I started playing Sax when i was 11 and now will be 30 in December. A lot of these tips have helped me progress a tad further. Never to old are advanced to learn something new. (Or simply be reminded). Thanks brother! Subed!
I use a selmer c* on my alto. And love the clear dark sound i get and use it for funk and jazz a lot. During intermediate school and now years later. It allows me to change my mouth to change the sound. Great video. I want to switch to tenor as well in my 20s
My main mouthpiece is a Guardala Studio and I absolutely love it!! I play primarily RnB and funk and the Guardala never lets me down. I remember when I was trying out new mouthpieces, I was sure I wanted an Otto Link, but I hated how it played. When I first played the Guardala, I suddenly felt an insane amount of resonance. I’ve been playing it almost exclusively ever since
Thanks for sharing Cameron. I remember my first experience on a Guardala too - also a “Studio”. I couldn’t believe it - played mine for many years ( and thousands of gigs!).
Very informative as always and spot on comments. The mouthpiece (set up) journey can be a long one, use what works - what sounds good and feels good to you - that's how to get results isn't it. For me, my go to tenor piece is a wonderful old Florida Link USA stamp (don't make em like that anymore) and for alto, the new D'Addario Select Jazz, a very good quality piece (very vintage Meyer like) for the $$$.
I've played an Otto Link STM 8* on the alto since September 1996, I had tried a Vandoren v16 A7M, good mouthpiece. On tenor I play only one mouthpiece, a metal one Brancher J29, in terms of sound, maybe between an Otto Link STM and a Berg.
You no doubt will disagree with me but that’s ok. But here’s what I,would like to share resulting from years of mouthpiece redesign and customization.Hard rubber versus metal? Well, the material makes little or no difference. What does make a difference are the following mouthpiece design criteria: Chamber size, baffle or no baffle, and if there is a baffle, then the shape, height and length of the baffle and where it begins relative to the tip rail. Add to that, the tip opening, tip rail width and radius and finally the facing length. The beak angle will affect how comfortable the mouthpiece feels relative to one’s jaw position as well. I’ve spent most of my development time on tenor mouthpieces since that’s what I play professionally. I’m currently still doing Sax repairs at home but spent about seven years as a tech in a big music store hence I’ve played hundreds of saxes and mouthpieces. That experience was valuable to me as a repair tech, mouthpiece guy and player. I’m also affiliated with a shop that has a huge collection of tenor mouthpieces and I’ve played all the good ones. This is naturally my humble opinion, however it is the result of a lot of time experimenting with mouthpieces, necks and horns. The ‘neck thing’ is another interesting area that is too complicated to even discuss. All I’ll say is that it took 5 years to finally find the right neck for my 55 year old Selmer sand the difference it made was dramatic.
Hey Richard. Thanks for your comments here. There is definitely scope for much more conversation on my channel about mouthpiece design. It's something that beginner and intermediate players always get confused by (not surprisingly, because it's pretty complicated as you mentioned!). I really appreciate you taking the time to share your thoughts.
@@McGillMusicSaxSchool No confusion if you appreciate the science behind it ie converting the 2d vibrations into 3d standing waves, interestingly you have aerodynamics, acoustics and physics coming in ... good stuff
Comment from a fellow sax player some years back when I turned up with my Jumbo Java - "it's like driving a Ferrari with no tyres ". Having now switched to a Theo Wanne, I know what he meant.
Otto Link Super Tone Master 7*. I've had it for years. I remember at a workshop with Don Rendell years ago he suggested attacking the ligature with a pair of pliers so that it supported the reed better. Having then not played for a very long time, I recently went back to it, and replaced the ligature with a BG jazz ligature, and it made a massive difference. If I want a really bright sound I can always put in a piece of bluetack to act as a baffle.
My first mouthpiece was the Otto link in 7*..Since then I’ve been blessed to be able to afford a Theo Wanne Gaia 2 Tenor mouthpiece in 7*. The difference is night and day. You either have a Theo Wanne mouthpiece, or you wish you had one. It’s precision machined and all mouthpieces are numbered. I recently purchased the Theo Wanne Durga 3 for soprano saxophone. But today I finally got a Selmer S80 rubber classical music tenor mouthpiece in C* by returning the Otto Link to the store. It makes no sense to keep a mouthpiece that you don’t use or like...
So you answered 90% percent of the mouth piece questions I have had about mouth pieces!!!!! You are amazing.... Last big question though, Ive been trying to escape that selmer c* super dark classical sound for most of my saxophone playing life. And so by your video I need something with a baffle. On the durga 2 you used a legere 2 1/2. What did you use on the selmer. Trying to figure out how much stiffer or softer a reed you need for something with a baffle.
T95 goes good with my 10M. The Link makes my old Dorffler & Jorka really purr although the "C#" key needs to be used to get a good middle "D" though. A metal MPC marked Steve Goodson - 7 works best with this old sax. The Selmer "D" seems to fairly useless. Great Video - really helpful
He's right about playing a mouthpiece for more that just a week or so. I play metal pieces, and I got a new rubber piece and it sounded like I had a sock stuck in my bell; I was ready to return it - VERY dissapointed...but 3 weeks later - wow, I could go into the recording studio with my new sound! Now, only one problem - need to practice more standards.)
Im a 72 year old flute player....and heard that if you've developed a good embouchure, that entering the world of saxophones would give you some advantages in the beginning stages so to speak. Is this true?
Yup! I'm a flautist, and started sax 2 years ago, and have progressed so fast on sax that it's now my first study despite having years more experience on flute - it really helped in tone and air speed playing flute first
Like this video. Honest. A video novices should watch buying maybe their first or 2nd mouthpiece. I think it has to do with where we're playing (as mentioned). If you're playing in a studio or alone then a dark sounding mouthpiece would be the one. Playing live? Need projection to cut through some loud instruments? Get a "bright sounding" focused mouthpiece that projects. If we don'n't plan to ever play in a group or live...I'd stick with dark sounding mouthpieces or mouthpieces that are more "all around" like the Jody Jazz DV. No point in getting a TW Durga for studio work or playing alone at home. Geometry of the internals. Same holds true for the sax itself. People should all know this. And not buy into the marketing of the type of metal or plating. Jay from Better Sax did a comparison video. $300 sax vs his $4500 sax. The sounds he got from the two...not that different. :) You'd assume the $300 sax would be painful to listen to and start falling apart on first play. He did use a quality mouthpiece at one point. But I think at first he used the included one...still good good sound. :) It's about the player. His or her ablity to move air.
I started with a standard Selmer C* on a Mark VII tenor. Later I had a Mark VI of 1971. I tried tons of mouth pieces in the shop, without buying one. Than I bought a metal Guy Hawkins but hardly used it in practice. Several sets of hours of testing in the shop I moved only from C* to D, and stayed very content.
I play a JodyJazz DVNY size 6. I played a hard rubber Meyer before and the switch was great. The DVNY is still dark but it has that metal ring. I do wish it had a little more projection tho. Been playing on the DVNY for about a year now.
I switched from a vandoren A45 to a dukkof 8* super chamber on my alto, at first I wasn’t use to it and didn’t like it much but over the course of a month I got more use to it and absolutely love it
My Otto Link Tone Edge 8 tenor Hard Rubber mouthpiece can do it all. It's a slant signature 8 tone edge. I have played 45 years, the last 23 years with the USAF Bands. I went though the same mouthpiece journey. For years, I played metal link super tone masters 7*'s and 8's, but now the rubber link can do it all, rock gigs, jazz gigs, shows, weddings gigs, jam sessions, classical tenor, 1950's rock and roll, and 1960's soul ( Mustang Sally) James Brown I Feel Good gigs...
Interesting to hear that Grant. I agree, they are really versatile. There aren’t many mouthpieces that will work on a classical gig AND a 50s rock and roll gig!
Berg Larson 110/2 deep rich sound and projection when needed. I've used it for over 35 years. Works beautifully on my Big B, New Wonder Artist and even my original HS sax. True, on if you find a versital mouthpiece you love, cherish it and take care of it. I use an Otto Link 5 on my Big B, and Super 400 Altos, a Yamaha 4C on my True Tone Sop. Brilhardt 5 stainless on my "The Martin" and Big B bari's.
Thanks Nigel, very interesting. Have gone through a few Tenor pieces myself over the years. Started out on an Ebonite 6* Link which was OK but I needed something wider for more power. Next up was a Berg Larsen 115/1 SMS - stainless steel with a medium baffle. Played this for years. It was quite versatile. Then I got in a big Soul band with a large horn section. Found a brighter more cutting sound on a Brancher L29 Ebonite with a high baffle and voicing. It is also very comfortable in the mouth which I think is important and is an aspect often overlooked. Nowadays, I sometimes alternate it with a 7* NY metal Link for quieter situations. Alto, I use a Yanagisawa 7 Silver plated Bronze.
+Martin Todd Cheers Martin, that’s a great selection of pieces you have been through. I’m testing out some Brancher pieces in the next couple of weeks - looking forward to trying them.
I am a tenor sax player in a medium sized band and is looking for a good mouthpiece. Our next concert I have a big jazzy solo and I need a good open mouthpiece but has a good buzz.
Cool Chuck - the C* was my go-to mouthpiece on alto for all my classical work back in the day. It's a great mouthpiece. I prefer the D on Tenor though.
Hi NIGEL, I have tried quite a few metal/ rubber over the years,but back to my second choice Berg Larsen 100/2 for Tenor and 95/2 for Alto soul rock n roll magic love it. HAPPY DAYS .Regards Howard .
I play all the saxes except bass and Eb sopranino, and flute and I'm always looking for the next set up which will make my sound and playing work. On tenor I'm currently using a Theo Wanne Rubber Datta 8 with a Silverstein lig and a 2.5 Fibercell reed. I also like Vandoren Java reeds currently. The search never ends...well it will eventually. Thanks for a great lesson, very helpful.
I've been playing jody jazz hr 8 for years. i switched to the giant then the jumbo java! Man, that Jumbo Java is freakin' amazing!!! i just did a transcription of two dueling rock guitarists and was able to actually capture lots of it using that vandoren piece.
I bought a Tonemaster, sight unseen, thinking it would be bright. Wrong. It was my darkest sound ever. The brightest and loudest I’ve played were cheep plastic student mouthpieces. These days, I play vintage Conn alto (a 4-digit “Shooting Stars”). I now like a darker sound. I use a Conn Steelay Standard. The Conn Eagle is a bit brighter, and the Conn Precision (plastic) is very bright and loud.
As a 51 year old I have tried mybshrebof mouthpieces. My bread and butter is my Meyer 5 on alto. I can adapt to any type of sound that I need. Practicing overtones is more important and time better spent than trying out mouthpieces.
I love the Metal Durga 3 from the start. Love it because it is bright but I don't find it overly bright, but it does have a lot of projection and I have not yet pushed it but I know it is up for the challenge if I want to learn to play rock, vinny
Such a great demo... Thanks! For years I've used Berg stainless only. Lately I've found limitations and switched to Berg hard rubber. I'd love your demo using Berg Larson mpc's. T. Kipfer
Hey Thomas, that would be interesting. I don't have any of the Berg Larson pieces anymore but the first metal mouthpiece I ever played on alto was a Larsen metal. Lot of people love them.
Premiere by Hite is a good mouthpiece for that. It sounds naturally kinda similar to what he was playing at 5:35, and has a big open chamber. They only come as a 6* tip opening, but they work great, just not enough edge for my tastes now. Only costs about $35. Pair it with a Rovner dark ligature and then just practice what you want to learn. Cover the reed with plenty of lower lip and it adds to that Getz roundness I think.
I have tried a range of mouthpieces on my alto and only use 2 on my soprano a Vandoren Optimum AL3 and a E. Rousseau Studio Jazz 6 and I quite like its warm, projecting core sound that the Studio Jazz has when pushed as it never really looses that core sound. On my alto I have tried many mouthpieces. I play with Legere reeds and I found that some mouthpieces worked well with them and some didn't and sounded too buzzy with them. I started on a Yamaha 4C, then thought that around 5-6 months in I'd get a Meyer 6. Too open for me to play on then, so I then got a JodyJazz HR* 7M. Again way too open for me at the time. After returning it, I got the HR* 6M and also a Selmer S80 C***. The C*** worked well for me and my playing really progressed with it. The HR* gave me a versatile sound I was after for other styles like Jazz and funk playing. Since then I tried a Vandoren Optimum AL5 which I liked as it has a smoother sound over the S80, but lacked the projection and felt a little too warm sounding for me. A Vandoren V16 5M, and while I like it and it is easy to play, it doesn't quite have the sound I am after and didn't work well with my Legere reeds. I sold my JodyJazz HR* and instead bought two new ones in different sizes a C* and 5M and like them a lot more as they are at a tip sizes I can control. I was still looking for a mouthpiece that would be my main one that would give me a smooth, warm sound with good projection and worked with Legere reeds. I tried a custom SYOS to see if that would work. I wanted something similar to my S80 and I asked if they could make it with the similar thicker tip it has. I liked how it was really easy to play, stayed in tune easily and had a big sound. However because of the medium chamber, thin tip (which I didn't ask for) and side rails, it played too much like my JodyJazz HR* but without the complexity in the sound and it had a fuzz in it I didn't like which is caused by the table not being smooth. More recently I got a Selmer Soloist E as I am more now into classical playing but wanted more projection and a smoother sound than my S80 has. I do find I like the smooth sound, but it feels a bit too resistant for me, especially in the low notes. I would have went back to playing on the S80 but I accidentally scratched up the table of it with my Francoius Louis ligature plate and I don't overly like the sound, so instead I have ordered a E. Rousseau 4R and I am hoping it gives me a smoother sound for classical playing that I am after, but some projection when I want it.
Thanks for sharing Dave - that’s quite a mouthpiece journey! I’m actually testing some SYOS mouthpieces too for an upcoming 3D printed mouthpiece video.
I play a jodyjazz dv on alto and tenor now. They are kinda like the durga in that they are very utilitarian, especially on tenor. But I have to play on like strength 4 reeds cause the table cutout and the thin rails make it super free-flowing. Once you get a good reed on it then it sounds great.
Those Lakey pieces have a great sound John. I had one years ago on my alto but couldn't make it work for me. I've heard other players sound amazing on them though.
I use an old 1960's link metal mouthpiece 7* (tenor) with vandoran java 3 reed. I use it for every situation does a great job..its more to do with the player than the kit.
Hi Nigel, wow a great viedeo. Can you please tell me how you would place the Theo Wanne Shiva you reviewed in place between the Guardala and the Durga?
Nigel: I have been using the Ottolink New York. No baffle, wide open as you know. I was in a skype session with Johnny Ferreria and he told me, that's it. Great tone and sound from you. OK, I'm old, 74. Only been playing 6 years with way too many breaks from practice. I have fun with this! He told me, to play louder. My wife, says, what? Your too loud now OMG! I don't know if I can play louder? I'll see? That's alot of money lined up there! HA Thanks for your info. Tim
+Tim Tuthill Hi Tim, thanks for checking out my video. Great to hear you are enjoying your Link. If Johnny says you sound great, that’s a good endorsement! Keep at it mate!
Thanks Nigel, good information! After a year of of learning I found it interesting when my teacher mentioned re mouthpieces. Sax I rented, which I now own, came with mouthpiece that apparently is not the normal student mouthpiece, in fact it's not clear what the hell it is! But I guess that's what I been playing with. I was astounded though, when I realized the different shapes, sizes, materials that go into them. Not to mention the prices!! Oh well, for the minute I'll keep plodding along with what I've got! The journey!
I'm playing Theo Wanne all the time now and since sorting the problem with the Legere reeds I'm using them too. The Legere reeds seem to give a bit more buzz and seem more alive, as you said you don't have to spend your life being a joiner with the cane.
Hi Nigel, loved your video. I alternate between a Selmer Soloist D with a D’Addario Select Jazz 3M reed, a Meyer 6M with a D’Addario Select Jazz 3H and a Theo Wanne GAIA2 #7 with VanDoren V21 3. Long put my Selmer C80 5* away. Love passing from one to the other every other day but haven’t moved playing a metal mouthpiece yet. If I do the Durga 3 #7 or 8 would also find my favor.
Nigel, great video M8.. I went through the same thing with mouthpieces over the years and you are so right about making the mouthpiece work for you- I currently play RPC 115b and absolutely love it, I can play jazz, funk, Pop,Bossa with it and I'm super happy with it, have you tried one? Cheers
McGill Music Sax School it’s a metal Chinese mouthpiece I bought on amazon for 30 usd. I figured saying the name of the company might make it sound sophisticated😂😂
Over the past 25 years I've settled on the current production Otto Link STM #8 and STM NY #9. They both needed work on the window, tip and rails to really respond well. I find the STM #8 more versatile - all the cut and projection I need to play in an amplified environment - but the NY STM brings something really special out of my 10M with its larger chamber. The STM #8 has a wider tip and a bit more rollover baffle. On the metal vs hard rubber thing, anybody familiar with Lester Young's sound with the Count Basie Orchestra or Dexter Gordon's recordings from the 1940s should know that the "metal is brighter" myth is a bunch of hooey. Hard rubber mouthpieces tend to have a higher beak, which increases the volume of the oral cavity for a slightly deeper resonance (think of the oral cavity and mouthpiece chamber working in tandem as one system). What I think is most beneficial about metal is putting more mass on the end of the neck. It helps the upper partials stay in series by stabilizing the mouthpiece/neck connection. The result is greater tonal focus and projection. Side-by-side playing their 10Ms, Dexter Gordon and Gene Ammons demonstrated the difference - Gordon more focused with a metal piece and Ammons more spread with a hard rubber piece. Steve Goodson has implemented that theory with a massive metal mouthpiece that's thick over the shank, and with a delrin mouthpiece with a large brass collar that attaches over the shank. The recent Van Dorens are intriguing because of their short shank design, much like the old Otto Link Tonemasters.
@@McGillMusicSaxSchool You're welcome. Here's a 1944 recording that features Gordon and Ammons trading off. If you play it through good speakers, I think you'll hear what I mean. ruclips.net/video/WQfdHjLfTKE/видео.html This is of course not considering that a player may choose a more spread sound for artistic purposes. If perfection were all that mattered, we'd all be playing Japanese horns.
AS ever Nigel really useful vid. I have been playing a 7* Metal Ambika for just under 2 years and its great, recently though I bought a Yani TW010 from an old friend and he threw in an Andy Sheppard Autograh 7* metal piece which I don't much like, but also he threw in an Aizen HR LS jazz master 7* which I had never even heard of, I have been playing it for a couple of weeks now and am growing to like it. Its pretty much a Japanese copy of the original slant sig and I have to say its pretty good, currently using a Vandoren optimum lig 'something else he threw in with the sax" Jurys still out but its got a lot going for it.
+Gerald Smith Cheers Gerry, It’s great to try a bunch of different pieces for some perspective on what you like. Sounds like you’ve got plenty to try there.
Hej.You have a beautiful tone on any of the mothpieces. Now I"m playing Berg Larsen metal 95 tenor with a 3 legere reed (syntetic). I played Otto Link metal 7 before but I strugeled with air comming out a litle to the sides. Beeing not so brought the Berg Larsen mouthpiece cured the problem, so it fit"s better to my mouth. O)laf Copenhagen Denmark
Cool, glad the Berg works for you better Olaf. Interestingly years ago I struggled to find an Otto Link in Australia that didn’t leak. I love the sound of them but you do need to check the accuracy of the mouthpiece face.
I play a Link clone, the Phil-Tone Tribute, which is a cooperative venture between Phil Emgleman and Theo Wanne. (Phil is moving to France so they should be available in the EU pretty soon.) Before I bought that, I played a stock Link, the New Vintage model. With a GOOD Link, it’s possible to get a pretty bright sound - maybe not enough for a full on funk gig, but most any middle of the road show. But finding a good one is not easy. The mouthpiece you’re playing is also a Link clone, though of the hard rubber model. Nice video!
Cheers Steve, thanks for your comments. I remember when I got that Link mouthpiece, I had a lot of trouble finding one that worked properly. I was living in Australia then - perhaps we just got a bad batch! I'll have to keep an eye out for the Phil-Tone.
Links are notorious for being very inconsistent. Put it another way, I believe that about 10 % of them are any good. BTW, I misspoke, it’s a Link NY model that I have.
I have an Otto Link NY 7* and a STM 8. Would you believe the NY is way brighter? Go figure. I have found baffles and chamber sizes mean very little and each MP sounds different.
Bummer that of all those you laid out, you didn't play or give input on the V16 with the Versa ligature. I started with a T75 Jumbo Java too due to it giving me the bright metal mouthpiece sound, but then realized it was too shrill / bright for playing ballads, which has been my primary focus. So my instructor recommended I get an ebonite Vandoren V16 T7, which I've loved due to being able to play more evenly on it, and it not being as shrill in the higher register. And most recently, a local music shop had a used Vandoren T75 Java that I played and immediately really liked due to it being kind of like the T75 Jumbo Java and V16 T7 having a child - giving good characteristics of each to it. Some of the metal mouthpiece like edge of the Jumbo Java, with some of the warmth a playability of the V16. They offered me a good enough price on it that I took it off their hands. So now, the V16 is still my primary mouthpiece due to feeling more comfortable with it right now, but I also really like the T75 Java. So I pick one or the other based on what the songs I'm playing. Started to sell the Jumbo Java, but thought that maybe one day I'll be able to control its shrillness better and want to play it again. This is me trying my best to get a Dexter Gordon / Audry Graves / Scott Hamilton sound out of my V16 - and - as you can hear - I've got a lot of practicing to do still: ruclips.net/video/mJc-Vx8NBWY/видео.html But, the guy at the piano in that video is a great example of it being more about the person than the mouthpiece. Here's a link to one of his (Mace Hibbard) songs (Hear Me Now) that he recorded with Derek Trucks on guitar that he played on a ebonite T9 V16. To my ears, it doesn't get much - or any - better in regards to tone: ruclips.net/video/-E1U9a-dMNw/видео.html
+Keith Taylor Cheers Keith, I’ll check those links out. Sorry, ran out of time to cover all the pieces, but the V16 (T8) is a lovely piece. I played it for ages actually before moving to my current HR Slant Sig by Theo Wanne. The T8 is a great compromise and works brilliantly for intimate settings, I even played hundreds of 50’s Rock n Roll type gigs on it - you can get a lovely warm 50s growl if you push it.
McGill Music Sax School So, by saying pushing it to get a growl, do you mean putting more air through it to get a growling type sound, without having to hum or grunt while doing so. Just blowing hard? Maybe that's what I've heard called overblowing a mouthpiece? Never tried it on purpose, but as I remember, when I've put too much air in one on accident, it didn't result in a pleasant sound. I'll try it today with my T7 V16.
Nice video. It's good to hear the history of your MPC collection. It's definitely a journey through time. I played for almost 20 years solely on a 8* claude lakey and my Yamaha YTS-61 tenor, bought new in 1977. Eventually I switched to an original series Durga 9. That was awesome for almost a decade then it started getting a little reed finicky. Not sure what is going on... maybe it needs the rails smoothed up or something. Or I bent the lig? But I started experimenting and played a 10mfan The Boss for a year. It was loud and decent tone but it also had a tendency to chirp (tested on multiple tenors, with several brands of reeds over half a year). I'm pretty sure the one I got needed a slight reface. So I looked around some more. I have a JJ HR piece that works for mellow jazz stuff. Similar to another HR piece by Phil Barone that plays very nice, just a bit soft. I have an HR Gaia 6 on my soprano. (BTW, I bought a Phil Barone Vintage tenor sax with honey gold lacquer to go with my PB Baritone and haven't played anything so nice since I sold my Selmer Mark 6 alto years ago. We are blessed these days. I play Berg 110/0 on Bari.) Anyway, so I tried other Jody Jazz pieces. To me the DV tone was unappealing and I just couldn't get into the response of the DV CHI (which I still own). Then I bought a Theo Wanne Shiva 8 (blue ART materials) and that thing is just super amazing. It plays like the best of them, superb intonation, is reed friendly, and can be really loud when pushed! Almost too loud for our enclosed rehearsal space even with amplified instruments. Still, it can sound pretty sweet too if you don't push it. I have to admit it's been kind of nice being able to cut through when I want. It helps even though I am amplified. After half a year with the Shiva it's a keeper for sure. And finally, I recently bought Theo's Slant Sig 2 size 8. And I have to agree with you, that is one sweet all around MPC. I love it so much! Currently I'm trying to play it in our amplified rock/funk/RnB band instead of the Shiva as an experiment. I've had a couple rehearsals so far. Although I miss being able to just cut through on solos, if I just depend more on my amplification with the slant sig I have such a rich full tone -- just bright enough to work. I definitely blend better with the band when I need to blend. Not sure which one I will settle on in the band but I much prefer to practice and record with the slant sig for the tone and more reasonable volume, but both play beautifully. At this point I wish Theo had an HR Durga 3 for tenor, but really I can't complain as I feel lucky and love both of those Theo MPCs. They just play so well for me. Maybe I'll get my Durga 1 fixed up again too, but if Theo comes out with a HD Durga for tenor I'll probably get it and sell the old one ;). Thanks for the great sax vids.
Thanks for sharing this - great to see your journey on mouthpieces - lots of similarities there. I agree that the Slant Sig is a brilliant all-rounder. I think these days I definitely prefer to have a mouthpiece that I like to play in all settings, but rely on the amplification if I need it on a loud gig, rather than playing on something too loud and bright, that I struggle with in an intimate setting, or in my studio. My next challenge is upgrading my soprano mouthpiece and I’d like to check out the Gaia myself for that.
it varies a lot with the horn. I had a Link STM that just never worked that well with my old SML. Then I switched to a Borgano - bang! that thing came alive.
I think your Vandoren T95 is a regular Java and not a Jumbo Java. At least it appears that way looking at a freeze-frame at around 1:07. The Jumbo Java has a step baffle and the regular Java does not. (I bought a blue regular Java T55 back in the 1980s and it's slightly too open for me, so I doubt I could get much out of a T95, but I thought you sounded great on it. Just recently I've been trying a Jumbo Java T45.)
Pretty late response but yeah having separate mouthpieces is typically how people go. Some mouthpieces do strike a middle ground like meyers can kind of play classical along with jazz
Hi Nigel ,. i cant believe you never mentioned Mayer mouthpieces ? i play a Mayer 5 hard rubber mouthpiece on the alto it gives me a cool soulful tone / sound Mayer mouthpieces are around for ages they are the king as far as im concerned
au ténor , avec un bon vieux Dukoff métal n° 6 et une anche "légère" n° 2 , je fais exactement ce qui me convient : ils obéissent sans aucun problème . J'ai 80 ans et continue à jouer tous les jours , c'est ma vie . Chacun a sa configuration optimale en fonction de sa morphologie et de son style de jeu . Si je veux jouer Coleman Hawkins ou Ben Webster , j'utilise un Rico metalite n° 9 , et ça roule !!! Au soprano , en suis toujours avec mon Selmer C90 , avec ma "légère" n°2 qui , contrairement à ce qu'on dit , n'est pas faite que pour les débutants !!! Il est utopique de vouloir tout jouer avec la même embouchure . On n'utilise pas le même vélo pour rouler en plaine et en montagne . Il faut savoir être polyvalent ! Merci pour vos commentaires , Nigel : ils sont toujours très intéressants et je ne les rate jamais
Hi Nigel! I’m currently using a vandoren v16 T7 hard rubber mouthpiece on my tenor. I bought it in early high school because it was the suggested jazz mouthpiece in amazon, but 3 years later and I really love it. It’s got enough bite and projection for gigs and funk tunes, but it also is versatile enough for that classic husky dexter gordon/Chris potter sound as well. What do you think of your V16? Fantastic video as always. -Charlie
Cheers Charlie. Great to hear you like your T7 - they are great pieces, and pretty versatile. I'm playing on the Theo Wanne Slant Sig for tenor these days though which suits me a little better.
McGill Music Sax School Sweet thanks. I've been using vandorean cane reeds at size 3 in the blue box. What size of legere signature should I get for my Alto saxophone
Robert Ramos No it’s not hard to transit at all. I’ve done it from bari to soprano, it’ll be different at first but the embouchures are similar for all saxophones
McGill Music Sax School No, but I've heard Warren Hill and a young Korean kid who,posts on RUclips play on one, they do sound great for a certain style of song but then you're stuck with it.
I've just popped my old selmer c# hard rubber mouthpiece back on my alto sax forgot how good it sounds , I've been using a jody jazz NY 7 (METAL) mouthpiece which you don't tend to see often on a alto sax the sound for me I find fantastic great on altissimo nice and smooth , you have to have the same make ligature to fit it , mine I bought together I love the jazz zz reed or a v16 , I've also got a Vandoren v16 a5 (s) which is ok , on my tenor I have a v16 t11 which is ok but much prefer my Vandoren v16 METAL t7 medium chamber it's got that 1950s feel to the sound they are gold plated like my alto jody jazz for me it's works I've also used it for rock songs in a band , I use Vandoren optimum ligature on the alto and tenor ebonite mouthpieces and the metal tenor I use the Vandoren one which is made just for there metal mouthpieces , everybody is so different what works great for some doesn't for others , it's great to hear about different mouthpiece because who knows there might be one out there better than the one you use , great info Nigel many thanks
Hey :) thanks for the nice video! I a complete new player and want to play more on the Rocky side on my alto:) could you recommend a mouthpiece that is good for beginners?
very helpful video. Thanks! Questions what is the difference in different sizes. I see you play an 8. I think mine has a 7. What difference does that make?
I started playing Sax when i was 11 and now will be 30 in December. A lot of these tips have helped me progress a tad further. Never to old are advanced to learn something new. (Or simply be reminded). Thanks brother! Subed!
Of course you are bound to give a good review if he's your brother
I am 11 too and I play alto hopefully I can play until 30 too!!
I’m a brass player who loves to pick up a saxophone and doodle around! Love your videos and your sound is AMAZING!!!!
Cool! Thanks Jethro. What is your setup?
I use a yanagisawa 7 metal mouthpiece and God knows how I love the sounds it produces
That is a great mouthpiece. I played one for years on my alto and still use it on baritone.
9:30 THE LICK
Oh my gosh I was literally scrolling down to write this when I was watching the video Lmao. Our ears have been so trained to hear it everywhere now
L I C C
I use a selmer c* on my alto. And love the clear dark sound i get and use it for funk and jazz a lot. During intermediate school and now years later. It allows me to change my mouth to change the sound. Great video. I want to switch to tenor as well in my 20s
TW Durga-3 on a Reference Alto here. I'm still sorting it out, (ligature location) . Your video covers your journey with tenor, very insightful.
Cheers Richard.
My main mouthpiece is a Guardala Studio and I absolutely love it!! I play primarily RnB and funk and the Guardala never lets me down. I remember when I was trying out new mouthpieces, I was sure I wanted an Otto Link, but I hated how it played. When I first played the Guardala, I suddenly felt an insane amount of resonance. I’ve been playing it almost exclusively ever since
Thanks for sharing Cameron. I remember my first experience on a Guardala too - also a “Studio”. I couldn’t believe it - played mine for many years ( and thousands of gigs!).
i use the otto link and i love it
For me .. the best mouthpiece...is my mouthpiece....the rest....is only
the obsession to find the happiness
at another place....
Great comment!
Very informative as always and spot on comments. The mouthpiece (set up) journey can be a long one, use what works - what sounds good and feels good to you - that's how to get results isn't it. For me, my go to tenor piece is a wonderful old Florida Link USA stamp (don't make em like that anymore) and for alto, the new D'Addario Select Jazz, a very good quality piece (very vintage Meyer like) for the $$$.
+Calvin Hunter Those are both nice pieces Calvin. Those old Florida Links are great. Thanks for your comments.
It is my first year in band and I'm over here like wtf😂
Based on how much time is passed I’d say you’re on your second year now
DerpyOrange wow good job doing1+1
Quikk maths
I also have the Durga 3 in HR that I play a lot , love that one too.
Awesome Vinny.
At 9:29 he plays the first 5 notes of The Lick. Adam Neely, did he get your permission? :)
The one thing that bugs me as a beginner is that a different mouthpiece might suit me better but and help my sound.
For Alto, getting a Meyer 6MM will help yours or anyones sound!!! It's the real deal!!!!!
I’m using a Geoff Lawton 6b*
I've played an Otto Link STM 8* on the alto since September 1996, I had tried a Vandoren v16 A7M, good mouthpiece.
On tenor I play only one mouthpiece, a metal one Brancher J29, in terms of sound, maybe between an Otto Link STM and a Berg.
You no doubt will disagree with me but that’s ok. But here’s what I,would like to share resulting from years of mouthpiece redesign and customization.Hard rubber versus metal? Well, the material makes little or no difference. What does make a difference are the following mouthpiece design criteria: Chamber size, baffle or no baffle, and if there is a baffle, then the shape, height and length of the baffle and where it begins relative to the tip rail. Add to that, the tip opening, tip rail width and radius and finally the facing length. The beak angle will affect how comfortable the mouthpiece feels relative to one’s jaw position as well. I’ve spent most of my development time on tenor mouthpieces since that’s what I play professionally. I’m currently still doing Sax repairs at home but spent about seven years as a tech in a big music store hence I’ve played hundreds of saxes and mouthpieces. That experience was valuable to me as a repair tech, mouthpiece guy and player. I’m also affiliated with a shop that has a huge collection of tenor mouthpieces and I’ve played all the good ones. This is naturally my humble opinion, however it is the result of a lot of time experimenting with mouthpieces, necks and horns. The ‘neck thing’ is another interesting area that is too complicated to even discuss. All I’ll say is that it took 5 years to finally find the right neck for my 55 year old Selmer sand the difference it made was dramatic.
Hey Richard. Thanks for your comments here. There is definitely scope for much more conversation on my channel about mouthpiece design. It's something that beginner and intermediate players always get confused by (not surprisingly, because it's pretty complicated as you mentioned!). I really appreciate you taking the time to share your thoughts.
@@McGillMusicSaxSchool No confusion if you appreciate the science behind it ie converting the 2d vibrations into 3d standing waves, interestingly you have aerodynamics, acoustics and physics coming in ... good stuff
I have used the Otto link #8. Love the control in the lower register with this mouthpiece .
Comment from a fellow sax player some years back when I turned up with my Jumbo Java - "it's like driving a Ferrari with no tyres ". Having now switched to a Theo Wanne, I know what he meant.
That's a great analogy Steve!
Cool
Otto Link Super Tone Master 7*. I've had it for years. I remember at a workshop with Don Rendell years ago he suggested attacking the ligature with a pair of pliers so that it supported the reed better. Having then not played for a very long time, I recently went back to it, and replaced the ligature with a BG jazz ligature, and it made a massive difference. If I want a really bright sound I can always put in a piece of bluetack to act as a baffle.
That's interesting.
My first mouthpiece was the Otto link in 7*..Since then I’ve been blessed to be able to afford a Theo Wanne Gaia 2 Tenor mouthpiece in 7*. The difference is night and day. You either have a Theo Wanne mouthpiece, or you wish you had one. It’s precision machined and all mouthpieces are numbered. I recently purchased the Theo Wanne Durga 3 for soprano saxophone. But today I finally got a Selmer S80 rubber classical music tenor mouthpiece in C* by returning the Otto Link to the store. It makes no sense to keep a mouthpiece that you don’t use or like...
So you answered 90% percent of the mouth piece questions I have had about mouth pieces!!!!! You are amazing....
Last big question though, Ive been trying to escape that selmer c* super dark classical sound for most of my saxophone playing life. And so by your video I need something with a baffle. On the durga 2 you used a legere 2 1/2. What did you use on the selmer. Trying to figure out how much stiffer or softer a reed you need for something with a baffle.
T95 goes good with my 10M. The Link makes my old Dorffler & Jorka really purr although the "C#" key needs to be used to get a good middle "D" though. A metal MPC marked Steve Goodson - 7 works best with this old sax. The Selmer "D" seems to fairly useless. Great Video - really helpful
He's right about playing a mouthpiece for more that just a week or so. I play metal pieces, and I got a new rubber piece and it sounded like I had a sock stuck in my bell; I was ready to return it - VERY dissapointed...but 3 weeks later - wow, I could go into the recording studio with my new sound! Now, only one problem - need to practice more standards.)
Im a 72 year old flute player....and heard that if you've developed a good embouchure, that entering the world of saxophones would give you some advantages in the beginning stages so to speak. Is this true?
I believe so. The embouchure of a flute is intense enough that playing a saxophone would be similar just with a little more opening.
Yup! I'm a flautist, and started sax 2 years ago, and have progressed so fast on sax that it's now my first study despite having years more experience on flute - it really helped in tone and air speed playing flute first
Way different got to keep the corners firm instead of having a loss embouchure and alot less air
Love how you play. That’s quite a expensive collection of mouthpieces you have there!
Like this video. Honest. A video novices should watch buying maybe their first or 2nd mouthpiece.
I think it has to do with where we're playing (as mentioned). If you're playing in a studio or alone then a dark sounding mouthpiece would be the one. Playing live? Need projection to cut through some loud instruments? Get a "bright sounding" focused mouthpiece that projects. If we don'n't plan to ever play in a group or live...I'd stick with dark sounding mouthpieces or mouthpieces that are more "all around" like the Jody Jazz DV. No point in getting a TW Durga for studio work or playing alone at home.
Geometry of the internals. Same holds true for the sax itself. People should all know this. And not buy into the marketing of the type of metal or plating.
Jay from Better Sax did a comparison video. $300 sax vs his $4500 sax. The sounds he got from the two...not that different. :) You'd assume the $300 sax would be painful to listen to and start falling apart on first play. He did use a quality mouthpiece at one point. But I think at first he used the included one...still good good sound. :) It's about the player. His or her ablity to move air.
Hi Nigel! I use a Beechler. Thanks for this video.
I started with a standard Selmer C* on a Mark VII tenor. Later I had a Mark VI of 1971. I tried tons of mouth pieces in the shop, without buying one. Than I bought a metal Guy Hawkins but hardly used it in practice. Several sets of hours of testing in the shop I moved only from C* to D, and stayed very content.
Brilliant! Sounds like you’ve found the right mouthpiece for you.
I play a JodyJazz DVNY size 6. I played a hard rubber Meyer before and the switch was great. The DVNY is still dark but it has that metal ring. I do wish it had a little more projection tho. Been playing on the DVNY for about a year now.
I'm playing a Jody Jazz HR 5* I recently bought a YANAGISAWA Professional Tenor 7 mouthpiece.
Anyone else get an ad of this dude before this vid lol what a coincidence
I switched from a vandoren A45 to a dukkof 8* super chamber on my alto, at first I wasn’t use to it and didn’t like it much but over the course of a month I got more use to it and absolutely love it
+Tim W Cool Tim, the Dufoff is an awesome mouthpiece. Worked for David Sanborn!
My Otto Link Tone Edge 8 tenor Hard Rubber mouthpiece can do it all. It's a slant signature 8 tone edge. I have played 45 years, the last 23 years with the USAF Bands. I went though the same mouthpiece journey. For years, I played metal link super tone masters 7*'s and 8's, but now the rubber link can do it all, rock gigs, jazz gigs, shows, weddings gigs, jam sessions, classical tenor, 1950's rock and roll, and 1960's soul ( Mustang Sally) James Brown I Feel Good gigs...
Interesting to hear that Grant. I agree, they are really versatile. There aren’t many mouthpieces that will work on a classical gig AND a 50s rock and roll gig!
Berg Larson 110/2 deep rich sound and projection when needed. I've used it for over 35 years. Works beautifully on my Big B, New Wonder Artist and even my original HS sax. True, on if you find a versital mouthpiece you love, cherish it and take care of it.
I use an Otto Link 5 on my Big B, and Super 400 Altos, a Yamaha 4C on my True Tone Sop. Brilhardt 5 stainless on my "The Martin" and Big B bari's.
Thanks for sharing - you’ve got a great collection of horns / mouthpieces there!
Thanks Nigel, very interesting. Have gone through a few Tenor pieces myself over the years. Started out on an Ebonite 6*
Link which was OK but I needed something wider for more power. Next up was a Berg Larsen 115/1 SMS - stainless steel with a medium baffle.
Played this for years. It was quite versatile. Then I got in a big Soul band with a large horn section. Found a brighter more cutting sound on a Brancher L29 Ebonite with a high baffle and voicing. It is also very comfortable in the mouth which I think is important and is an aspect often overlooked. Nowadays, I sometimes alternate it with a 7* NY metal Link for quieter situations. Alto, I use a Yanagisawa 7 Silver plated Bronze.
+Martin Todd Cheers Martin, that’s a great selection of pieces you have been through. I’m testing out some Brancher pieces in the next couple of weeks - looking forward to trying them.
Playing on a selmer s90, I love it for marching, jazz, and concert band.
Cool, that is a good solid mouthpiece David.
Ty
I am a tenor sax player in a medium sized band and is looking for a good mouthpiece. Our next concert I have a big jazzy solo and I need a good open mouthpiece but has a good buzz.
I use a Selmer C* on both alto and tenor. I like to blend with a group, and I like the sound in solo play.
Cool Chuck - the C* was my go-to mouthpiece on alto for all my classical work back in the day. It's a great mouthpiece. I prefer the D on Tenor though.
Hi NIGEL, I have tried quite a few metal/ rubber over the years,but back to my second choice Berg Larsen 100/2 for Tenor and 95/2 for Alto soul rock n roll magic love it. HAPPY DAYS .Regards Howard .
+Howard Daley Cool Howard, the Berg Larsen pieces are great too. My first ever Metal mouthpiece on alto was one.
I play all the saxes except bass and Eb sopranino, and flute and I'm always looking for the next set up which will make my sound and playing work. On tenor I'm currently using a Theo Wanne Rubber Datta 8 with a Silverstein lig and a 2.5 Fibercell reed. I also like Vandoren Java reeds currently. The search never ends...well it will eventually. Thanks for a great lesson, very helpful.
I've been playing jody jazz hr 8 for years. i switched to the giant then the jumbo java! Man, that Jumbo Java is freakin' amazing!!! i just did a transcription of two dueling rock guitarists and was able to actually capture lots of it using that vandoren piece.
I bought a Tonemaster, sight unseen, thinking it would be bright. Wrong. It was my darkest sound ever. The brightest and loudest I’ve played were cheep plastic student mouthpieces. These days, I play vintage Conn alto (a 4-digit “Shooting Stars”). I now like a darker sound. I use a Conn Steelay Standard. The Conn Eagle is a bit brighter, and the Conn Precision (plastic) is very bright and loud.
Cool. That’s a common mistake I think - a lot of people expect the Tonemaster to be bright. Sounds like a nice setup you have there.
Good day sir, please make a video on how to make use of the octave key on the sax
As a 51 year old I have tried mybshrebof mouthpieces. My bread and butter is my Meyer 5 on alto. I can adapt to any type of sound that I need. Practicing overtones is more important and time better spent than trying out mouthpieces.
I agree with you there Mike - for me, overtones is one of the best ways I can improve my sound.
Totally agree, the hard rubber Meyer 5mm, 6MM, or 7MM has the overall tone feel and response of Cannonball Adderley and Phil Woods....
I love the Metal Durga 3 from the start. Love it because it is bright but I don't find it overly bright, but it does have a lot of projection and I have not yet pushed it but I know it is up for the challenge if I want to learn to play rock, vinny
Cool, the Durga is a good one for rock!
Such a great demo... Thanks! For years I've used Berg stainless only. Lately I've found limitations and switched to Berg hard rubber. I'd love your demo using Berg Larson mpc's. T. Kipfer
Hey Thomas, that would be interesting. I don't have any of the Berg Larson pieces anymore but the first metal mouthpiece I ever played on alto was a Larsen metal. Lot of people love them.
I’m 53 and and starting to play the saxophone again. If it makes you happy do it.
Brilliant! Go for it.
I’m looking for a dark, stan getz/lester young type sound
Premiere by Hite is a good mouthpiece for that. It sounds naturally kinda similar to what he was playing at 5:35, and has a big open chamber. They only come as a 6* tip opening, but they work great, just not enough edge for my tastes now. Only costs about $35. Pair it with a Rovner dark ligature and then just practice what you want to learn. Cover the reed with plenty of lower lip and it adds to that Getz roundness I think.
I have tried a range of mouthpieces on my alto and only use 2 on my soprano a Vandoren Optimum AL3 and a E. Rousseau Studio Jazz 6 and I quite like its warm, projecting core sound that the Studio Jazz has when pushed as it never really looses that core sound. On my alto I have tried many mouthpieces. I play with Legere reeds and I found that some mouthpieces worked well with them and some didn't and sounded too buzzy with them. I started on a Yamaha 4C, then thought that around 5-6 months in I'd get a Meyer 6. Too open for me to play on then, so I then got a JodyJazz HR* 7M. Again way too open for me at the time. After returning it, I got the HR* 6M and also a Selmer S80 C***. The C*** worked well for me and my playing really progressed with it. The HR* gave me a versatile sound I was after for other styles like Jazz and funk playing.
Since then I tried a Vandoren Optimum AL5 which I liked as it has a smoother sound over the S80, but lacked the projection and felt a little too warm sounding for me. A Vandoren V16 5M, and while I like it and it is easy to play, it doesn't quite have the sound I am after and didn't work well with my Legere reeds. I sold my JodyJazz HR* and instead bought two new ones in different sizes a C* and 5M and like them a lot more as they are at a tip sizes I can control.
I was still looking for a mouthpiece that would be my main one that would give me a smooth, warm sound with good projection and worked with Legere reeds. I tried a custom SYOS to see if that would work. I wanted something similar to my S80 and I asked if they could make it with the similar thicker tip it has. I liked how it was really easy to play, stayed in tune easily and had a big sound. However because of the medium chamber, thin tip (which I didn't ask for) and side rails, it played too much like my JodyJazz HR* but without the complexity in the sound and it had a fuzz in it I didn't like which is caused by the table not being smooth.
More recently I got a Selmer Soloist E as I am more now into classical playing but wanted more projection and a smoother sound than my S80 has. I do find I like the smooth sound, but it feels a bit too resistant for me, especially in the low notes. I would have went back to playing on the S80 but I accidentally scratched up the table of it with my Francoius Louis ligature plate and I don't overly like the sound, so instead I have ordered a E. Rousseau 4R and I am hoping it gives me a smoother sound for classical playing that I am after, but some projection when I want it.
Thanks for sharing Dave - that’s quite a mouthpiece journey! I’m actually testing some SYOS mouthpieces too for an upcoming 3D printed mouthpiece video.
I play a jodyjazz dv on alto and tenor now. They are kinda like the durga in that they are very utilitarian, especially on tenor. But I have to play on like strength 4 reeds cause the table cutout and the thin rails make it super free-flowing. Once you get a good reed on it then it sounds great.
One of my mouthpieces I played on my tenor was a Claude Lakey 6*3.
Those Lakey pieces have a great sound John. I had one years ago on my alto but couldn't make it work for me. I've heard other players sound amazing on them though.
They have a massive wedge, and that makes them both bright but at the same time thin sounding. I had a friend who said they were DUCKY sounding
.
I use an old 1960's link metal mouthpiece 7* (tenor) with vandoran java 3 reed.
I use it for every situation does a great job..its more to do with the player than the kit.
Cool, that’s a great classic mouthpiece David. Thanks for sharing.
Rico Jazz :D. Make sure to have it tuned because they might come with kinks on the facing
Hi Nigel, wow a great viedeo. Can you please tell me how you would place the Theo Wanne Shiva you reviewed in place between the Guardala and the Durga?
Nigel: I have been using the Ottolink New York. No baffle, wide open as you know. I was in a skype session with Johnny Ferreria and he told me, that's it. Great tone and sound from you. OK, I'm old, 74. Only been playing 6 years with way too many breaks from practice. I have fun with this! He told me, to play louder. My wife, says, what? Your too loud now OMG! I don't know if I can play louder? I'll see? That's alot of money lined up there! HA Thanks for your info. Tim
+Tim Tuthill Hi Tim, thanks for checking out my video. Great to hear you are enjoying your Link. If Johnny says you sound great, that’s a good endorsement! Keep at it mate!
I'm enjoying my Theo Wanne Gaia
Thanks Nigel, good information! After a year of of learning I found it interesting when my teacher mentioned re mouthpieces. Sax I rented, which I now own, came with mouthpiece that apparently is not the normal student mouthpiece, in fact it's not clear what the hell it is! But I guess that's what I been playing with. I was astounded though, when I realized the different shapes, sizes, materials that go into them. Not to mention the prices!! Oh well, for the minute I'll keep plodding along with what I've got! The journey!
Cheers Keith, mouthpieces can be a bit like a rabbit hole once you start exploring!
Yep I reckon so. And going back to your 5 fundamental tips, figure I'll just stick with what I've got and work with that.
Need to tell us what size reeds you use for each. Thanks.
I'm playing Theo Wanne all the time now and since sorting the problem with the Legere reeds I'm using them too. The Legere reeds seem to give a bit more buzz and seem more alive, as you said you don't have to spend your life being a joiner with the cane.
The convenience of the Legere is brilliant. One less thing to distract me from practice!
You never played the Otto Link Super Tone Master 8, which I play, its bell brass metal and I also play the hard rubber Otto Link Tone Edge 8.
Hey Grant, you’re right -sorry about that!
Hi Nigel, loved your video. I alternate between a Selmer Soloist D with a D’Addario Select Jazz 3M reed, a Meyer 6M with a D’Addario Select Jazz 3H and a Theo Wanne GAIA2 #7 with VanDoren V21 3. Long put my Selmer C80 5* away. Love passing from one to the other every other day but haven’t moved playing a metal mouthpiece yet. If I do the Durga 3 #7 or 8 would also find my favor.
I️ read the title wrong. Lol. I thought it said rubber or metal ligatures😂
Need to get one of yours
Oh yeah - my collection very closely resembles yours - my return to HR Mpcs is the same - an Ambika HR is spot on nowadays.
+Tommy Thompson Really interesting to hear that Tommy. Thanks for checking out my video.
Nigel, great video M8.. I went through the same thing with mouthpieces over the years and you are so right about making the mouthpiece work for you- I currently play RPC 115b and absolutely love it, I can play jazz, funk, Pop,Bossa with it and I'm super happy with it, have you tried one? Cheers
Hey Roger. Thanks for your comments. Actually I've never tried a RPC but heard great things.
My classical setup is a Meyer 6L and my Jazz is a Yibuy 8
Thanks for letting me know Abedin. I haven’t heard of a Yibuy?
McGill Music Sax School it’s a metal Chinese mouthpiece I bought on amazon for 30 usd. I figured saying the name of the company might make it sound sophisticated😂😂
Hey if it works for you then that’s awesome! (And a bargain!)
McGill Music Sax School it seriously is a bargain! My altissimo has improved greatly and now I’m able to do a 4 octave Bb (concert Ab) Scale
Over the past 25 years I've settled on the current production Otto Link STM #8 and STM NY #9. They both needed work on the window, tip and rails to really respond well. I find the STM #8 more versatile - all the cut and projection I need to play in an amplified environment - but the NY STM brings something really special out of my 10M with its larger chamber. The STM #8 has a wider tip and a bit more rollover baffle.
On the metal vs hard rubber thing, anybody familiar with Lester Young's sound with the Count Basie Orchestra or Dexter Gordon's recordings from the 1940s should know that the "metal is brighter" myth is a bunch of hooey. Hard rubber mouthpieces tend to have a higher beak, which increases the volume of the oral cavity for a slightly deeper resonance (think of the oral cavity and mouthpiece chamber working in tandem as one system). What I think is most beneficial about metal is putting more mass on the end of the neck. It helps the upper partials stay in series by stabilizing the mouthpiece/neck connection. The result is greater tonal focus and projection. Side-by-side playing their 10Ms, Dexter Gordon and Gene Ammons demonstrated the difference - Gordon more focused with a metal piece and Ammons more spread with a hard rubber piece. Steve Goodson has implemented that theory with a massive metal mouthpiece that's thick over the shank, and with a delrin mouthpiece with a large brass collar that attaches over the shank. The recent Van Dorens are intriguing because of their short shank design, much like the old Otto Link Tonemasters.
Really interesting, Thanks for sharing.
@@McGillMusicSaxSchool You're welcome. Here's a 1944 recording that features Gordon and Ammons trading off. If you play it through good speakers, I think you'll hear what I mean.
ruclips.net/video/WQfdHjLfTKE/видео.html
This is of course not considering that a player may choose a more spread sound for artistic purposes. If perfection were all that mattered, we'd all be playing Japanese horns.
AS ever Nigel really useful vid. I have been playing a 7* Metal Ambika for just under 2 years and its great, recently though I bought a Yani TW010 from an old friend and he threw in an Andy Sheppard Autograh 7* metal piece which I don't much like, but also he threw in an Aizen HR LS jazz master 7* which I had never even heard of, I have been playing it for a couple of weeks now and am growing to like it. Its pretty much a Japanese copy of the original slant sig and I have to say its pretty good, currently using a Vandoren optimum lig 'something else he threw in with the sax" Jurys still out but its got a lot going for it.
+Gerald Smith Cheers Gerry, It’s great to try a bunch of different pieces for some perspective on what you like. Sounds like you’ve got plenty to try there.
What a brilliant video! Thanks!!
Thanks! glad it was helpful.
Hej.You have a beautiful tone on any of the mothpieces. Now I"m playing Berg Larsen metal 95 tenor with a 3 legere reed (syntetic). I played Otto Link metal 7 before but I strugeled with
air comming out a litle to the sides. Beeing not so brought the Berg Larsen mouthpiece cured the problem, so it fit"s better to my mouth. O)laf Copenhagen Denmark
Cool, glad the Berg works for you better Olaf. Interestingly years ago I struggled to find an Otto Link in Australia that didn’t leak. I love the sound of them but you do need to check the accuracy of the mouthpiece face.
Tenor is the max love it.
I play a Link clone, the Phil-Tone Tribute, which is a cooperative venture between Phil Emgleman and Theo Wanne. (Phil is moving to France so they should be available in the EU pretty soon.) Before I bought that, I played a stock Link, the New Vintage model. With a GOOD Link, it’s possible to get a pretty bright sound - maybe not enough for a full on funk gig, but most any middle of the road show. But finding a good one is not easy. The mouthpiece you’re playing is also a Link clone, though of the hard rubber model.
Nice video!
Cheers Steve, thanks for your comments. I remember when I got that Link mouthpiece, I had a lot of trouble finding one that worked properly. I was living in Australia then - perhaps we just got a bad batch! I'll have to keep an eye out for the Phil-Tone.
Links are notorious for being very inconsistent. Put it another way, I believe that about 10 % of them are any good. BTW, I misspoke, it’s a Link NY model that I have.
I have an Otto Link NY 7* and a STM 8. Would you believe the NY is way brighter? Go figure. I have found baffles and chamber sizes mean very little and each MP sounds different.
I use theo wanne
Bummer that of all those you laid out, you didn't play or give input on the V16 with the Versa ligature.
I started with a T75 Jumbo Java too due to it giving me the bright metal mouthpiece sound, but then realized it was too shrill / bright for playing ballads, which has been my primary focus.
So my instructor recommended I get an ebonite Vandoren V16 T7, which I've loved due to being able to play more evenly on it, and it not being as shrill in the higher register.
And most recently, a local music shop had a used Vandoren T75 Java that I played and immediately really liked due to it being kind of like the T75 Jumbo Java and V16 T7 having a child - giving good characteristics of each to it. Some of the metal mouthpiece like edge of the Jumbo Java, with some of the warmth a playability of the V16. They offered me a good enough price on it that I took it off their hands.
So now, the V16 is still my primary mouthpiece due to feeling more comfortable with it right now, but I also really like the T75 Java. So I pick one or the other based on what the songs I'm playing.
Started to sell the Jumbo Java, but thought that maybe one day I'll be able to control its shrillness better and want to play it again.
This is me trying my best to get a Dexter Gordon / Audry Graves / Scott Hamilton sound out of my V16 - and - as you can hear - I've got a lot of practicing to do still:
ruclips.net/video/mJc-Vx8NBWY/видео.html
But, the guy at the piano in that video is a great example of it being more about the person than the mouthpiece. Here's a link to one of his (Mace Hibbard) songs (Hear Me Now) that he recorded with Derek Trucks on guitar that he played on a ebonite T9 V16. To my ears, it doesn't get much - or any - better in regards to tone:
ruclips.net/video/-E1U9a-dMNw/видео.html
+Keith Taylor Cheers Keith, I’ll check those links out. Sorry, ran out of time to cover all the pieces, but the V16 (T8) is a lovely piece. I played it for ages actually before moving to my current HR Slant Sig by Theo Wanne. The T8 is a great compromise and works brilliantly for intimate settings, I even played hundreds of 50’s Rock n Roll type gigs on it - you can get a lovely warm 50s growl if you push it.
McGill Music Sax School So, by saying pushing it to get a growl, do you mean putting more air through it to get a growling type sound, without having to hum or grunt while doing so. Just blowing hard? Maybe that's what I've heard called overblowing a mouthpiece? Never tried it on purpose, but as I remember, when I've put too much air in one on accident, it didn't result in a pleasant sound. I'll try it today with my T7 V16.
Kool advice maestro☺
Nice video. It's good to hear the history of your MPC collection. It's definitely a journey through time.
I played for almost 20 years solely on a 8* claude lakey and my Yamaha YTS-61 tenor, bought new in 1977. Eventually I switched to an original series Durga 9. That was awesome for almost a decade then it started getting a little reed finicky. Not sure what is going on... maybe it needs the rails smoothed up or something. Or I bent the lig? But I started experimenting and played a 10mfan The Boss for a year. It was loud and decent tone but it also had a tendency to chirp (tested on multiple tenors, with several brands of reeds over half a year). I'm pretty sure the one I got needed a slight reface. So I looked around some more.
I have a JJ HR piece that works for mellow jazz stuff. Similar to another HR piece by Phil Barone that plays very nice, just a bit soft. I have an HR Gaia 6 on my soprano. (BTW, I bought a Phil Barone Vintage tenor sax with honey gold lacquer to go with my PB Baritone and haven't played anything so nice since I sold my Selmer Mark 6 alto years ago. We are blessed these days. I play Berg 110/0 on Bari.)
Anyway, so I tried other Jody Jazz pieces. To me the DV tone was unappealing and I just couldn't get into the response of the DV CHI (which I still own). Then I bought a Theo Wanne Shiva 8 (blue ART materials) and that thing is just super amazing. It plays like the best of them, superb intonation, is reed friendly, and can be really loud when pushed! Almost too loud for our enclosed rehearsal space even with amplified instruments. Still, it can sound pretty sweet too if you don't push it. I have to admit it's been kind of nice being able to cut through when I want. It helps even though I am amplified. After half a year with the Shiva it's a keeper for sure.
And finally, I recently bought Theo's Slant Sig 2 size 8. And I have to agree with you, that is one sweet all around MPC. I love it so much! Currently I'm trying to play it in our amplified rock/funk/RnB band instead of the Shiva as an experiment. I've had a couple rehearsals so far. Although I miss being able to just cut through on solos, if I just depend more on my amplification with the slant sig I have such a rich full tone -- just bright enough to work. I definitely blend better with the band when I need to blend. Not sure which one I will settle on in the band but I much prefer to practice and record with the slant sig for the tone and more reasonable volume, but both play beautifully. At this point I wish Theo had an HR Durga 3 for tenor, but really I can't complain as I feel lucky and love both of those Theo MPCs. They just play so well for me. Maybe I'll get my Durga 1 fixed up again too, but if Theo comes out with a HD Durga for tenor I'll probably get it and sell the old one ;).
Thanks for the great sax vids.
Thanks for sharing this - great to see your journey on mouthpieces - lots of similarities there. I agree that the Slant Sig is a brilliant all-rounder. I think these days I definitely prefer to have a mouthpiece that I like to play in all settings, but rely on the amplification if I need it on a loud gig, rather than playing on something too loud and bright, that I struggle with in an intimate setting, or in my studio. My next challenge is upgrading my soprano mouthpiece and I’d like to check out the Gaia myself for that.
The gaia seems quite nice for soprano. It has sweet tone and great playability.
it varies a lot with the horn. I had a Link STM that just never worked that well with my old SML. Then I switched to a Borgano - bang! that thing came alive.
Borgani's are fantastic saxophones!!!!
Grant Koeller indeed! I lucked out to get that horn. Love it!
Selmer S80 C*
That’s a great solid mouthpiece Mike. I played one for years.
I think your Vandoren T95 is a regular Java and not a Jumbo Java. At least it appears that way looking at a freeze-frame at around 1:07. The Jumbo Java has a step baffle and the regular Java does not.
(I bought a blue regular Java T55 back in the 1980s and it's slightly too open for me, so I doubt I could get much out of a T95, but I thought you sounded great on it. Just recently I've been trying a Jumbo Java T45.)
Cheers, you might be right. I haven’t played that mouthpiece much in years.
Would it be a good idea to use different mouthpieces for jazz and classical playing? Or should I try to find one that will work for both?
Pretty late response but yeah having separate mouthpieces is typically how people go. Some mouthpieces do strike a middle ground like meyers can kind of play classical along with jazz
thanks for that ,got to gain some info on my mouth pieces cool shit..!!
Very helpful thankyou!
Awesome!
So if there is no matter of the mateiral, so what are the real advantages of metal mouthpieces over the hard rubber ones, or vice versa?
Hi Nigel ,. i cant believe you never mentioned Mayer mouthpieces ? i play a Mayer 5 hard rubber mouthpiece on the alto it gives me a cool soulful tone / sound Mayer mouthpieces are around for ages they are the king as far as im concerned
+Alan Nolan Hi Alan, for some reason I’ve never played Meyer pieces but have heard they are great. Glad you like yours.
I’m playing on a Yamaha 4c 😂.
try the 7C it's good.
Me too
time to change mate. I'd recommend a hard rubber Meyer medium chamber
Evan Gambrill Awesome, I have two 4Cs and moved up to 6C whic has a great full sound
au ténor , avec un bon vieux Dukoff métal n° 6 et une anche "légère" n° 2 , je fais exactement ce qui me convient : ils obéissent sans aucun problème . J'ai 80 ans et continue à jouer tous les jours , c'est ma vie . Chacun a sa configuration optimale en fonction de sa morphologie et de son style de jeu . Si je veux jouer Coleman Hawkins ou Ben Webster , j'utilise un Rico metalite n° 9 , et ça roule !!! Au soprano , en suis toujours avec mon Selmer C90 , avec ma "légère" n°2 qui , contrairement à ce qu'on dit , n'est pas faite que pour les débutants !!! Il est utopique de vouloir tout jouer avec la même embouchure . On n'utilise pas le même vélo pour rouler en plaine et en montagne . Il faut savoir être polyvalent ! Merci pour vos commentaires , Nigel : ils sont toujours très intéressants et je ne les rate jamais
Hi Nigel!
I’m currently using a vandoren v16 T7 hard rubber mouthpiece on my tenor.
I bought it in early high school because it was the suggested jazz mouthpiece in amazon, but 3 years later and I really love it. It’s got enough bite and projection for gigs and funk tunes, but it also is versatile enough for that classic husky dexter gordon/Chris potter sound as well. What do you think of your V16? Fantastic video as always.
-Charlie
Cheers Charlie. Great to hear you like your T7 - they are great pieces, and pretty versatile. I'm playing on the Theo Wanne Slant Sig for tenor these days though which suits me a little better.
Jodyjazz jet 9 with studio cut legere reeds
Nice!
Great video. Thanks
Thanks Keyan!
@@McGillMusicSaxSchool I always enjoy your video. I need to catch up with you soon
I've been stuck on a plastic mouthpiece for 4 years. I fon't have money for a new one. What should I do?
What reeds do you use
Hi Kyle. I’m playing Legere Signature reeds on all my horns now.
McGill Music Sax School Sweet thanks. I've been using vandorean cane reeds at size 3 in the blue box. What size of legere signature should I get for my Alto saxophone
I use an 2.5/3.5
I've played Alto for 6+yrs, and I wanT to play Tenor, is it hard to transition?
Robert Ramos No it’s not hard to transit at all. I’ve done it from bari to soprano, it’ll be different at first but the embouchures are similar for all saxophones
Laricus 123 awesome. Thanks.
Robert Ramos everything is the exact same, minus the fact that it’s bigger..
No o
No I’m in 7th grade and my instructor made me switch to tenor from alto and it was a easy change.
Brilliant Vedic and answers all the questions thank you from a beginner
What brand mouth piece and metal or plastic for romance only on the alto SAX????
Can you use cane reeds with a metal mouthpiece?
Them Jumboz go for crazy money now!
Another excellent vid Mr McGill...
Cheers Ian. Have you tried one?
McGill Music Sax School No, but I've heard Warren Hill and a young Korean kid who,posts on RUclips play on one, they do sound great for a certain style of song but then you're stuck with it.
That was my concern with that mouthpiece. Not versatile enough for what I needed, but still a great sound.
I've just popped my old selmer c# hard rubber mouthpiece back on my alto sax forgot how good it sounds , I've been using a jody jazz NY 7 (METAL) mouthpiece which you don't tend to see often on a alto sax the sound for me I find fantastic great on altissimo nice and smooth , you have to have the same make ligature to fit it , mine I bought together I love the jazz zz reed or a v16 , I've also got a Vandoren v16 a5 (s) which is ok , on my tenor I have a v16 t11 which is ok but much prefer my Vandoren v16 METAL t7 medium chamber it's got that 1950s feel to the sound they are gold plated like my alto jody jazz for me it's works I've also used it for rock songs in a band , I use Vandoren optimum ligature on the alto and tenor ebonite mouthpieces and the metal tenor I use the Vandoren one which is made just for there metal mouthpieces , everybody is so different what works great for some doesn't for others , it's great to hear about different mouthpiece because who knows there might be one out there better than the one you use , great info Nigel many thanks
+SHARON LAKE Brilliant, thanks for sharing this info Sharon. Sounds like you’ve go a good setup there!
Hey :) thanks for the nice video! I a complete new player and want to play more on the Rocky side on my alto:) could you recommend a mouthpiece that is good for beginners?
very helpful video. Thanks! Questions what is the difference in different sizes. I see you play an 8. I think mine has a 7. What difference does that make?