Recommended tenor mouthpieces for advancing students

Ed

Ed

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Tenor mouthpieces come in many different flavors but there are some basic choices that represent a good place to start for most players.

Recommended Classical Tenor Mouthpieces:

Most classical tenor mouthpieces are going to be made from hard rubber. The notable exception is the Selmer Classical Metal mouthpiece. Through the years I have played with a variety of classical tenor pieces including most of the mouthpieces on the list below. I found that the Morgan 3C may be one of the best classical mouthpieces on the market today. The tone is full and easy to control and the craftsmanship is top notch. I have also spent a lot of time playing a Morgan 5L over the years. The 5L has a bit more edge than the 3C but still performs wonderfully in a classical ensemble. These days I play on a modified Otto Link hard rubber 7* that I am able to play in both classical ensembles and jazz groups. This is probably not the best choice of tip openings for a young player. I would tend to recommend a 5* Otto Link Hard Rubber or a Morgan 5L since it will be easier on their chops.

The Eugene Rousseau pieces have a typical French classical vibe to them.

Morgan 3C
Morgan 5L
Selmer Larry Teal
Selmer Classical Metal
Eugene Rousseau R4 or R5
Eugene Rousseau NC4 or NC5
Otto Link Hard Rubber 5*

As mentioned above, I believe that the L series from Morgan and the hard rubber Otto Links are versatile pieces that can be played in either a classical or jazz setting. You will find that the finishing on the Morgan pieces far exceeds what you will find on any typical production piece but be prepared for a significant difference in prices. In my opinion there's a noticeable difference.

Some of the mouthpieces below can be easily played in a concert band situation. The Morgan L, EL's, Vandoren V16 Hard Rubber, Bari Hard Rubber, and the Runyon SR can all be played in either setting.

The Morgan EL's have the shape of a metal mouthpiece but are made from hard rubber. To my ears they have the vibe of one of the all time classic mouthpieces - the Otto Link Super Tone Master's that were made in Florida. These are commonly referred to as "Florida Links" and haven't been made since the late 1960's.

The Vandoren Java pieces are strictly jazz pieces in my opinion. These pieces have a more piercing tone and tend to have a bit more projection and edge than you can normally get away with in a classical ensemble or concert band setting. The Vandoren V16 hard rubber pieces came out in the last year and are in the spirit of the classic Otto Link hard rubber pieces which are commonly referred to as "Slant Links" due to the fact that the Otto Link name is embossed at an angle on the mouthpiece. These can be very nice pieces. The Bari Hard Rubber 100 tip piece could be played by an advanced player in just about any setting but the younger player may have difficulty adjusting to the large tip opening. The Jody Jazz HR* pieces are yet another Otto Link inspired piece made from high quality German hard rubber. These pieces are very well thought out and generally are top notch players. Finally we have the Runyon SR. The SR has a slimmer body and has a tone that would probably considered to be more west coast cool than anything else. They're difficult to describe since they're not in the vein of any other piece. Well worth a try though.

Recommended Jazz (and sometimes classical) Mouthpieces (hard rubber)
Morgan 5L, 6L, 7L
Morgan 6EL, 7EL
Otto Link hard rubber 6, 6*, 7
Vandoren Java T45, T55, T75
Vandoren V16 Hard Rubber
Bari Hard Rubber 100 tip
Jody Jazz HR*
Runyon SR

With rare exceptions (the Selmer Classical Metal being the only real example) most band directors will frown on their students playing metal pieces in a classical setting. Most people consider metal mouthpieces to be made for jazz only.

Their are two different metal pieces available from Otto Link that are worthwhile jazz pieces. They are the Otto Link Super Tone Master and the Otto Link Super Tone Master NY. Personally, I prefer the NY model as I find that the tone is more smooth and full. Some players prefer the more traditional STM sound which has a bit more bite and edge to it. Either mouthpiece represents a pretty safe choice. The Vandoren V16 metal pieces are more edgy and project more than the Otto Link metal pieces. A number of well known players use them and they're quite popular. Finally we have the most expensive pieces on the list. The Jody Jazz DV and Jody Jazz DV NY. These pieces have a rather unique design and provide a wonderful tone that I liken to that of the great vintage Metal Otto Links.

Recommended Jazz Mouthpieces (metal)
Otto Link NY 5*, 6, 6*, 7
Otto Link Super Tone Master 5*, 6, 6*, 7
Vandoren V16 T55, T75
Jody Jazz DV
Jody Jazz DV NY

As with any purchase, I always recommend that people take the time to play as many pieces as possible to see what plays best for them. Everyone has an idea of what they want to sound like and their equipment should "get out of the way" and let them create that sound. This list is by no means inclusive of all of the mouthpieces on the market today but represent some easy to find choices that have established reputations.
 
As an alto player, I have to admit that I don't play a lot of tenor, but I do get called play it a lot from time to time.

So I've pretty much given up on metal mouthpieces on tenor. I played an 8*B Lawton metal piece for many years, but for the last few years I'm playing an Otto Link 8* hard rubber. I love the sound and feel of this piece with my mk6 tenor. I use a java 3 reed. This piece is basically nos, litely played until about 5 years ago. I bought it new maybe in the mid '70s. I love the workmanship on this mouthpiece.

I like to have the impression on power in reserve on tenor, to be able to hold back, and get more power by having to use just a little bit more air. So I seem to get my best results using a new, rather stiff reed. The sound on this piece seems to be thicker, fatter, a little more coarse than the metal piece.

Basic stuff, nothing fancy.
 
My experiences with metal (actually on all my saxes) are the same. Too easy to get too loud and a little less phat sounding. But there are some peers of mine who can't get loud; I wonder if they could benefit from a metal mouthpiece.
 
I don't know if a metal mouthpiece is the answer for a lack of volume. You have to have control over the horn no matter what mouthpiece you are using. An example from my own experience would be this..... I play an otto link 7* hard rubber on alto. I can play as loud as I need to with this piece. But when I change to my link 7* metal, I achieve a very tiny, stuffy, puny sound. So the metal piece is not the answer for me, personally.
Too large of a set up can dull the sound, just like playing too small of a set up can. If the reed is too stiff, it will hamstring you in many ways. Try shaving it or moving to a slightly softer reed. Maybe a slightly more open or closed mouthpiece is needed.
But the thing that is needed to get a large sound out of the saxophone woud be..... chops. Strength. I believe that you have to practice......practice. You have to develop YOURSELF, no matter what mouthpiece, reed, horn or other piece of equipment that you choose to use.
If you like hard rubber, play around with your set up, your reeds and mouthpiece, you'll eventually find something that will give you good flexibility. Then put plenty of time in on longtones. The volume will come.
 
Volume is overrated. If you need "loud", get a mic. I'd rather you play in tune.

Now, a FULL SOUND isn't overrated. That's embochure control. Tone != volume. Yes, a different size mouthpiece and different strength reed might help on that.

There's a little vocal exercise regarding volume that I've done that could easily be adapted to the sax:

* Pick a note. Middle range. Shouldn't be something too hard to hit. Let's choose F#, for G whiz.
* Play the note. Make sure you're in tune. Hold it for, say, 12 beats.
* Now play the note as LOUD as possible. Again, make sure you're in tune. Hold it for, say, 12 beats.
* Play the note as softly as possible. Make sure you're in tune. Hold it for, say, 12 beats.
* Crescendo from soft to loud. Make sure you're in tune each "step" of the way. Take the 12 beats to do it.
* Decrescendo from loud to soft. Make sure you're in tune each "step" of the way. Take the 12 beats to do it.

Then do the octave higher. Then do different notes. Then try to go from, say, G' to G'' to altissimo G''' on one breath. Again, you're striving for perfect intonation. And take your time about it. The "time" you're taking helps your body subconsciously memorize what you're doing to get that note in tune.

Also, while doing this, you should try to make the note SOUND the way you want it to. Too harsh? Back off on that embochure. IMO, while volume is generated by shoving more air in the horn, I also think of it as opening your throat a bit.

You'll actually play louder and softer, with better intonation. Which is kewl. It also helps if you're breathing right and you've got good diaphragm control.

BTB, something that is lacking from 99.9% of solos I've ever heard is dynamic contrast. You'd be amazed at how much more interesting dynamic contrast makes your playing.
 
pete said:
Volume is overrated. If you need "loud", get a mic. I'd rather you play in tune.

Now, a FULL SOUND isn't overrated. That's embochure control. Tone != volume. Yes, a different size mouthpiece and different strength reed might help on that.
Click to expand...

+1 I definatly agree.

Ed, nice write up on the contrast between the Link STM and the STM NY's. I've been using an 7* NY myself for several years, and I came up with the same comparison you did. The standard STM's are not bad at all, but I like that extra body of the NY.
 
Thanks for the compliment. The great thing and the sometimes maddening thing about playing sax is that people can sometimes have very different impressions of bright and dark and a number of other terms we throw around to describe the tone of mouthpieces. :)
 
Just seeing Merlin's compliment - so thanks Merlin.

I thought about the Hite's but I don't have much faith in Babbit being able to turn out stuff to the same high standards that the Hite's did.
 
What an old thread!

Hey folks, I recently picked up a Hite Bari Mp May of 2010, and the facing was bad, too short as it couldn't be used to play below D. Obviously they do not play test them. However it was a sale item at $76 dollars or some ridiculous price and they discounted it more because I was going to return it. I sent it to Ron Caravan for refacing with a few others MPs I had and he did wonderful. Worked out that the price and facing was ideal.

I suspect that will be true with most Babbit done Hites as all my saxes have Hites from the wonderful Hite's and their caring ways. Dave and Jean were great. If you buy them cheaply enough the refacing doesn't hurt.

I'm a fan of the Hite MPs and even some of Ron Caravans for tenor.
 
I recently got the Hite alto clarinet MP. It plays like a charm and to my untrained eye it seemed very well made.
 
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