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Discussion Starter #1
Hi everyone, some more help if you don't mind?

I have just changed from a 2.5 Vandoren Standard reed on my Tenor to a 3 & when playing on my using Selmer S80 C**, I love the new tone, but find that I am producing a lot of whistling?

Could it be just getting used to the new reed or do I need to change my embouchure?

I am also finding that when I play on my metal Otto Link 6* which I have a vandoren 2.5 reed fitted, that my upper lip get sore on both sides, almost like a cold sore.

Thanks in advance
 

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I'm not sure what you mean by "whistling". Do you have more than one #3 reed, and do they all produce the same "whistling" sound? It could be just that particular reed.

As far as the sore upper lip goes. Are the sores where the lip contacts the metal of the mouthpiece? I would start by washing the mouthpiece thoroughly with hot soapy water and a brush. If the sores continue, your skin may be having an allergic reaction to the plating on the metal mouthpiece. I know some brass players who have had their mouthpiece gold plated because of problems with the silver. It may be that you can only use plastic and hard rubber mouthpieces in the future, and that is not necessarily a bad thing.
 

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Discussion Starter #4
jbtsax said:
I'm not sure what you mean by "whistling". Do you have more than one #3 reed, and do they all produce the same "whistling" sound? It could be just that particular reed.

As far as the sore upper lip goes. Are the sores where the lip contacts the metal of the mouthpiece? I would start by washing the mouthpiece thoroughly with hot soapy water and a brush. If the sores continue, your skin may be having an allergic reaction to the plating on the metal mouthpiece. I know some brass players who have had their mouthpiece gold plated because of problems with the silver. It may be that you can only use plastic and hard rubber mouthpieces in the future, and that is not necessarily a bad thing.
Hi Thanks for the reply.

By whistling, I mean just that, in between playing I let out a whistle when trying to reach the higher notes.

I'll try another #3 reed and see if that helps. thanks.

I always clean my mouth pieces after playing in an ultrasonic cleaner.

The Otto Link NY Metal mouthpiece is gold plated in 24 carat.

TooBZ, thank, I'll have a look at that.
 

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Does the lip get sore or get sores? I know when I got a metal for my alto I couldn't control it well and I hated it. Then I started playing the oboe. That metal is a great mouthpiece now :) Very easy to control. (Compared to the oboe)
 

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Discussion Starter #6
TooSaxy said:
Does the lip get sore or get sores? I know when I got a metal for my alto I couldn't control it well and I hated it. Then I started playing the oboe. That metal is a great mouthpiece now :) Very easy to control. (Compared to the oboe)
Hi,

It's gets sore after playing and lasts for about 24 hours.
 

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It could just be that the metal mouthpiece is smaller and forcing your corners in further than you are used to. Give it a few weeks for your embouchure to get into better shape for the mouthpiece. Or start oboe :) I believe student oboes come with earplugs now.
 

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Discussion Starter #8
TooSaxy said:
It could just be that the metal mouthpiece is smaller and forcing your corners in further than you are used to. Give it a few weeks for your embouchure to get into better shape for the mouthpiece. Or start oboe :) I believe student oboes come with earplugs now.
Thanks for your help, I think you might be right, maybe I was being a little ambitious with using a 3 on the Selmer mouth piece and having gone back to a 2 1/2 have stopped the whistling.

I'll still persevere with the 2 1/2 on the Otto Link

Thanks once again.

NB As for the Oboe, maybe in a 100 years when I have mastered the Sax will I be able to look at the oboe :shock: ;)
 

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When I went from a HR Lamberson to my metal JJDV I found, at first, that I was getting 'air leakage' down the sides of the piece, presumably for the reason suggested, that my embouchure couldn't cope with the metal piece's smaller cross-section.

I found that I was able to adapt quite quickly.
 

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Sound wise, a lot of players with go with a softer reed on a metal. Someone told me that you want your reed to vibrate as far as you can get it for that bright tone. So lower the jaw and let it move. A soft reed will vibrate further. However I know someone else who uses a C* for everything and it works great for him. To get a bright tone he just slaps on a harder reed, I am not sure about what he does inside the mouth though. I will need to ask about that. (and the oboe thing was JK, I wouldn't ever suggest that a human being suffer through such a thing) :)
 

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Discussion Starter #11
Thanks Roger & TooSaxy, I'll try dropping to a lower reed on the Otto link.

I'm pleased to say that the whistling has stopped with the 2 1/2 on the Selmer.:D
 

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I just started back playing Soprano the other day, I have a blister on the inside upper lip! Don't know what I'm doing wrong, mabey bite is wrong.
 
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