Tenor Sax Jazz/Metal Mouthpieces

I had a blast in jazz band last semester, I was using the jazz mouthpiece that came with my Cannonball (a hard rubber with a pretty good tip opening, nothing fancy). I want to take a look at some of the more "standard" jazz mouthpieces, and I want to try out some metal ones, but I have no idea where to start, not to mention what to look for!

Also, I need a good classical mouthpiece that will fit my Cannonball, I had a C* from Selmer but I could not push it on far enough to get it in tune or intonated properly. I think its because the area for the mouthpiece to go onto the neck is not very large on the Cannonball, not to mention the C*'s extra length and square bore (I think someone told me it had a square bore? I don't even know what a bore is, honestly )

So, metal mouthpieces and a good classical mouthpiece: whats up?

(Lambros, I'm looking to you on this one )

K, What's up? Ok bro, here we go...

Metal:

You can't go wrong with an Otto Link Super Tone for starters because it will compliment your T-5s big sound. Depending on your approach you may never outgrow it but some folks find it to be too 'tubby' and not focused enough. Yanagisawa also makes good metal mouthpieces as does Selmer.

Stay in the 5* to 6* range, too.

Hard Rubber:

Meyer 5 medium chamber, New York diamond impression on the table.

Good overall piece here depending on your approach, a bit tight in the lower register. Selmer D* or E* scroll shank with round chamber. A lot like the Meyer but more focus and power in the lower register. One of the best hard rubber mouthpieces on the market is the Morgan Excalibur, medium or large chamber: you owe it to yourself to really try these out. Again, stay in the 5 to 6 star range.

Classical, get a Larry Teal mouthpiece; it's still the most consistent sounding piece for all things classical.

That's it for now, Mr. K

There should be stores (online or otherwise) that will let you try out mouthpieces before you buy them. Look into that.

And while you're mouthpiece shopping, don't neglect ligatures. They're important to.

I have a Rovner ligature (I'm not sure which one), and I love it. I've seen one thats the same concept as the Rovner, but its made of very small links of metal chain instead of a leather strap. My good friend had one long ago, but has since given up on sax :[ I'm trying to find one online just to learn more about it.

Sorry, another dumb question: How does the facing size system work? is a 5* more open than a 6*? What about a 5* to a 5? I'm pretty confused about all of this. I've never been shopping for mouthpieces before

K, I thought w had this covered in another thread(?) Maybe not...

Tip opening:

The higher letter or numerical designation (single # or decimal #), the larger the space is between the tip of the reed and mouthpiece beak tip.

More open sound and progressively more resistance with stronger grades of reeds. For example I play a .110 mouthpiece with a 3.5 strength reed, that restistance is spot on for me for all the registers I play in on tenor and the single number comparable would be an 8* (not recommended for beginners on a metal mouthpiece)

Facing:

The longest area of open space measurable between the tip and the table. The larger the space, the more open the sound you'll get out of your reed. Very unforgiving to reeds that are on the way out though and new reeds are going to need a good breaking in.

K, I have an Oleg ligature that you described for my tenor mouthpiece, Rico makes them and so far it has proven to be rather durable (had it for about 7 years)

As usual, Lambros is a fountain of great information! Let me just add that mouthpieces are a very personal issue, and the same mouthpiece, lig, and sax can sound very different with two different players.

For example, I have never been comfortable with Otto Link mouthpieces. They just don't work for me. On tenor I've played a Dukoff LD8 for many years and on a metal old-style Berg Larsen before that (remember the ones with the nice long "swoop" Lambros?). So try different mouthpieces, as Lambros suggests, and go with what works best for you.

Jim, I remember those Bergs very well and I've also taken the Dukoff route as well. You make an absolutely excellent point that mouthpieces are personal and unique to each player and it still amazes me how the same setup will sound different as a result.

Jim, I was lucky to buy an early hand made Phil Barone (made in 1991) tenor mouthpiece from a friend of mine who had it as a double along with several Guardalas. It was easily worth $500 then and it plays just like the vintage Guardala Brecker and Studio but with a tad more warmth. It no longer has the sharp baffle edge as I had it rounded and tapered into the chamber for that slightly warmer tone that I wanted.

I don't know if any of my local shops allow you try test out a mouthpiece, or return it after opening up the packaging. I don't to go online if I can avoid it either, so I'll just keep looking around here.

So, aside from the Otto Link and Berg Larsen mouthpieces, what other things are worth taking a look at?

I know I said this before but definitely check out Yanagisawa mouthpieces if the shop has them as well as the Selmer scroll shank metals, too, both come silver plated. Sugals are worth trying out as well but they'll be more expensive since they're made out of solid brass blanks as opposed to rolled and fused blanks. Bari also made some nice gold plated brass pieces. Although not quite the level of either Yani or Selmer, a used one could be gotten at a good deal.

You should be able to try out any mouthpiece at a shop. Bite pads and sanitizing assures you of playing clean new pieces as well as traded in used ones that could be in close to new condition.

I play on a gold Bari. It's an 85(alto). It has a nice open sound that I like. It is also loud as hell, another thing I like. I bought the thing new for about $100, so a used one would be a real deal if your not looking to spend a ton of cash.

That's the downside of playing such an expensive instrument. A good mouthpiece alone can cost the same as a decent guitar.

You're right that the Bari will be a very cost effective option, I'll give you that.

Wolfe T. (ran/runs(?) at Bari was very cool to deal with and his line of mouthpieces are very good, price considered. K getting a good Bari tenor (standard, Hawke, Hawke II) sounds like a good deal to me.

I don't know if they're still made in the States, but the mouthpieces look pretty much the same except for the larger bite strip set across the beak on the metals. Back when I had a few of them (alto, soprano) they were made from a solid blank and I still think that's the case. If they were made with a sliding ligature and slotted above the table like metal Sugals and Lawtons, they would easily be more expensive.

Ok, band camp has begun, so I'm just now getting caught up, but I really appreciate it guys. So much information. I don't plan on spending too much, really, so used is a good plan for me. I'll get a chance to go to the shop probably 2 weeks from now, so when I go I'll take a look at Yanagisawa, Bari, Selmer, Otto Link, and a Berg Larsen if I can find one.

Wish me luck at band camp, I'm the woodwind captain this year, and the sax section leader. We're gonna be hardcore!

Good luck at band camp, congratulations "captain", and try a Dukoff if you can, you might like it.

Let us know how it goes.

Regards,

Jim

Any of you guys ever heard of a Van Doren "Super Soul" mouthpiece? It's numbered "99".

I have been using one for a long time and can't remember when I got it..

GZ, I could honestly say I've never heard of that line of vandoren mouthpieces and I've tried a lot of them, sax and clarinet.

Is the one you play hard rubber or metal?

The current V16 line also has metal mouthpieces and the tenors are actually pretty good (t45 to t95).

how does a different ligature make a difference? doesn't it just keep the reed on?