[RobCS]

I purchased a new YTS62 II six months ago and it came with a 4C mouthpiece. The sound is very pure/bell-like, but sometimes I'd like a "richer" sound, with more harmonics, I guess. I play mostly smooth jazz.

I tried about 10 different mouthpieces at my sax tech's store a week ago, including vintage, a meyer, selmer s-80 and s-90, but none were "the one". Unfortunately, he didn't have any V16's in my "size" to try, though he said he felt that the Meyer might have been close.

I can't find any V16s in the popular T8, or T7 size locally and might have to order one just to give it a test, but without trying one it's hard to tell which size to order. The 4C is very easy blowing with a Java 3 reed, and I'm open to something with a little more resistance. Obviously, I could order both, or even 3 or 4 sizes, but I don't want that big a hit on the ol' credit card at the holidays. Any suggestion as to which to order?

 

[koumou]

Used to play a YTS62ii. My V16 T8 sounded to harsh on it. It sounds better on my Barone Vintage, but still it's not my favorite mouthpiece. I got a saxscape Ex. Dark prototype from a forum member and that's what I play most of the time.

 

[hgiles]

Used to play a YTS62ii. My V16 T8 sounded to harsh on it. It sounds better on my Barone Vintage, but still it's not my favorite mouthpiece. I got a saxscape Ex. Dark prototype from a forum member and that's what I play most of the time.

I was on that same journey also. I actually liked the T8, but not on my Yamaha. I too went to a darker sounding mpc on my Yamaha - Saxscape Extra Dark -> Link Tone Edge.

 

[Canadiain]

If you pick up a V16 used in the marketplace or on ebay and dont like it, you will have no problem cutting your losses on it and selling it on anyway. I play a T8 that I got from Ed Zentera. I have no mouthpiece GAS anymore

But everyone sounds different and has different preferences, so the ONLY way you will know one way or the other would be to try it.

 

[hgiles]

I love the HR v16, though they seem to sound quite different in t8 to t10. I liked the sound of the 8 better.

 

[chknbon]

I used to play an EZ'd T8. Very crisp overall tone, with quick response, but with some resistance. I went back to an EZ'd T.E. .110. Warmer & looser.

 

[Atonal]

V16s are very nice mouthpieces, both the HR and metal. However, since you've been playing on a Yamaha 4c (.067), you might want to consider a V16 T6 (.098). It will be more open than your 4C, but not as drastic a jump as the T7 (.106) or T8 (.110).

 

[RobCS]

That may be a good idea, Atonal, since the transition might be easier, and I can focus on the sound I'm getting rather than adjusting to a major size difference. What sort of tone would the T6 produce compared to the others?

Of course, I would love to just try and buy one from my local Sam Ash dealer, but all they carry for the tenor are the Jody Jazz HR*, a Claude Lakey, and a Vandoren Java T55 or T45 (I forget which).

 

[koumou]

I was on that same journey also. I actually liked the T8, but not on my Yamaha. I too went to a darker sounding mpc on my Yamaha - Saxscape Extra Dark -> Link Tone Edge.

My Tone Edge sounded good on the YTS62 but it's to tubby on the Barone. The TE NVS sounds better. It has been said many times in the forum you need to find the correct mouthpiece/horn combination.

 

[RobCS]

Well, I may have to order the V16 in a T6 to give it a try, since I haven't had any luck locally. I did try a Java T45 today that sounded pretty good, but maybe too much like the Yamaha 4C. Is the T45 anything like the V16?

 

[koumou]

The Java has a higher baffle and narrower throat and it is edgier and brighter than the V16. I've got a T55.

 

[RobCS]

The local Sam Ash also has some Link STMs that I didn't have time to try the other day, so I may give a few of those a try tonight. Just need to figure out which size to try. Perhaps a 6? I know there have been lots of comments on this site about Links not being consistent, so maybe I'll also need to try several in the same size. They also have one Dukoff mpc, but I didn't notice the model of it.

Addendum:
Well I stopped at Sam Ash and tried, or tried to try, a few mouthpieces. I didn't have much luck at all with the Dukoff 7*. It was so new that the metal ligature kept sliding down the tapered metal mpc so I couldn't keep the reed secured (metal sliding on metal). The Link STM 6 was pretty good, but a bit resistant. The STM NY 5 had a good midrange, but was tough to get any altissimo. The Meyer 6 was the best of the group, but again, the altissimo seemed harder to get the few notes that I can reach with the 4C.

I'm still hoping to track down a V16 T6 somewhere to trial, since it might be just different enough from the Java T45 that played well (but sounded too much like the 4C).

I also think that the other Sam Ash, on the other side of town has the Link Tone Edge mpcs. Hgiles mentioned that he uses that with his 82Z, so it might be worth a trip over there as well. I'd prefer to try before I buy, and I'd prefer to give my business to local retailers before ordering online, since it helps to support the local economy.

 

[RobCS]

Well, I ordered a V16 T6 from an online source, so I'll give that a try soon. I might take it to a retailer that has the Link Tone Edge and compare the two, since hgiles suggested the Tone Edge as a option. Maybe, between the two, I can find the right piece.

 

[nitrosax]

I found the T8 to be much better than the T7 for my playing...I found the T7 too dark and tubby and hard to really focus in...but this is all relative to your playing style...

 

[RobCS]

Well, the Vandoren V16 T6 arrived today. I ordered the T6 because Atonal suggested it would be less of a jump from the 4C I'm using. Also, Steve Neff had a clip of the T6 on his site and it sounded very good.

Unfortunately, the T6 doesn't seem to be the "answer" for me. I've tried it with Java 3s, Rico Select Jazz 3 Mediums and don't get a great sound. In fact, the D is especially stuffy. Much more so than it has ever sounded with the 4C. I used the Yamaha lig that came with the 62 II. When I tried to use my alto's Rovner ligature it actually sounded better than with the metal lig, and less stuffy on the D, but still not a great improvement. I don't know whether a true tenor Rovner lig would improve the sound that much more (I kind of doubt it), but I'm not sure where to go from here with the V16.

I have yet to try the Link Tone Edge that hgiles suggested. So if Sam Ash doesn't kick me out for wasting their time trying out yet another mouthpiece I might go back and give that a go.

 

[RobCS]

Well, I stopped at Sam Ash on the way home last night and picked up 3 ligatures to try with the V16 T6; Rovner Dark and Light, and the Rico H-Ligature. I only had time to try them for about 15 minutes each, but here's the initial impression:

The Rovner Dark, was indeed dark, and the D was still pretty stuffy, though an improvement over the Yamaha ligature.
The Rovner Light was definitely brighter, in both the recommended and inverted positions.
The H-Ligature was very bright. But the great thing about it was that it allowed me to hit all the altissimo notes I've been trying to get for the last 6 months. Before, with the 4C mpc and Yamaha included lig, I was lucky to get the first altissimo G, and the D above it. Everything else in between was a crap shoot. But with the H-lig I could hit all the notes between G and D by just playing the Yamaha recommended fingerings and just blowing. No special oral/throat adjustments. Amazing! I plan on doing some extensive testing this weekend. So if I can find the right combination of reed and mpc to go with the H-lig, to give me a less bright sound for the standard notes, without losing the easy altissimo I'll be set.

 

[RobCS]

Well, I'm sending the V16 back tomorrow. I tried several combinations of reeds and ligs and never got quite the sound I wanted throughout the scale. Sometimes the standard notes were pretty good, but the altissimo was nowhere to be found. The V16 seemed to be very sensitive to the reed and ligature choices. I'll probably keep the Rovner light and Rico H-ligature, since it's not very apparent that any other mouthpieces I try out might sound drastically different, depending on the ligature.

 

[hgiles]

RobCS, dont try a Link TE. I suspect it'll play too dark for you - 'tubby'. V16s are pretty bright - Kirk Whalum plays one, or used to. Dukoffs are bright too.

You should get one of the many mouthpieces you recently tried and get to practicing. Life's too short to be futzing with gear when you could be practicing. Any lost practice time is gone forever, never to be recovered. Stop worrying about brands and tip openings, ligatures, etc. and play the mouthpiece that gives you the most joy to play -- maybe that Meyer is it?

Take ownership for your musicianship -- it aint in the gear.

 

[EsbSpecial]

I swore by a Meyer 7m when I was playing a yts23. Switched to a Conn, wound up selling it for next to nothing and going to a Link STM NY6*. Now on my yts61 the STM NY is a lovely dark monster.

The thing that seems lacking with you, Rob, is a lack of tonal idea. What are you looking for other than "something that sounds good?"

 

[RobCS]

hgiles is right. It's the "musicianiship -- it aint the gear". Of course, if everyone followed that, there wouldn't be thousands of posts, hundreds of topics and dozens of categories on this forum dealing with mouthpieces, ligatures, reeds, etc. (is there a "thumb rest" category?)

As for EsbSpecial's comment about a "lack of tonal idea". Maybe there's a difference between having one and articulating what that is. I've read tons of posts here about people trying to describe "focus", "spread", and other unquantifiable terms.

With my Cannonball alto, when I decided that a 4C wasn't what I wanted long term, I tried 3 or 4 mouthpieces and picked a V16 because it "sounded better" than the 4C. And I've been happy with it ever since. When I bought my soprano, Dave Kessler suggested the Yani mouthpiece and that's the only mouthpiece I've ever used on it. And I've been very happy with the sound and playability.

With the YTS 62II and the 4C I get a bell-like/tuning fork sound, which is good, sometimes. But sometimes I want a "richer" sound, which, I guess means more harmonics in the mix. At the end of the day, I guess I'm looking for a slightly richer sound, good control of interval jumps, and a consistent half octave of altissimo. I realize that much of that is "musicianship" (practice, etc.), but there are indeed other factors that contribute (mouthpiece, reed, lig, etc.). Hence, the posts here.

Thanks for your input, guys.