Thanks, but I’m no longer playing synthetic because it cuts into my lip too much. Playing BSS Silver cane. Also, no longer playing either of those mouthpieces, now I alternately use Klum London Precision and RR Florida.

It’s been 5-6 years so I don’t remember much except I ordered them online and had to search around the internet a little.

Here’s a link to a No verb tape - same gear. BTW I’m selling the Lakshmi if you’re interested. www.dropbox.com/s/ykk99u7095y75eh/Loud-Lupi_Multichannel%20Out%201-2.wav?dl=0

Thanks!

That Lawton 9 sounded great BUT it really was a chop and wind hog!

I used to use Rigotti Gold 3L and had to open 10 or more reeds just to get a couple that I felt good with for gigging. I’ve found that most synthetics run stiffer than their numbering suggests. I’ve been happy with the Venn G2 strength 2.5. Have had four of them and they are real consistent and are almost identical in stiffness to the Rigotti 3L.

@@dangutwein Yea, they do run stiff. I currently have a Venn G2, 2.5. It sounds good when I can hold it together. It wears my chops out. I may try another one, lower strength. But at $30 a pop, I'm in no hurry.

@@tltate yep, try a 2. I had to buy 4 before settling on the strength that worked, but the agony of looking all the time for cane I’m content with is over…… at least until they do something to mess up Venn reed production.

@@dangutwein I agree and may try another one soon. Several years ago, I had one that I used for 4 years with a Berg Larsen mouthpiece. It was pure gold. I damaged on a gig one night and never found another that worked quite as well.

I just discovered that the Venn reed works great with my Vandoren metal V16

Thanks! Actually not playing any of those pieces anymore. I’m using a 1999 Phil Barone NY 8 and loving it.

Try softer reeds with it

I sold it a over a year ago and good refaced originals are hard to find and often sell for as much as $1200. Here is an excellent alternative - I’ve ordered one of these www.marantzcustommouthpieces.com/product-page/double-ring-legacy-metal-for-tenor-sax

That is Ted’s original “New London” metal mouthpiece with a large OLEG ligature. Don’t recall the exact size number. Since then I acquired Ted’s newer “Precision London” which is smaller and use the small metal Silverstein lig on it - and I prefer both of those to the piece and lig in this video.

@@dangutwein I have a New London Brass and I love it. What is different about the Precision ?

@@tommeggison1466 external size is like that of his standard metal mouthpieces - more like a standard Link size. www.tedklum.com/london-precision-model-tenor/

@@dangutwein How about tone bright/dark vs. the New London and playabilty. The New London I have is the easiest playing piece I've ever played and I've tons and have owned many of Ted's pieces over the years.

@@tommeggison1466 Internally they are supposed to be identical and basically differ only in external dimensions. I like the feel of the Precision more in my mouth - more like a normal metal piece. I also think the external height of the beak is higher - your mouth just a tad more open. As for brightness, that’s hard to say. I had both for a while and went back and forth trying to figure out the subtle color differences. Any difference is probably very subjective and subtle.

The Link & Lawton could be considered vintage.

Remy Dharmaraj I can only recommend the pieces that were made by Geoff Lawton, and they’re rare vintage pieces in great demand and you probably won’t have the luxury of getting one of those in the tip and chamber you want as well as the material too! I haven’t owned or played any of the pieces made by his son Jason that are currently available for retail sale. I’ve heard that he, Jason Lawton is not the master craftsman that his father Geoff Lawton was.

Dan Gutwein oh wow where have you heard people say that Jason Lawton’s aren’t as good as the original Geoff Lawton’s? Also in what way are they not as great as his fathers pieces?

Remy Dharmaraj forum.saxontheweb.net/showthread.php?187910-Why-can-t-Jason-Lawton-reproduce-Geoff-Lawton-s-mouthpieces&s=28933aa620cb74f065a5558513459829

@@foxmonster9964 you won't be able to tell the difference between Jason's and Geoff's.

@@apistosig4173 incorrect. I have both and the difference is clear. In fact I regret getting the Jason. I was OK with the Goef only the tip was too small

John Sterling from The Jazz Hole - New ones are made by his son and are readil available retail and online. Vintage ones made by Geoff are hard to fine. I bought mine from a friend and since I posted this, I sold it and have been switching mouthpieces several times in the unending search for “greener grass on the other side”

@@dangutwein Thanks Dan! I will keep looking and in the meantime practice I guess. :) Do you have a specific source/shop you recommend as a starting point? I got my 6 from USA Horn many years ago and after seeing James Carter recently wanted to try the Lawton.

Just do a Google search for Geoff Lawton tenor mouthpieces. You may find some vintage dealers or eBay individuals selling. The problem is finding the tip opening and baffle you want. I sold mine because I settled for a 9* tip and couldn’t get used to it.

John Sterling from The Jazz Hole Here is a Lawton for sale facebook.com/groups/Saxesforsale/permalink/3538782419470611/?sale_post_id=3538782419470611

The timbre of each mouthpiece is significantly different. Don’t confuse style, playing attitude, the effect of the overall performance, the musicality, with tone color. This is not to say that those things are not important. It is not to say that tone color is not important either. Generic terms such as “fundamental effect” aren’t meaningful without breaking them down into components.

I’m playing the Gold plated Ted Klum New London now. And it is amazing!

Ed Schoeb - It’s definitely a named piece, but Rog players it as part of what I call a rock surfer medley. Rog would know. Just copy the link to this and ask him via Messenger.

Thanks Bro.