[John_Dikeman]

Hey guys,

Nerdy curiosity here... On tenor I've been playing on Links or Link type pieces in around 10 or 10* for a couple years now. It took a while to get used to it, and I was playiong on 2.5s for about a year but by now I'm comfortable with Francois Louis 4 or 4.5.

I'm very happy with it but I'm now curious to try something even bigger. I managed to get a Theo Wanne 10 second hand for a cheap price and intended on opening it up but I like it so much I think I will try and get another one to open to .145 or so.

Anyway, my question to you guys, who is playing a REALLY big set up? I'm talking 11s or bigger, and especially with low baffle pieces like Links. How's that work for you and why did you go for it?

Not interested in arguing about whether playing such a big tip is a good idea or not, just interested in hearing from the guys that actually do play and enjoy these big pieces.

Cheers!

 

[Mike F]

Not interested in arguing about whether playing such a big tip is a good idea or not, just interested in hearing from the guys that actually do play and enjoy these big pieces.

Cheers!

Could be the shortest thread on SOTW................

 

[koumou]

Bravo!!! If you take anabolics you mightbe able to blow a 12 with a lolly pop stick.

 

[minous]

This guys is playing a REALLY big setup.

 

[Buck Laughlin]

On tenor I've been playing on Links or Link type pieces in around 10 or 10* for a couple years now. It took a while to get used to it, and I was playiong on 2.5s for about a year but by now I'm comfortable with Francois Louis 4 or 4.5 . . . I'm very happy with it but I'm now curious to try something even bigger.

Why? I thought bigger tips and the stiffest possible reeds was something only high school students were fascinated (and/or impressed) by. What's driving this curiosity of yours?

 

[daigle65]

If you feel comfortable with such big tip openings and you have the jaw muscles, I don't see a problem.

My first "real" tenor piece was a STM Link 10*
After that I played for a long time on a .125 metal Berg with #4 Rico Royals.

I have been playing a .115 now for many years and I find this works best for me.

IMHO you need to keep a tight practice routine on big openings. I tried playing the Berg after a couple of years on a smaller tip and I couldn't handle it.

 

[Sigmund451]

If my memory serves in guys were getting into big tips in the 80's and 90's. People have really pulled back from that. I think the advantages are far outweighed by disadvantages. Im trying to debate. Im just saying there are fewer of these players around.

 

[Woosax]

I play a Durga 10 on tenor which is .130. I see that they now make a 12*! Given their current lineup sizing that would be a .155. Yikes!

 

[JL]

Big tip + low baffle + big chamber + really hard reed (4.5??!) = dead, stuffy sound + poor response + way too much work

Big tip + moderate baffle + large chamber + moderate reed (2.5 or 3) = Big sound

 

[bstrom]

You need bigger than 10*? I think you might want to consider the reasons why. I know that Joe Lovano, Jerry Bergonzi, George Garzone, Wayne Shorter and others, all great sounding players are on 10*s which is well, pretty huge for mere mortals but you could have something made up bigger and start doing jaw and embouchure workouts. It's probably all in the facing curve anyway.

 

[Mike F]

Or, like Jan Garbarek, you could sound simply amazing on a 6 - 6* with medium soft reeds.

I'm really not sure if there are any advantages in really big tip openings, except for the 'look at the size of my..............' factor.

 

[bstrom]

Doesn't Plas Johnson use a Berg 140/2 or something ? That's pretty heavy lifting.

 

[Phil1]

Doesn't Plas Johnson use a Berg 140/2 or something ? That's pretty heavy lifting.

I think Plas uses something like a 180/0 Berg.

I play with a friend of his every week. I'll ask him.

 

[martinm5862]

Why? I thought bigger tips and the stiffest possible reeds was something only high school students were fascinated (and/or impressed) by. What's driving this curiosity of yours?

Maybe he's a masochist.

 

[cosmosis]

I'm really not sure if there are any advantages in really big tip openings, except for the 'look at the size of my..............' factor.

Isn't just plain volume associated with going up in tip size? If you find the reed for the right balance, wouldn't you just get louder with a bigger tip. That's been my experience, although limited. I thought guys did that to help cut through the electric guitar din..

 

[Pete Thomas]

I think Plas uses something like a 180/0 Berg.

With soft reeds. Baritone plasticover I think.

 

[Benny]

Ernie watts- link 13
Stanley Turrentine- 10*

Lenny Pickett berg 130?

Marshall royal said once in an interview that guys in the Basie band were blowing big tenor pieces ie: 10*'s

 

[Mike F]

Isn't just plain volume associated with going up in tip size? If you find the reed for the right balance, wouldn't you just get louder with a bigger tip. That's been my experience, although limited. I thought guys did that to help cut through the electric guitar din..

Yes, as a general rule you're right, though it's very complex. You get more volume but less focus, which can be helped by a higher baffle but that makes the sound thinner etc etc. The more I know about m/p's the more I realise how complicated making a good mouthpiece is and the more admiration I have for people like Ed Pillinger and Theo Wanne to name but two.

 

[JL]

It is a balance of several factors, I'm sure. But what I've found (and tried to simplify with my 'algebraic' post above) is you can get more volume with a larger tip opening, but with only a small rollover baffle the sound will get darker and less focused (as you increase tip size), which is fine, if that's what you're after. You can also get more volume by raising the baffle, but at some point the sound will get thinner and shrill, which is never ok, imo.

So if you increase the baffle size AND open the tip, that will help get a bigger sound, while the baffle helps maintain focus and edge and the larger tip keeps the sound from getting too bright or thin.

I'm sure there are other factors as well and it takes a good mpc designer to balance it all out.

Reeds are yet another issue. For me, there are no advantages whatsoever with a reed that is too hard (or too soft).

 

[Nefertiti]

Ernie watts- link 13
Stanley Turrentine- 10*

Lenny Pickett berg 130?

Marshall royal said once in an interview that guys in the Basie band were blowing big tenor pieces ie: 10*'s

I always thought Ernie Watts played a berg.............

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