What's you Mark VI Soprano Set-UP?

A Greene said:

I've been playing a VI soprano for a couple months and my trusty Meyer 7 just isn't working in the mid and upper range. So I'm searching but don't want to spent more than $100 on a mouthpiece. I bought a 7 Link Tone Edge from Dave Dolson which I thought was a bit open - ordered a 6 and by the time it came in - I've already gotten use to the 7 and the 6 seems TOO small. Funny how that works. Oh well, it's only money.

I'm interested in what SOTW members are using. I also understand that this is COMPLETELY subjective and there's no way any two people sound the same on the exact set-up. I also know that some mouthpiece/horn combinations simply WORK well for MANY PEOPLE.

It might also be helpful to know what styles you're playing on this set-up.

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I wish I had a VI. I have a Belcrest that arrived on Wednesday, and my son (he plays Alto) is going to teach me how to play it. It came with a Rousseau 4 and some very old reeds - 1968 I believe. He was able to take it out of the case and play it without a problem and it really sounded good. He uses it to play jazz. We bought some La Voz reeds late last night and we're going to give them a try today. Anyway, the Rousseau mpc is an excellent choice.

I don't own a mark vi soprano now but, I did for a short time a few years ago and I used a dukoff D8 and lavoz reeds

I have also recently acquired a Selmer sop.

mpcs are Selmer metal classic H with java reeds 3

Yani 7 2.5 jazz select.

I get a sweeter sound with the Selmer but the Yani is so easy to play that I am using it as my main mpc......both v. good mpcs

I've got a VI soprano keyed up to F#3 and using the fairly closed mouthpiece that came with it, E3 and above could be hit or miss without some serious effort. That all changed when I got a Selmer Metal Classic in a size G. The more open tipped mouthpiece really opened up the top range and had me going up to A3 with ease (but not that I'd ever really need to go that far). I had thought G was the top size for the Classic, but now that I hear there's an H... Anyway, don't let the G and above tip openings for Selmer soprano mouthpieces scare you. Relatively speaking, they're not as open as the top end of other brands. Check the charts and see.

Try a HR LeBayle (6)

I played a VI for 20 years and used a Link 7* with #4 reeds (mostly Hemke but switched a few years ago to Rigotti). I still use the same piece/reed set up but now play a 62r.

I've played my current V1 for nearly twenty years and use the C* that came with it with Superial reeds. I'm just used to it and it can do anything.I think if you find something that works and stick with it long enough that's it.
I've always found Selmer pieces to work best with their sops although finding a good one is a challenge. I've tried other C*'s I didn't like at all.

I used to play a Selmer H on a VI, but I've seen others do well on a C*. I'm using a C* myself these days, not on a VI though.

I am quite happy with the Runyon custom HR on my VI sop which has been sold~~~

I'll add, I have a Mojo'd custom for my backup sop and it is a real gem.

Selmer metal mouthpieces work the best for me, but I do like Bill Evans soprano sound with his Dukoff.

whaler said:

Selmer metal mouthpieces work the best for me, but I do like Bill Evans soprano sound with his Dukoff.

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The Dukoffs are THE mouthpiece for the "smoother" sound.

Chicken 'Lil said:

I played a VI for 20 years and used a Link 7* with #4 reeds (mostly Hemke but switched a few years ago to Rigotti). I still use the same piece/reed set up but now play a 62r.

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Whoa! Chops of steel!:notworth:

I believe that to make any soprano play and sound right one must use the largest tip opening they can play but especially the VI. Over the years I've had several VI sopranos and my opinion of them is low. Nobody sounds good on them but it isn't the players fault-they're just lesser horns. I first used a Link7* with RR 3-3.5 and moved up in tip size eventually to a 9. With the larger tip the horns sounded better but still lacked any tonal depth or color. Since 1976 I've played a Couf Superba, based on the VI but a superior horn in every aspect and currently use an RPC .090 with Alexander DC 3.5 or Queen #5. I also have a Barone H'Wood 7 and a Lamberson Fmaj7, both nice pieces but because the tip openings are smaller the sop gets choked for air and tone quality and variety suffer. Get a BIG mpc-it'll help the VI and your playing overall.

Plenty of people sound and sounded great on V1 sopranos so that's quite a statement.The list is very long and takes in a major part of jazz soprano history.
Nobody sounds good on them? You don't like the tones of Trane, Lacy, Parker, Liebman?

Thomas,

Based on your mouthpiece and reed set-up, I can see we're coming at the soprano in very different ways. I've tried probably 15 different sopranos over the course of the last 3 years and find that,at the moment, my sound on the VI soprano is developing nicely. Who knows if I'll continue with this horn but I'm hoping for the best.

All I know is that I need to settle on a set-up or I'll NEVER get anywhere on soprano.