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Funny you should say that. I have a Selmer Super Session "I" soprano that is QUITE good. Switched to one of the high end mpcs out there, but came back to the Selmer.
Which are considered the 'cream' of the soprano mouthpiece?
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Prince Kenny uses/used a Dukoff. 
That could be it.
My B&S soprano came with some Weltkang that played great so you never know. Those old BARI's with the metal collar on the shank are awesome and were inexpensive as well. I lost mine (had it in 90/91) - replaced it with a Morgan which did not float my boat and did okay with a Barone for 14 years until I discovered Selmer Super Sessions which gets a lot of love here. Unfortunately I can't find a J, so make do with an I which I got here. Both openings are not made anymore but you can find a H occasionally, G is more common.
I think those old BARI's have reached some status in the soprano world. The new ones are not the same I feel
That could be it.
My B&S soprano came with some Weltkang that played great so you never know. Those old BARI's with the metal collar on the shank are awesome and were inexpensive as well. I lost mine (had it in 90/91) - replaced it with a Morgan which did not float my boat and did okay with a Barone for 14 years until I discovered Selmer Super Sessions which gets a lot of love here. Unfortunately I can't find a J, so make do with an I which I got here. Both openings are not made anymore but you can find a H occasionally, G is more common.
I think those old BARI's have reached some status in the soprano world. The new ones are not the same I feel
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I’ve heard and read this many times from many different players: Soprano—Selmer; Alto—Meyer; and Tenor—Otto Link. This is kind of how it was.
These days, I really like Jan Garbarek on soprano, so Theo Wanne’s Gaia and Ambika are exceptionally nice. Theo’s pieces don’t come hand finished, though.
I feel the best modern design and execution for a hand finished soprano piece belongs to 10MFAN for his Virtuoso. He’s doing things his own way, and they work.
I’ll give Lamberson’s Fmaj7 an honorable mention. Lamberson’s facing work is outstanding, but the interior work is done differently than what I prefer. If he were to CAD and CNC that piece, it would be phenomenal and consistent. For $500, I would prefer to know precisely what I’m getting.
For less expensive options, Vandoren and modern Selmer pieces are great.
These days, I really like Jan Garbarek on soprano, so Theo Wanne’s Gaia and Ambika are exceptionally nice. Theo’s pieces don’t come hand finished, though.
I feel the best modern design and execution for a hand finished soprano piece belongs to 10MFAN for his Virtuoso. He’s doing things his own way, and they work.
I’ll give Lamberson’s Fmaj7 an honorable mention. Lamberson’s facing work is outstanding, but the interior work is done differently than what I prefer. If he were to CAD and CNC that piece, it would be phenomenal and consistent. For $500, I would prefer to know precisely what I’m getting.
For less expensive options, Vandoren and modern Selmer pieces are great.
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I was using the Super Session J with good results on my Serie III sop, but when I switched to a Yanagisawa SC-992, it just left my ears ringing. I could see where that could be interpreted as a good thing by some, but it was too much for me.
Buffet Clarinet, Conn Soprano Sax, Buescher Alto Sax, 2 Bundy One Tenor Saxes, Conn C Melody Sax,
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I’d love to try some these but don’t really have time or cost to do this, so I’m content with my Rousseau.
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My first one was an I that I got in trade. After some time, I thought maybe something a bit less open would be better suited for me. So I bought a H. Glad I got that new, as I was able to return it... and on a whim, went up in tip size to a J. Then I knew it was true, what others were saying about the J; as in they seem to get better the more open they are. I've stuck with the J ever since, but still keep the I as a spare, and to test play horns when I get a chance. I'll tell ya... I'd love to find a new old stock J at a music store some day. Just to have another one. Folks don't seem to part with them otherwise.
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The good old Selmer S80 works for me as well as anything else I've tried. Doesn't have to be a C* either.
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if i had to choose just one sop mpc -i would also go with the selmer s80
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I was lucky to go for the soprano Super Session J when it came out.
I just decided to go for the highest opening not knowing it was going to be gold. There's no parting with it
I also have the tenor SSJ (2 of those in my collection) too but I don't know if Selmer still produce tenor Super Session anymore.
I have the soprano H too but its not as sweet as the J. The J works well with my Series III and SC992. The curved bell brings the sweetness closer to the ears.
10MFan Virtuoso comes close to the SSJ but I'd still vote for the SSJ.
The Concept is also very sweet in a 'classical' kind of way (warmth) but the SSJ is just outstanding for me.
Off Topic: The tenor Burnin' 7* play extremely well (gold) for me that I ordered a second in the same tip. I wish I got the soprano SSJ in 2. Now I am very careful not to damage it in any way knowing nobody wants to sell theirs.
I just decided to go for the highest opening not knowing it was going to be gold. There's no parting with it
I also have the tenor SSJ (2 of those in my collection) too but I don't know if Selmer still produce tenor Super Session anymore.
I have the soprano H too but its not as sweet as the J. The J works well with my Series III and SC992. The curved bell brings the sweetness closer to the ears.
10MFan Virtuoso comes close to the SSJ but I'd still vote for the SSJ.
The Concept is also very sweet in a 'classical' kind of way (warmth) but the SSJ is just outstanding for me.
Off Topic: The tenor Burnin' 7* play extremely well (gold) for me that I ordered a second in the same tip. I wish I got the soprano SSJ in 2. Now I am very careful not to damage it in any way knowing nobody wants to sell theirs.
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Two Selmer shortshank Soloist-types, opened to E, worked well with my Buescher TT soprano until, recognizing a need for a wider tip, I tried various other pieces. Ultimate keepers are a SopranoPlanet Open Sky 2 (.062") for sweet, uninflected, classical-ish tone... & a 10Mfan Virtuoso 6 for soulful Bechet-like jazz tone.
There are a lot of good mouthpieces on Soprano and I don't think that there is a consensus which ones are the best. But maybe some places to start: Selmer S 80/Selmer Concept for a more classical sound, Vandoren V16 for more buzz, Bari Hardrubber. I really like my simple Otto Link Tone Edge 6* which gives me dark sounding jazz-vibes.
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Well i've tried quite a few and I haven't found anything I like yet, where as I have on tenor. And yes i'm fully aware that is mostly, down to me than the piece, but i'm still interested as I really don't know what do try next. I'm currently on a lawton 8, which is a metal mouthpiece I bought from SAX.co.uk, after trying quite a few HR mouthpieces. I really didn't expect to walk out with a metal piece. I don't want any edge to my sound, I want it dark and warm - very similar the tone i've manifested on the tenor.
“I play sax but mostly it plays me”
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Thank you for clarifying. It’s a very thin line finding a dark mouthpiece on a high pitched horn. Also dark and warm are just marketing descriptions. The best way to achieve a warmer tone is to use a small tip classical mouthpiece like a Selmer soloist or a large chamber piece like Wanne’s Ambika. Personally I embrace the brightness of the soprano and use a Ponzol stainless steel 70 and F. Louie copy In stainless. Best of luck
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It’s good for a focused sound, especially for me on less focused saxophones like the Yamaha YSS-82Z and 875EX (less focused than a Selmer or new Yanagisawa). Branford played a S80 D.
But it also sounds amazing on Selmer and Yanagisawa soprano saxophones. I prefer larger chamber pieces on Selmers and Yanagisawas and the Selmer S80 or S90 on Yamahas.
In terms of brightness, I don’t think of the S80 or S90 as being bright. More focused with a great dynamic range and beautiful tonality.
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