I would say that a larger tip opening offers more flexibility than a smaller one. That can come at the cost of intonation control, but once you have that figured out, you get a wider range of colors out of one mouthpiece. I hate switching mouthpieces all the time so being able to play in many styles on one setup is a big priority for me.
If you have the classical type embouchure, the smaller tip openings definitely will fit your embouchure more easily. The smaller sizes usually have shorter facing lengths which match up better with the classical type embouchure. If you have a lip out type embouchure or partial lip out type embouchure, you will usually find more expression on a slightly larger tip size mouthpiece. The larger size mouthpieces usually have longer facing lengths which match up better with lip out type embouchures. If you try different sizes of the same mouthpiece, remember to use a softer reed for the larger size mouthpiece or a harder reed for the smaller size mouthpiece. The type of mouthpiece can also determine which tip opening is better. I usually prefer smaller tip openings on mellow mouthpieces and larger tip openings on brighter sounding mouthpieces.
Very enlightening to hear someone of your calibre prepared to play on a mouthpiece with a smaller tip opening. If anything I preferred the 5. Thanks for a very interesting video Nigel.
For me, the vibrato was clearer and more pronounced on the #7. I've had a hard time building up enough huff to play anything more than a #6 on my tenor, although I think I could go to the moon with Ernie Watts with my soprano. I'm comfortable with an 7* on the soprano at the moment. Thanks for the video, the comparisons are always thought provoking (as are the comments from other users).
Great video. I took a master class years ago with the great saxophone player Walt Weiskopf. He emphasized that most people play with too wide open mouthpieces. As you say in your video, a closer mouthpiece will improve intonation, control... and will require less effort to play. Many greats like Cannonball played on smaller MPCs. If I remember correctly, Walt was playing a #5 or #5* metal Link.
My mouthpiece large opening gave myself a painful period of TMJ and had to quit saxophone for a few years. After a conversation with the late Bob Berg who didn’t play anything over a 6* and had the most huge muscular tenor tone, I began to experiment with my old 5*, 6, and 6* pieces. Much better sound and ability to control dynamics and tonal complexity. The march towards bigger numbers is destructive.
If players are marching just because 7 is more than 5 and no other considerations. Too bad they are not labeled with symbols, like Anthony Braxton compositions.
Good morning Nigel, I am from the Uk , but living in Canada, and I am in my 50s and I started to play the saxophone about 2 months ago, and I am using a Meyer 5 medium mouth piece, and I can do about 1 and half hours on it each day and that’s enough. I really like your channel and you must be about my age lol!!!,and I worked and traveled in Australia, years ago in the late 80s , I would love to hear your feed back on the Meyer 5 medium, and I wanted a better sound than the Yamaha 4c , and I am not a huge jazz fan, I like rock and pop music from the 80s best wishes peter. Ps looks like you live in the Uk , I’m from Wales , love your channel!!
I own a Buescher True Tone Alto Sax, circa 1926. The mouthpiece that came with it was some chincy plastic crap. Of course, I came upon that "too many choices" thing. Of those "too many" choices, I came upon Jody Espina, and JodyJazz. I chose the #5 because I'm new (to sax) and it seemed like a good starting point. I have TWO JodyJazz mouthpieces. My first one is a JodyJazz HR* Custom Dark #5. I actually spoke to the team at JodyJazz, and upon hearing my story they suggested I go with the DV-HR instead of the Custom Dark. I took their advice, and now I have two mouthpieces. I use the DV-HR in general, and my HR* Custom Dark as my backup. Finally, I have chosen synthetic reeds over cane. Most of my reeds are size 2, but I have a couple that are thinner, and a couple that are thicker.
I’ve been playing on my Alto Meyer 5M for about 20 years. I also have a Theo Wanne NY Bros 5 mpc. With both I used to use a Hemke #3 reed, but have recently been using Legere Studio, and trying out the American Cut 2.25 strength reed. I’ve tried a 6 and 7 tip opening but could never settle on a mpc/reed combination I was happy with. On baritone I play an Otto Link tone edge with a 4 tip opening and Legere American cut 2.5 reeds. With the fashion for wider tip openings I often felt almost inadequate that I couldn’t develop the embouchure strength or control to play effectively so it’s great to hear your advice Nigel. I was also comforted by the thought that both Cannonball Adderley and Phil Woods played a 5 tip opening and both their sounds are incomparable.
Good overview of MP sizes and those effects. I surmise the numbers get one close but trial and error over time is required to optimize the MP & R combination.
OK - Nooby opinion coming your way. I had to bounce back and forth in the two samples to note a difference. I also had to disconnect my speaker and hook up my head phones to get a "closer look". To me, the #7 sounded fuller and more rounded, especially in the lower notes. In the upper notes I really couldn't find a meaningful difference. Overall, I liked the #7 better, but it's really to close to make a strong choice. So I'd have to agree. Go with what's the most comfortable to play. As for me - last spring I found an Alto Sax made in Paris ca 1916/17. So that's when I started playing. It came with a MC Gregory 4A / 20. Other than the general #4 size, I have no idea what that means. I did measure the tip gap to be about 1.8mm, and the window to be about 3.8 cm. Any info you or your staff can come up with on the Gregory mouthpiece would be appreciated. At first, I got nothing out of the Gregory. On the advice of a nephew that plays and teaches woodwinds, I went with a Selmer C* S80 and started on #1 1/2 reeds. I now switch back and forth 'tween the Selmer and the Gregory and I use 2 and 2 1/2 cane reeds. The 2s are obviously easier on both but the harder reeds are working pretty well on the Selmer for as long as my mouth holds out. I can make the Gregory work with 2 1/2 reeds, but it's a lot more work. I get a clearer sound at the D6 through F6 with the harder reeds on the Selmer. On rare occasions I try the altissimo range, but I'm worried about finding an unauthorized "FOR SALE" sign on my front lawn. So I keep it to a minimum.
I started on metal Otto Links 9s all round. However now playing all HR Meyers; Alto 6M 3.5 reed, Tenor 5M 4.5 or 5 reed, Bari 7M 2.5 reed. I can play on any mouthpiece or reed really, but the above is very comfortable and solves intonation issues. Also great for section work. Surprisingly the tenor set-up is plenty loud enough for all situations. I have naturally strong lip muscles, plus having played for 40 years and use a double lip embouchure. No teeth marks or choking off the sound.
Hello Nigel, really interesting video thank you. I recently got a Jody Jazz Custom Dark #6 which I am really liking and am trying out a range of different #2 reeds. So far I like the D'addario Jazz Select but my favourite is the D'addario La Voz. I prefer to play on the softer side, always aiming for that elusive dark sound, and plan to try the Légère French cut in a few months.
There is so much that goes into finding the right mouthpiece to move up to as a beginner. I think one can take the general advice that you should focus on mouthpieces that are maybe one or one and a half sizes larger than your student basic mouthpiece; however, I found that how much one should increase their tip opening varies with the model of mouthpiece. Things like the facing curve length, baffle height, chamber size, tip rail thinness, and beak thickness, can make the best tip opening size vary. I think one needs to try the same mouthpiece in different sizes, and if possible try multiple mouthpieces in each size. I had one popular model that was very inconsistent. In one shop, their 7 played beautifully, but at another shop their 7 was a stinker. While one can try mouthpieces on a saxophone on display at a shop, it is best to test that mouthpiece on your saxophone. It might be wise to also keep an open mind. I tried everything I could, and some brands and models I thought I would hate played the best, and vice versa. To some extent, you get what you pay for, but I found that one of the cheaper and common mouthpieces worked best for me. I actually went with my second choice, and spent a little more to support a local company (Theo Wanne in Bellingham, Washington). Fortunately, I was able to get a big discount using a code from another RUclips channel. That is something to keep in mind. Ten or Twenty percent off codes, and free shipping, can help you decide which way to go.
Thank you Nigel, very helpful video, it confirmed what I have learned about myself. I have several mouthpieces and all but one are a 5. I am using 2.5 Boston Sax Reeds or Legere. When ever I try a bigger size, even a 6 I cant hit the high D and above. I am currently sticking with my Syos Smokey in a 5.
@@McGillMusicSaxSchool i just played an hour with my Syos Smokey and the Legere French Cut 2.5 for the very first time. It was great, I think after an exhaustive search I found the set-up that gives me the best tone with the least effort.
Hi Nigel. Great video. I followed the same path a while ago. For me, smaller is definitely better. My own view is that the 5 sounded better than the 7. I now play a Theo Wanne Classic WATER which only comes in one small size. For me, it is the best MP I have ever played. I have ordered some French cut Legere, and I am n looking forward to trying them out tomorrow. take care. Nigel S.
A few months ago I switched from a Ted Klum 8 to a Selmer soloist E (equivalent to an otto link 5* or 6 I think) on tenor. So far I haven’t looked back as my intonation, articulation and general sense of fluidity on the horn has increased. Seriously if anyone here has been on the fence about Selmer soloists, I say give them a shot. You don’t really need an expensive vintage short shank either, the modern long shank ones by Selmer are still very good and have way better intonation.
I love my Jody Jazz Custom Dark #5!!! I pair it with a #3 Boston Sax Shop reed. Gives a lush thick tone with a slight edge. Nigel, please try the Boston Sax Shop reeds 😊
Hi Nigel, I am playing alto saxophone and using JodyJazz HR Custom Dark, size 6 mouthpiece. Last year I used Legere American Cut 2.75 strength (that a very comfortable setting for me. Recently, after viewing your video I wanted to try the darkest Legere reed - French Cut. Tried 2.75 strength and that was difficult, exchanged for 2.50 a little better, but still is less comfortable compared to 2.75 American Cut. However, I will keep trying to adjust to 2.50 eventually, since it's only couple of weeks.
Thought the size 5 sounded great…I recently dropped in size as well…went from an 8 on my Gaia to a NY Bros 2 sized 5 and I also have a Custom Dark in a sized 6…I’m using 2.5 legere French Cut and American Cut reeds that I’m testing out…also trying out the BS Silver box reeds in a 3 strength and I really like them…find that I can play a lot longer now!
Right down to the Yamaha 62 that I’ve had since 1999!!! Though my evil plan on getting the new mpc was to get a new horn…so, I went from playing the Gaia 8 on my Yamaha and convinced my wife to let me buy a silver Mark VI (always wanted a silver 62, but didn’t have the extra dough in 1999!)…I got the silver Mark VI and the new mouthpiece together and so she thinks the much better sound is due to the horn and now I’m allowed to keep it! Acquired a Yanagisawa AWO33 just this month and it’s brilliant as well…cheers!@@McGillMusicSaxSchool
I play on the Super Jets Jody Jazz #7 on American Cut 2.0 and 2.25 and Superior Cane Reeds 2 and 2.5 >>> received my DV HR #7 great for a round soft sound but for projection I had to go to a 2.5 American Cut reeds and Superior 2.5 cane reed >>>
Well Nigel,i think you would sound awesome with any size reed and mp lol,,but you do sound great with the #5 ,now im thinking about buying one,,ive been using 5 syos mp..
Hi Nigel. What about altissimo with a softer setup? Ive found that I struggle to get up there above say, an A with smaller tip openings. Id be interested to know your thoughts or how you manage
Hey Brendan. Actually I can get up there just as easily. I’m just finding the very top notes a little trickier so far (4th octave E and F) but I rarely go that high. Altissimo G to D pop out easy.
Both the 5 and the 7 sounded good, but I found the 5 substantially brighter, and I prefer the darker sound of the 7. I realize this is entirely subjective- a matter of taste, and I personally like a dark sound- I play a Jody Jazz HR* Custom Dark 7 on my alto with 2 1/2 reeds of varying brands.
I thought you sounded rounder/fuller, more resonant on the 7. You didn’t cover the cons of the smaller and pros of the larger mpcs. Though there seems to be a cult of the large mouthpiece, playing what feels good and gets you closest to the sound in your head is still the best advice I’ve ever gotten.
I use a jody jazz Dv # 10 with Regal Queen 3.5 reed .good for daily practise or quite contry club gigs or gigs but on loud gigs i use a guardala super king model with same reed setup. But on alto ive been using a Claude Lakey jazz model 7 *3 with better sax 4 reed. I liked your 7 sound better on your video
Really interesting video Nigel. I play with a DVHR (5) and feel I've found my sound with it. I had to go up a to a 3 reed strength from a 2.5 (Silverstein Ambipoly) as I was squeaking on the 2.5 but I feel like its all fallen into place. PS love the MP storage block!
Hi Nigel, I currently have a Syos Spark 6 with Daddario Select Jazz cane reed number 2 with a Silverstein Works lig. The Syos spark is meant to be quite bright and it is when I used the Legere which did not work for me. With the Daddario Select Jazz it produces quite a husky and mellow sound which is what I am after, especially when subtoning. I like a freeblowing and easy set up, if the mp is too big, I struggle to control it with my tenor.
Hi Nigel, because of your advice on the saxschool hangout the other night, I am currently experimenting with Jodi Jazz Custom Dark in sizes 4 to 7. Coming from a Selmer 5 Star and a Bari Hybrid 6. Hard to make up my mind between the sizes of the custom dark, because truth be told, they sound pretty identical to me. And if I vary the reed strength, they are also very similar in how easy they play. What would you say: smaller chamber with stronger reed or bigger chamber with softer reed,… if I myself can’t hear a real difference?
Good to hear you’re being systematic and trying a few sizes. If you can’t decide I’d go for the 5 and just spend some time getting the sound you want with whatever reed feels comfortable.
Been using a D’Addario HR 7, and a Legere AC 2.25, and a JJ HR 7, Legere 2 on bari. I think I’m using a JJ HR 7 on my long ignored alto too. So kind of big opening, kind of soft reed. Sometimes I think this choice puts altissimo a bit harder for me, but I’m not as interested in altissimo lately. How is the Legere French?
Great question. The mouthpiece style plays a big part here. Look for a mouthpiece that’s very open inside ( no baffle) and find a reed that feels comfortable for you. Often mouthpieces like this are marketed as “dark” sounding. Eg: Jody Jazz Custom Dark, Theo Wanne Ambika, even a more classical piece like the Selmer S80. Hope that helps.
I'm playing a Selmer Claude Delangle 3. With the 2.5 Legere American cut. It seems I get plenty of projection and my embouchure doesn't get tired. I have. Jody Jazz HR * 5, but never really adopted to it. I understand it can take a while to get used to a different MP?
Nigel, thanks for your knowledge and insight. I've been playing on Jody Jazz HR7* On both Alto and Bari. Lately I find myself struggling to find a reed I like. My question is,...... Do you find it any harder playing altissimo with the smaller tip opening?
I would say that a larger tip opening offers more flexibility than a smaller one. That can come at the cost of intonation control, but once you have that figured out, you get a wider range of colors out of one mouthpiece. I hate switching mouthpieces all the time so being able to play in many styles on one setup is a big priority for me.
If you have the classical type embouchure, the smaller tip openings definitely will fit your embouchure more easily. The smaller sizes usually have shorter facing lengths which match up better with the classical type embouchure. If you have a lip out type embouchure or partial lip out type embouchure, you will usually find more expression on a slightly larger tip size mouthpiece. The larger size mouthpieces usually have longer facing lengths which match up better with lip out type embouchures. If you try different sizes of the same mouthpiece, remember to use a softer reed for the larger size mouthpiece or a harder reed for the smaller size mouthpiece. The type of mouthpiece can also determine which tip opening is better. I usually prefer smaller tip openings on mellow mouthpieces and larger tip openings on brighter sounding mouthpieces.
The 5 sounded a tiny bit quieter than the 7 but had an extra sweet core and breadth of colour. Great on both.
Thanks.
Very enlightening to hear someone of your calibre prepared to play on a mouthpiece with a smaller tip opening. If anything I preferred the 5. Thanks for a very interesting video Nigel.
Thanks!
For me, the vibrato was clearer and more pronounced on the #7. I've had a hard time building up enough huff to play anything more than a #6 on my tenor, although I think I could go to the moon with Ernie Watts with my soprano. I'm comfortable with an 7* on the soprano at the moment. Thanks for the video, the comparisons are always thought provoking (as are the comments from other users).
Glad this was helpful and your 7* is working for you.
Great video. I took a master class years ago with the great saxophone player Walt Weiskopf. He emphasized that most people play with too wide open mouthpieces. As you say in your video, a closer mouthpiece will improve intonation, control... and will require less effort to play. Many greats like Cannonball played on smaller MPCs. If I remember correctly, Walt was playing a #5 or #5* metal Link.
My mouthpiece large opening gave myself a painful period of TMJ and had to quit saxophone for a few years. After a conversation with the late Bob Berg who didn’t play anything over a 6* and had the most huge muscular tenor tone, I began to experiment with my old 5*, 6, and 6* pieces. Much better sound and ability to control dynamics and tonal complexity.
The march towards bigger numbers is destructive.
If players are marching just because 7 is more than 5 and no other considerations. Too bad they are not labeled with symbols, like Anthony Braxton compositions.
Good morning Nigel, I am from the Uk , but living in Canada, and I am in my 50s and I started to play the saxophone about 2 months ago, and I am using a Meyer 5 medium mouth piece, and I can do about 1 and half hours on it each day and that’s enough.
I really like your channel and you must be about my age lol!!!,and I worked and traveled in Australia, years ago in the late 80s , I would love to hear your feed back on the Meyer 5 medium, and I wanted a better sound than the Yamaha 4c , and I am not a huge jazz fan, I like rock and pop music from the 80s best wishes peter.
Ps looks like you live in the Uk , I’m from Wales , love your channel!!
I own a Buescher True Tone Alto Sax, circa 1926. The mouthpiece that came with it was some chincy plastic crap. Of course, I came upon that "too many choices" thing. Of those "too many" choices, I came upon Jody Espina, and JodyJazz. I chose the #5 because I'm new (to sax) and it seemed like a good starting point. I have TWO JodyJazz mouthpieces. My first one is a JodyJazz HR* Custom Dark #5. I actually spoke to the team at JodyJazz, and upon hearing my story they suggested I go with the DV-HR instead of the Custom Dark. I took their advice, and now I have two mouthpieces. I use the DV-HR in general, and my HR* Custom Dark as my backup. Finally, I have chosen synthetic reeds over cane. Most of my reeds are size 2, but I have a couple that are thinner, and a couple that are thicker.
Hey Bo. Both of those are great options!
I’ve been playing on my Alto Meyer 5M for about 20 years. I also have a Theo Wanne NY Bros 5 mpc. With both I used to use a Hemke #3 reed, but have recently been using Legere Studio, and trying out the American Cut 2.25 strength reed. I’ve tried a 6 and 7 tip opening but could never settle on a mpc/reed combination I was happy with. On baritone I play an Otto Link tone edge with a 4 tip opening and Legere American cut 2.5 reeds. With the fashion for wider tip openings I often felt almost inadequate that I couldn’t develop the embouchure strength or control to play effectively so it’s great to hear your advice Nigel. I was also comforted by the thought that both Cannonball Adderley and Phil Woods played a 5 tip opening and both their sounds are incomparable.
Thanks for letting me know about your setups - they sound great. Love the idea of a size 4 on Bari. That sounds interesting!
How are the professional players making the 5 sound as big and jazzy as 7 or higher?
Good overview of MP sizes and those effects. I surmise the numbers get one close but trial and error over time is required to optimize the MP & R combination.
Playing Alto with a Meyer 5M together with 2.5 BSS reed, sometimes a 3.
OK - Nooby opinion coming your way. I had to bounce back and forth in the two samples to note a difference. I also had to disconnect my speaker and hook up my head phones to get a "closer look". To me, the #7 sounded fuller and more rounded, especially in the lower notes. In the upper notes I really couldn't find a meaningful difference. Overall, I liked the #7 better, but it's really to close to make a strong choice. So I'd have to agree. Go with what's the most comfortable to play.
As for me - last spring I found an Alto Sax made in Paris ca 1916/17. So that's when I started playing. It came with a MC Gregory 4A / 20. Other than the general #4 size, I have no idea what that means. I did measure the tip gap to be about 1.8mm, and the window to be about 3.8 cm. Any info you or your staff can come up with on the Gregory mouthpiece would be appreciated. At first, I got nothing out of the Gregory. On the advice of a nephew that plays and teaches woodwinds, I went with a Selmer C* S80 and started on #1 1/2 reeds. I now switch back and forth 'tween the Selmer and the Gregory and I use 2 and 2 1/2 cane reeds. The 2s are obviously easier on both but the harder reeds are working pretty well on the Selmer for as long as my mouth holds out. I can make the Gregory work with 2 1/2 reeds, but it's a lot more work. I get a clearer sound at the D6 through F6 with the harder reeds on the Selmer. On rare occasions I try the altissimo range, but I'm worried about finding an unauthorized "FOR SALE" sign on my front lawn. So I keep it to a minimum.
Great informative video. I am a new player & went with your exact set-up, including the Power Ring. Anxious to get started with it.
Brilliant! Have fun.
I started on metal Otto Links 9s all round. However now playing all HR Meyers; Alto 6M 3.5 reed, Tenor 5M 4.5 or 5 reed, Bari 7M 2.5 reed. I can play on any mouthpiece or reed really, but the above is very comfortable and solves intonation issues. Also great for section work. Surprisingly the tenor set-up is plenty loud enough for all situations. I have naturally strong lip muscles, plus having played for 40 years and use a double lip embouchure. No teeth marks or choking off the sound.
Hello Nigel, really interesting video thank you. I recently got a Jody Jazz Custom Dark #6 which I am really liking and am trying out a range of different #2 reeds. So far I like the D'addario Jazz Select but my favourite is the D'addario La Voz. I prefer to play on the softer side, always aiming for that elusive dark sound, and plan to try the Légère French cut in a few months.
Glad you like the Custom Dark - that’s a lovely mouthpiece.
Nigel , thank you very much for your work !!! Thank you very much for being there !!! I wish you good health and creative success !!! 🎷🎼🎵🎶🎵🎶🎶🎵🎶🎵👏👏👏
There is so much that goes into finding the right mouthpiece to move up to as a beginner. I think one can take the general advice that you should focus on mouthpieces that are maybe one or one and a half sizes larger than your student basic mouthpiece; however, I found that how much one should increase their tip opening varies with the model of mouthpiece. Things like the facing curve length, baffle height, chamber size, tip rail thinness, and beak thickness, can make the best tip opening size vary. I think one needs to try the same mouthpiece in different sizes, and if possible try multiple mouthpieces in each size. I had one popular model that was very inconsistent. In one shop, their 7 played beautifully, but at another shop their 7 was a stinker. While one can try mouthpieces on a saxophone on display at a shop, it is best to test that mouthpiece on your saxophone. It might be wise to also keep an open mind. I tried everything I could, and some brands and models I thought I would hate played the best, and vice versa. To some extent, you get what you pay for, but I found that one of the cheaper and common mouthpieces worked best for me. I actually went with my second choice, and spent a little more to support a local company (Theo Wanne in Bellingham, Washington). Fortunately, I was able to get a big discount using a code from another RUclips channel. That is something to keep in mind. Ten or Twenty percent off codes, and free shipping, can help you decide which way to go.
So, the cheaper good one was really not as good as the one you applied the discount?
I would say they were very close, so it came down to saving a dollar or spend a dollar to support my local economy.
@@olaflangness2907 that'd be my mind as well, assuming the performance was equivalent
Thank you Nigel, very helpful video, it confirmed what I have learned about myself. I have several mouthpieces and all but one are a 5. I am using 2.5 Boston Sax Reeds or Legere. When ever I try a bigger size, even a 6 I cant hit the high D and above. I am currently sticking with my Syos Smokey in a 5.
You’re welcome David. Great to hear your SYOS is working for you.
@@McGillMusicSaxSchool i just played an hour with my Syos Smokey and the Legere French Cut 2.5 for the very first time. It was great, I think after an exhaustive search I found the set-up that gives me the best tone with the least effort.
I love nr 7 size sounds so amazing
Hi Nigel. Great video. I followed the same path a while ago. For me, smaller is definitely better. My own view is that the 5 sounded better than the 7.
I now play a Theo Wanne Classic WATER which only comes in one small size. For me, it is the best MP I have ever played. I have ordered some French cut Legere, and I am n looking forward to trying them out tomorrow. take care. Nigel S.
Hey Nigel. Glad your Theo Wanne setup is working for you. Thanks for watching.
A few months ago I switched from a Ted Klum 8 to a Selmer soloist E (equivalent to an otto link 5* or 6 I think) on tenor. So far I haven’t looked back as my intonation, articulation and general sense of fluidity on the horn has increased. Seriously if anyone here has been on the fence about Selmer soloists, I say give them a shot. You don’t really need an expensive vintage short shank either, the modern long shank ones by Selmer are still very good and have way better intonation.
I love my Jody Jazz Custom Dark #5!!! I pair it with a #3 Boston Sax Shop reed. Gives a lush thick tone with a slight edge. Nigel, please try the Boston Sax Shop reeds 😊
Looking forward to hearing your thoughts about the smaller mouthpiece on your tenor. Great video. Thanks you
I’ll get on it!
I did like the 5 for the sound. 👍. Yes.
Hi Nigel, I am playing alto saxophone and using JodyJazz HR Custom Dark, size 6 mouthpiece. Last year I used Legere American Cut 2.75 strength (that a very comfortable setting for me. Recently, after viewing your video I wanted to try the darkest Legere reed - French Cut. Tried 2.75 strength and that was difficult, exchanged for 2.50 a little better, but still is less comfortable compared to 2.75 American Cut. However, I will keep trying to adjust to 2.50 eventually, since it's only couple of weeks.
Thought the size 5 sounded great…I recently dropped in size as well…went from an 8 on my Gaia to a NY Bros 2 sized 5 and I also have a Custom Dark in a sized 6…I’m using 2.5 legere French Cut and American Cut reeds that I’m testing out…also trying out the BS Silver box reeds in a 3 strength and I really like them…find that I can play a lot longer now!
Thanks! Sounds like we have the same type of setup!
Right down to the Yamaha 62 that I’ve had since 1999!!! Though my evil plan on getting the new mpc was to get a new horn…so, I went from playing the Gaia 8 on my Yamaha and convinced my wife to let me buy a silver Mark VI (always wanted a silver 62, but didn’t have the extra dough in 1999!)…I got the silver Mark VI and the new mouthpiece together and so she thinks the much better sound is due to the horn and now I’m allowed to keep it! Acquired a Yanagisawa AWO33 just this month and it’s brilliant as well…cheers!@@McGillMusicSaxSchool
I play on the Super Jets Jody Jazz #7 on American Cut 2.0 and 2.25 and Superior Cane Reeds 2 and 2.5 >>> received my DV HR #7 great for a round soft sound but for projection I had to go to a 2.5 American Cut reeds and Superior 2.5 cane reed >>>
Well Nigel,i think you would sound awesome with any size reed and mp lol,,but you do sound great with the #5 ,now im thinking about buying one,,ive been using 5 syos mp..
Ha! Go for it. What is the SYOS 5 like?
@@McGillMusicSaxSchool its actually the most friendly easy playing mp ive ever owned,,but i still feel i need more Tenor sax full sound.
Hi Nigel. What about altissimo with a softer setup? Ive found that I struggle to get up there above say, an A with smaller tip openings. Id be interested to know your thoughts or how you manage
Hey Brendan. Actually I can get up there just as easily. I’m just finding the very top notes a little trickier so far (4th octave E and F) but I rarely go that high. Altissimo G to D pop out easy.
I like the sound of the size 7.
Both the 5 and the 7 sounded good, but I found the 5 substantially brighter, and I prefer the darker sound of the 7. I realize this is entirely subjective- a matter of taste, and I personally like a dark sound- I play a Jody Jazz HR* Custom Dark 7 on my alto with 2 1/2 reeds of varying brands.
Thanks for your comments. I agree the 5 is a bit brighter. However the more I practice on it the easier it is to get a more round sound.
I play a 4c at the moment but waiting for my otto link 6 to arrive. Fingers crossed
I thought you sounded rounder/fuller, more resonant on the 7. You didn’t cover the cons of the smaller and pros of the larger mpcs. Though there seems to be a cult of the large mouthpiece, playing what feels good and gets you closest to the sound in your head is still the best advice I’ve ever gotten.
In the graphic. Pros cons
I use a jody jazz Dv # 10 with Regal Queen 3.5 reed .good for daily practise or quite contry club gigs or gigs but on loud gigs i use a guardala super king model with same reed setup. But on alto ive been using a Claude Lakey jazz model 7 *3 with better sax 4 reed. I liked your 7 sound better on your video
Really interesting video Nigel. I play with a DVHR (5) and feel I've found my sound with it. I had to go up a to a 3 reed strength from a 2.5 (Silverstein Ambipoly) as I was squeaking on the 2.5 but I feel like its all fallen into place. PS love the MP storage block!
Thanks Kay, glad you like yours too. Sounds like the size 3 reed is working better. Yeah, my mouthpiece stand is pretty cool hey!
Hi Nigel, I currently have a Syos Spark 6 with Daddario Select Jazz cane reed number 2 with a Silverstein Works lig. The Syos spark is meant to be quite bright and it is when I used the Legere which did not work for me. With the Daddario Select Jazz it produces quite a husky and mellow sound which is what I am after, especially when subtoning. I like a freeblowing and easy set up, if the mp is too big, I struggle to control it with my tenor.
That sounds like a nice setup to me Zabelle.
Thanks very much, its really good.
Hi Nigel, because of your advice on the saxschool hangout the other night, I am currently experimenting with Jodi Jazz Custom Dark in sizes 4 to 7. Coming from a Selmer 5 Star and a Bari Hybrid 6. Hard to make up my mind between the sizes of the custom dark, because truth be told, they sound pretty identical to me. And if I vary the reed strength, they are also very similar in how easy they play. What would you say: smaller chamber with stronger reed or bigger chamber with softer reed,… if I myself can’t hear a real difference?
Good to hear you’re being systematic and trying a few sizes. If you can’t decide I’d go for the 5 and just spend some time getting the sound you want with whatever reed feels comfortable.
@@McGillMusicSaxSchool brilliant, thank you very much for taking the time to reply! I really appreciate it!
Been using a D’Addario HR 7, and a Legere AC 2.25, and a JJ HR 7, Legere 2 on bari. I think I’m using a JJ HR 7 on my long ignored alto too. So kind of big opening, kind of soft reed. Sometimes I think this choice puts altissimo a bit harder for me, but I’m not as interested in altissimo lately. How is the Legere French?
Cool. I like the French Cut - just that little bit darker which I like.
What combination of mouthpiece and reed hardness would totally remove all traces of edginess
Great question. The mouthpiece style plays a big part here. Look for a mouthpiece that’s very open inside ( no baffle) and find a reed that feels comfortable for you. Often mouthpieces like this are marketed as “dark” sounding. Eg: Jody Jazz Custom Dark, Theo Wanne Ambika, even a more classical piece like the Selmer S80. Hope that helps.
How would a different size impact somebody learning altissimo?
like the 5
hi, could you suggest me the best alto saxophone model of yamaha
It sounded as though you have more control with the 5.
Ok thanks.
How do I improve my mouth piece practice on my saxophone
I'm playing a Selmer Claude Delangle 3. With the 2.5 Legere American cut. It seems I get plenty of projection and my embouchure doesn't get tired. I have. Jody Jazz HR * 5, but never really adopted to it. I understand it can take a while to get used to a different MP?
Nice sound. Typical Jody
Glad you like it!
Nigel, thanks for your knowledge and insight. I've been playing on Jody Jazz HR7* On both Alto and Bari. Lately I find myself struggling to find a reed I like. My question is,...... Do you find it any harder playing altissimo with the smaller tip opening?
There is no best. All depends on what sound you expect to develope