sticking to a change...
- Thread starter Toby
- Start date
I went through that a few years ago on Bari. I kept trying different pieces but kept coming back to the same one for jazz. After I took a break from playing bari for a bit I played it again rather regularly last year. Same problem. Finally after a short break I think I found the piece that I will play for a long time to come.
That from the guy that has 105 mouthpieces 
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I've mentioned elsewhere that the main reason I gave up clarinet was because the mouthpiece made it way difficult to play. When I was essentially forced to take up clarinet again, a couple years later, the horn I had had an older Vandoren mouthpiece in the case that played really nice. Made me want to play.
That's a positive side.
However, I tend to think that you should learn to love the one you're with. I've changed a lot of makes and models of sax, but I stuck with my Rascher mouthpiece. In all but one instance, I was able to adapt just fine. (The one instance was my Buffet Dynaction alto which just played better with a Selmer LT.)
Hey! I'm an Admin! I can ask side questions!
What do you specifically look for in a mouthpiece? In my clarinet example, I was looking for something that wasn't so annoyingly resistant, like I had to battle the thing when I played. I traded the Vandoren (B40, I think) for a Selmer C85/120 because THAT was less resistant (on any horn I've ever played, actually). In the case of my switch to the Selmer LT for the Dynaction, it was because I had to work too hard for both getting the horn to play in tune and the Rascher was too resistant. (I used the LT because ... well, it was in the case with the horn when I got it.)
.I've mentioned elsewhere that the main reason I gave up clarinet was because the mouthpiece made it way difficult to play. When I was essentially forced to take up clarinet again, a couple years later, the horn I had had an older Vandoren mouthpiece in the case that played really nice. Made me want to play.
That's a positive side.
However, I tend to think that you should learn to love the one you're with. I've changed a lot of makes and models of sax, but I stuck with my Rascher mouthpiece. In all but one instance, I was able to adapt just fine. (The one instance was my Buffet Dynaction alto which just played better with a Selmer LT.)
Hey! I'm an Admin! I can ask side questions!
What do you specifically look for in a mouthpiece? In my clarinet example, I was looking for something that wasn't so annoyingly resistant, like I had to battle the thing when I played. I traded the Vandoren (B40, I think) for a Selmer C85/120 because THAT was less resistant (on any horn I've ever played, actually). In the case of my switch to the Selmer LT for the Dynaction, it was because I had to work too hard for both getting the horn to play in tune and the Rascher was too resistant. (I used the LT because ... well, it was in the case with the horn when I got it.)
it's mostly going through the pain of stepping to a higher tip opening and a higher baffle. I want more flexibility and "cut on demand" while still being able to play soft and smooth as buttah.
It's really about practice I guess. Go up in reed strength a couple times, switch to a larger tip opening and a softer reed, then go up a couple reed strengths again, step up facing again, repeat repeat...
Each step means retraining.
It's really about practice I guess. Go up in reed strength a couple times, switch to a larger tip opening and a softer reed, then go up a couple reed strengths again, step up facing again, repeat repeat...
Each step means retraining.
Once you find a mouthpiece that works I recommend just changing the strength and brand of reeds until you dial in what works for you. If you develop monster chops then you have to play the larger tip opening game which means new mouthpieces which means you are back to experimenting.
Even though I have 100 + mouthpieces I still think people should stick with a piece. In fact I am a big proponent of playing one setup for every type of music if at all possible. It just makes life easier.
Even though I have 100 + mouthpieces I still think people should stick with a piece. In fact I am a big proponent of playing one setup for every type of music if at all possible. It just makes life easier.
my main jazz tenor piece was an Link STM metal 5, JVW opened it up to about 8 and that brought the baffle up just a tad. I've worked it up to a 3 before but got comfortable there and stopped. I know I should be on a 9 to get the flexibility I want but it will be hard to part with that great mouthpiece.
I know Gerber is familiar with this procedure so I might get a new 7 and have him carve the facing back to a 9. The metal link chambers are what I like, they only lack a little baffle and a slightly steeper facing curve.
I know Gerber is familiar with this procedure so I might get a new 7 and have him carve the facing back to a 9. The metal link chambers are what I like, they only lack a little baffle and a slightly steeper facing curve.