The Mouthpiece Chase

Ed

Ed

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So how many of you have gone through the process of putting ten or more mouthpieces on a table and going through them all looking for the magical one?

My Selmer Soloist was simply not capable of playing loud enough for the big band gigs and I went on a quick trip down that avenue. A mild case of G.A.S. set in and purchases were made. In a moment of desperation I decided to actually measure my Soloists since nothing was really sounding as good. I found that each of them had far less than optimal facing curves and once they were cleaned up I didn't need to switch after all. We'll test the pieces this week at rehearsal and at a gig and see if I'm right. What I know is that the pieces now play with a wider dynamic range than anything else I have on hand.
 
Ed: I'm with you . . . I enjoy the process of trying all of my mouthpieces occasionally, but the true test is on the band-stand.

I've been playing saxophone and clarinet for over 50 years now, and just recently decided on that mouthpiece you sent me a couple of years ago . . . the Don Sinta alto. After going through some different reeds, I discovered that the Vandoren ZZ #2 makes this piece a killer - for me. Lots of volume when I want it, good control, accurate intonation, and a tonal depth that brings out the best in my altos. I've used it on all of my altos to good success and it is currently on my Ref 54.

I've had two new Soloists for alto (F-facings) and they played fine, but I gave them away to a friend and my grandson (now in the US Air Force Academy). They like them better than I did. I thought my Super Session F was a better piece than my Soloists - easier to blow and warmer, but it doesn't have quite the projection as does the Sinta piece.

I know this isn't about which piece plays better, but I haven't had a stock piece worked on for YEARS. For me, once I decide I like a stock piece, it will play okay for me. I suppose some tweaking may make them play better, but I've not done that.

One thing that I find makes all the difference in the world is the reed one selects. And they vary SO greatly, even among reeds of the same brand, cut, and strength, that some prep is necessary. Once prepped though, the reed choice can make or break a mouthpiece choice. Before I change mouthpieces, I always try the one I'm considering with a bunch of reeds. I recommend NOT making a mouthpiece decision until the selected piece has earned its selection with a lot of reeds. DAVE
 
I've done it in the past at a local music store. A fellow came in with 7 of the 8 pieces (used) that I requested). I too gave my Sinta mouthpieces (I got from Ed) to one of my instructors after he played it and proclaimed it to be the best pieced he'd ever played. Maybe I'll send another piece for Ed to check out that I'd luv to get to work on my tenor. :cool:

This of course is really hard to justify as Bob Carpenter, master mouthpiece refacer lives about ten miles north of me. I just need to get off my dead ass and visit him. There's a faster turnaround and he can tell me in an instant if I'm asking for a stupid fix based on the mouthpiece I want tweaked.
 
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Darn, I wanted to hear you playing that big @$$ Berg tomorrow! I still have that Mojo tweaked Dukoff D .120 if you want to knock some walls down. (I can hear Ed retching from 10 miles away!)
 
I might bring the berg so you can hear it but the Soloist gets louder.
 
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