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Discussion Starter · #1 ·
Howdy,

Who is using the Vandoren V16 tenor mouthpiece? What are your experiences with it?

I'm currently using one in T9 (116 tip opening, medium-long facing if I recall correctly), with an Alexander NY 2.5 reed. It's being played 95% of the time on my Yani 900u.

I quite like the sound from the combo, especially when played moderately softly. However, I'm going to jams and a couple of gigs, and at some of them, even when miked I'm having a hard time being heard over everyone else. I'm having to play it just about as hard as I physically can (which doesn't always sound the best.)

Cheers,

Dave

P.S., I've done a little bit of reed experimenting so far, but nothing conclusive.
 

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It's the Alexander NY I think. I play them on my metal link and they I have the same troubles sometimes. If I put on an Jazz Selects I get much more sound. Alexander NY sounds so great but if you playing in a loud setting without a mic you will not be heard.
 

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I have a V16 T9. I would say it is the loudest piece I have. I can't see it can get any louder unless you switch to a mouthpiece with a high baffle and smaller chamber. Then you also will get brighter and that is maybe it seems louder.

The V16 HR are really good mouthpieces, like the rest of the Vandoren mpc line.
 

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I've played the V16 T8 piece for almost everything for the past 3 years. WHen I first got it, I put sticky tak into it and made my own baffle...after awhile I stopped using the baffle...I play Vandoren Blue Box, Rico Select Jazz or Plasticovers on it...Your projection problems could be the reed (I've never had much success with Alexanders) , could be the tip is too open for you or you might just have a really dark mouthpiece...

Try some different reeds on it...Like Plasticover

Good luck!
 

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I play a T8 on my Conn Chu (with Vandoren Ultimate ligature and Rico Royal 2-1/2). I LOVE the sound I'm getting from it: all my Chu wants to play are smoky ballads and sexysexydirrrrty blues... As others have remarked, the quality with Vandoren mouthpieces in general and of the facing in particular is such that you can mail-order any product of their mouthpiece line and be reasonably sure that you'll get something that plays excellently right out of the box.

The phenomenon you describe, eldavo, sounds familiar to me though: if I have one complaint about my Vandorens, it's that the big-tipped mouthpieces can be a little too 'spread.' I don't mean volume -- they're all plenty loud -- but *projection.*

I remember that there was some talk about this on here maybe two or three years ago regarding the metal V16s, and T8, less so than my metal T95, exhibits this same phenomenon. GORGEOUS sound when played right in front of a mirror or wall, and super loud, but in a large room the sound just somehow won't 'carry,' if that makes any sense.

This, for me, is most noticeable on soprano: the V16 S8 I have is about just as loud as the metal Yanagisawa 9, but in a large room it's almost as if the sound travels about one foot from the bell of the horn and then drops dead to the ground. It's a most beautiful death to be sure, but death still......

Now, I readily admit that this could be me (and it probably is, hihihi...!!) -- lack of good air support somehow, or something like that -- but I don't have the same problem on my other Vandoren mouthpieces, a T55 Java, T45 Java, and a T75 Jumbo Java. I also have a T95 Java, which appears to project by far the best out of the metal T95, the V16 T8, and the S8.

In the interest of full disclosure, the only one of them I've played in a mic'd situation is the S8. Also, these comparisons are based on my recollections as I just recently returned to the tenor after three years of focusing on the soprano exclusively, and the T8 is the only tenor mouthpiece I have with me right now. So take all of this for what it's worth.

Oh, and happy holidays everyone!!!!

-j.
 

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Discussion Starter · #6 ·
Thanks everyone,

I guess perhaps the T9 may have been a little ambitious - it's definitely significantly more open than what I've ever used before.
I bought it 2nd hand and I liked its sound, so I didn't really get a choice on openings.

I tried all the reed variations I had at hand - some reed combinations were indeed louder than the alexander reed - however (a) I don't know whether the difference would be appreciable on stage (need a reasonable amount more volume), and (b) I can't say the sound quality was an improvement with most of the louder ones.

I can't say which reeds were louder as I didn't write it down at the time and my memory is not all that good - but in my reed bag I have plenty of rico royal 2.5s, a rico royal 3, 2 rico royal 4s (one well worn in from my playing years and years ago) a few vandoren 2.5s, a vandoren java 2.5 (I think, it's faded), a vandoren jazz 2.5 and a rico jazz select 3M.

I guess if it's true and it's just me and I can't adequately play the mouthpiece at this tip opening, then perhaps going to a 2 reed might be worth a try? (I don't seem to have much drama playing the lower notes though, which I thought I would if the reed was too hard?)

I guess my alternatives are:
a) Work hard to try to get more air through the sax with the same combo
b) as above but change reed
c) try to convince the sound desk to mic me more (if they can/will)
d) change to more aggressive mouthpiece

Cheers,

Dave

P.S., if you're having say 1-3 hours of sax play time a week at full volume plus around 1-2 hours of practice a week, how long would you expect that reed to last and what would the signs be that the reed is past its best?
 

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If you are miked and not being heard dont work so hard. Turn the mic up. If you like the tone you are getting why sacrifice for volume. I use a vandoren v16 t8 on my gigs with vandoren zz 3 reeds and i wail with two screaming guitars and I dont have to blow my brains out. I use a shure wireless mic and lexicon effects. If you have questions about micing, volume control, eq, or effects give me a shout. I would rather you sound like you and not sacrifice for the sake of musicians that think louder is better.
 

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I have a T9 and it gets a nice all around middle ground kind of sound; you can do a lot with it. I don't find it as flexible for louder gigs, but thats mainly due to the beak--isn't as comfortable for me in that regard, doesn't seem to bother me as much playing soft volume gigs. I think that mpc would be perfect with a slightly lower beak.
 

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I play a T8 on my Conn Chu (with Vandoren Ultimate ligature and Rico Royal 2-1/2).
Er, I suppose that you either mean the FL Ultimate or the Vandoren Optimum? :?:

GORGEOUS sound when played right in front of a mirror or wall, and super loud, but in a large room the sound just somehow won't 'carry,' if that makes any sense.
A similar thing happens to me when I play my T-8.

This, for me, is most noticeable on soprano: the V16 S8 I have is about just as loud as the metal Yanagisawa 9, but in a large room it's almost as if the sound travels about one foot from the bell of the horn and then drops dead to the ground. It's a most beautiful death to be sure, but death still......
Heh, very poetic description. :TGNCHK:
 

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Update to this thread, am currently checking out an 8 and its a great piece. Eventually found the 9 I have too spread and open. Not sure how it holds up in a big room, but I suspect its fine. maybe people don't dig the slightly smaller chamber than a link? I actually like that about it.
 

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Discussion Starter · #11 ·
ving, I can't comment on the 8 (thought I'd get one to experiment, found one at a reasonable price on ebay, won the auction then the mouthpiece reportedly got damaged and I was refunded...) but I am getting a lot more volume and carrying power out of the 9 than I was with the jazz select 3Ms.

The reed change helped, plus not trying to keep using the same reeds for as long also helped :) Other mouthpieces still come across more live because they're less spread, but live playing is a bit better now with a few more miles under my belt so to speak :)

Cheers,

Dave
 

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I have to say, I am really impressed with the T8 thus far. My T9 was reworked a bit by a refacer and has a great complexity to it but doesn't quite have the focus or center I am looking for--I think its really the size though, just a notch too open for me. The stock T8 I picked out of several is really nice, I would say the most versatile mpc I have had yet. Still dialing in reeds and strengths--finding I still prefer something between a 2 1/2 and a 3, but the core to the sound is really great. A nice match with my horn. Works well for me, and I suppose thats all that matters, right...?
 

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By the way, I always have preferred a rollover piece but could never make one work for the rock situations I play in. I always resorted back to an RPC 115B for that. But I have used this piece in that setting and it is great, big core sound that sounds great though a monitor. The RPC is cool, but I don't think it has nearly the core of a piece like this. Maybe too bright for those after a link sound, but a happy medium (no pun intended) for someone like me who is existing in both worlds and needs that extra oomph from the smaller chamber.
 

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I got a T10 and Optimum lig a few yrs ago. Very nice sound and lots of punch when needed. If Phil E hadn't done such a good job on the Link he did for me I'd still be playing it. BTW I used Fibracell and Legere reeds on it with complete satisfaction.

K

44 yrs of happy sax
 
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