Link STM is interesting in that the sidewalls squeeze together partway down the window, in addition to the throat. I do like the metal Selmers; unfortunately haven't play an S25.

I have noticed if there is too little squeeze the the throat intonation seems to be more of a struggle. How does the S25 compare to the Super Session for example?
 

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I play an S15 on a SX90II. The Vandoran's are supposed to be a good fit for the Keilwerths.
The S15 is small but I like the tone. I liked it more than Links, Selmers, Barone vintage, etc. S25 is actually big for me though its still a little opening for most people.
I found that between 3 S15's there was a great deal of variability. In my experience each one I tried was better than the previous. It was surprising - so if you try the S25's try to get more than one to sample.

It's all so personal though you just can't go that much on what anyone else says.
 
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