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I tested a couple new Yani horns (one alto, one soprano) this winter (2007), and found myself needing to push my mouthpieces all the way in -- and i mean, all the way.

I could see this being a problem playing where the temperature is cold, or when playing with a band that's sharp.

Is this a pattern for Yanagisawa -- has their cork placement (length) been a problem for anyone else, and if so have you workarounds?

thanks,

Dave
 

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Dave: Welcome to SOTW.

I push a long way on with every saxophone I play, including two Yanagisawa sopranos (S992 and SC902). I can push further, if necessary, but most playing environments where I play are accurate enough so that I only need to be sharp a bit (or at A-440 - depends on the piano at the location).

Last Sunday I did a gig where the piano player swore the piano was recently tuned. Yeah, I said, and tuned very sharp. Still, my S992 handled it. I put my Buescher True-Tone in the car - I couldn't play it sharp enough.

I have several sop pieces that have had their barrels cut down so they can shove on further (or are naturally short like the Selmer Susper Sessions). But even then, the inside doesn't allow much more shoving on - the horns' necks bottom out inside the pieces.

Alto is less of a problem, but I still shove them on quite a bit.

Many posters here seem concerned about the cork's length but the real issue is where does your horn come to pitch? The cork only serves as a guideline for initial placement of the mouthpiece. After playing for a long time, I pretty much know where to site my mouthpieces on my various saxophones - and usually come darned close to matching the ensemble just by using my eyes. DAVE
 

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I've recently noticed that I need to push mouthpiece until the end of the cork on my T991, especially when I'm playing on my Dave Guardala MB II; when I put the mouthpiece in the standard-to-middle position, bottom of the scale is ok, but what is surprising - the high register is very flat; I have to really pitch up all notes over Bb in the upper octave, because they're flat. My second mouthpiece is Fred Lebayle 8 LR after customizing and repair, and everything works normally; I have to make my embouchure loose on top tones. What is strange, many people told me that DG mouthpieces are easy to achieve altissimo; I found that on Lebayle it's really easier to jump from middle of scale to altissimo than on DG.
 
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