Same Mouthpiece Different Facings/Tip Openings (Vandoren and Rico) 

You can check out my video ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-cbImDSUlYvw.html on split tones. Thanks

I am looking to get another Berg Larsen. I'll look into the Beechler theing too. Thanks for the tip

WOW! Thanks!

Thanks

Thanks

Thanks

WOW thanks for the helpful advice on video making. I'm always trying to expand my video making ideas. I will endevor to fullfil this request

To move to a wider one you'll have to change the reed to a softer one (but don't reason like on the 7, it's sufficient a reed just a bit softer. I'm moving from my usual OttoLink STM 7 to an OttoLink RockyGiglio RG128, that's something close to a 9.5! I use it because of the baffle inside. It's still a bit unusual for me, cos the tip it's shaped in vertical, like a Berg Larsen, opposite to the STM that's shaped in horizontal, more like a duck beak. But the sound I get it's closer to the "Joe Henderson" tone, that's top for me, even if the open setup it's opposite to the one Joe seemed to use, as they say! The RG It's an amazingly bright mp even staying into the "jazz" range and not going up to the "funky pop" brightness. Maybe I say something banal for most people in here. I made the perfect match on the RG 128 with a Vandoren V16 2 (It's like a "1,8" in spite of a standard 2). Another one big shot it's the LaVoz M/S for a brighter sound, with a good medium frequencies back. By the way I think all of that's really subjective, depends on the physical shape of every player! Enjoy! Hope I've been helpful in some way

I haven't heard of these baffled RG Links before. I've always been very curious about the idea though. I will research this. Thanks for the info!!

Sirvalorsax yeah, hope you'll find it cool.

@@kinoglaz777Thanks

Thanks. I'm working on a way to get more playing in my videos without running into legal issues.

Nice. I didn't know I had viewers from South Africa as well. Thanks

Thanks

(There’s so many parameters). There is more. Baffle. Baffle size is a MAJOR one. It goes from 1 to 10. Bigger number is easier to play LOW notes, but also HARDER to play alticimo or even the, octave, and six finger D. I settled on a #7. I think new saxophones come with a #4. I really, really like my bigger baffle. And I couldn't imagine going back now. And it's only been about a year. Instant love.

VanGilder: thanks for the comment. Interesting with numbers for baffle size! Never heard of that before..You’re right of course that both size and form (step/roll-over etc.)on the baffle has a major impact! For me, I used to be a high-baffle-player. Typically a Guardala step type. I really was aiming for a bright powerful sound with lot of volume and also a quick response. That was the case for many years, but finally I was listening to a recording of myself and discovered that I didn’t liked my own sound because it was too bright and harsh!! I’m now moved down in baffle size and switched to a rollover type. The result in my mind is that I get a warmer sound but still can have a lot of zing or brightness. And most of all a more even sound over the whole register of the horn with better control. And as you mentioned, easier low notes, easier sub toning. Just telling my story. All in all it’s a very personal thing. I also think the COMBINATION mp/reed is vital. Right now curious how people can play on 3 and 4 reed strength and why is it that I find them way way too hard? (Practicing almost every day for the last 3 yers and been a player since 25 years)I’m actually moved DOWN a reed strength with my new mp! I guess tip opening and facing curve has to do with it..

@@matsmanteatern698 (3 and 4 reed strength) is just an enigma to me also. Maybe if I was going to play outside, or even with more wind instruments. I play with an guitar, organ, and drums. In a church. So I've got to keep my volume at a minimum as to not overpower the rest. I'm playing a carbon fiber synthetic reed now, soft. I did play a 1.5 cane reed or sometimes a 2 if that is all there was. My embouchure wasn't strong enough to play a #2 reed on the quiet. I guess some people can play a #3 on the quiet. I'm not there.

LOL! No. But it's oddly comforting to know that I don't have the smallest room on the planet.

This is a good tip. However, I feel like once I have to start doing this it will eventually cause the reed to warp over time.

@@Sirvalorsax . The Reed is no more playing at the tip when you do this. It's like using a Reed cutter to trim the tip of a dead Reed to make it come alive. I love this technic on my soprano. It gives me a real mellow sound using a red Java 3 which is too soft for my M7 mouthpiece. So instead of moving up to 3.5 I use the technic

Ahh..., I think I misunderstood what you said in the first comment.

@@Sirvalorsax . l think the M5 is smoother. Because you matched the correct reed strength. If you go half strength down on the M7/M9 you will have a different result. I have virtually done this experiment before. I had all Rico mouthpiece graftonite and Metalite. . The more open tip need a softer Reed than what ever you use on M5 which is the smaller facing.. That said, the Metalite has a bigger fuller sound than those Vandoreens even in the upper register. People should stop seeing these mouthpieces as Rico. They were designed by ARNOLD BRILHART. one of top mouthpiece designer/maker of his time.

@@tboy5443I've tested these mouthpieces under many more conditions but it just would have made the video way too long. Even with softer reeds I found that the character of the M9 changed too much for the way that I play. I also felt that the Ricos became a bit nasal in the upper register and they all completely died in the altissimo. The Rico mouthpieces are good for $30 but I feel like it only offers a good tone and not the total flexibility of the Vandorens. Keep in mind, this wasn't a mouthpiece comparison video but more of a way to extend the life of a reed for those who don't want a massive mouthpiece collection. There might be some legal reason for not branding these as Brilhart pieces.

Correct!

Ships. I can't be more specific than that though.

I use the 2.5 Fibracell.

I read you are liking a Fibercell reed. For a synthetic, I did play a Fibracell, and it was nice. But now I found a carbon fiber reed at Amazon (Harry Hartmann Carbon Fiberreed). I want to definitely suggest playing it. I've been playing mine since Christmas now. It's awesome.

I use as little embouchure pressure as possible.

Ok, obviously I'm using way too much so just another thing to work on :) @@Sirvalorsax

A friend of mine has a Jody Jazz Giant so I'll see if I can try it. I don't know if he has the original ligature though

Glad I could help.

Sound is mostly dependent on you and your mouth. It's shape, your embouchure e.t.c. Equipment will only do so much.

I prefer lower tip mouthpieces with medium reeds to get the best of both worlds. So much of this music is mic'd anyway, the sound guy really has the control. When playing more acoustic settings I prefer smaller tip openings. Keep in mind, a 115 on one mouthpiece may feel the same as a 95 on a different one. Taking into account the other features like facing curve, rail thickness, material ect... In my opinion, it's much more about embouchure development ie, lip out embouchure to get the open tip sound with low tip effort.

Yeah I agree, but I mean, same mouthpiece, only different tip, as you said is about embouchure, but, if you are a good players and you could have a nice control on a big Tip, you could also have a nice flexibility and could play louder or less loudly if you are good on control

With medium tip you have less flexibility ... I’ve always played a 6 Meyer on alto with 3 , yeah, it’s good, but now I’ve tried a 7 (too much effort with 3, but when I put a 2 & half BOOM, and moooore flexibility, I can play so loud, but even so quiet and even more than with 6 or however with more sound

Right now I have an m9 metalite and it's not very reed friendly, and my tone has suffered quite a bit because of it, was thinking of buying the m5 or m7 and getting the fibracell reeds

And if I buy the m5 I might get a strength 3 fibracell instead of 2.5

I prefer soft (2.5) reeds with a medium tip opening. 6* to 7

Sirvalorsax gotchu

I would definitely check for leaks. Also because the horn is so old, there might be rods and posts that have gone out of alignment. I would suggest having a friend play it with his own mouthpiece to see if the horn is the issue. If it is, a good repairman should be able to fix these issues

@@Sirvalorsax Thanks for the advise, it helped a lot. Another question, sorry. Can you point me to the direction of saxophone and bass/cello duets? A friend of mine invited me to do wedding gigs with her and it's just two of us. I have access to Alto-Baritone saxes, and a maybe on a soprano

@@Sebastian-ne1ytThere are a lot of people that read Bari sax parts on cello because of how "convenient" the transposition is but off hand, I don't know of any stock charts. How good is your concert transposition skills? You may be able to get some violin and cello music and transpose the violin part for alto.

I prefer it because of its unique quality. I think the cane sounds more traditional and probably what most people will prefer but having a plastic molded mouthpiece is (in and of itself) unique so why not ride that train till the wheels fall off? LOL!!

The rod rubber gives it a softer feel. More of a unique dark vintage quality and the price is a little high by comparison of other dark mouthpieces. I find it to be a very good piece and it's holding up well. You may want to invest in a good ligature though because it doesn't come with one.

Sirvalorsax thanks

In my opinion, no chamber size will help with air support. The tip opening is a good start. Running out of air as you play is different from "air support". Air support is how stable a note can be played for any length of time. I would start to work on using a lip out embouchure with small facing mouthpieces. Its a way of having your cake and eating it too. Meaning, small facing mouthpiece feel with open facing mouthpiece sound. You will notice that in all my mouthpiece videos, I not just prefer small facing mouthpieces but I prefer the smallest facing I'm comfortable with playing.

Thanks 4 taking the time to respond, really getting a lot of good imfo from you. Love ur no BS approach.@@Sirvalorsax

Thanks so much@@Sirvalorsax

Yes this is the jumbo java

@@Sirvalorsax Hello Mr . Maybe U can add this vandoren java. On your testing list. It's definitely a power mouthpiece. Cheers

I would check out some used older Pro line Cannonball or P. Mauriat horns on ebay.

at that price range best option is buyng a used yamaha 23 or a used vito japan

Thanks

Sirvalorsax I understood the fibracell and the red box. But I didn't know the synth lead. There may be differences in terms with Japan, but please tell me. . . ((This sentence uses Google Handbook

@@pearlfs7126 synthetic is the word we use for reeds that are not organic.

Sirvalorsax Are fibracells and synthetic reads the same? Sorry to keep bothering you

I'm looking into it for future content. Excellent suggestion though, thanks

@@Sirvalorsax hoping to win it in the future sir 🙂

I would love a T50!! I have to pick the T55 only because of my most common reed choices for playing this mouthpiece tends to favor that of the T55. It really comes down to reed choice.

Sweet! Thanks

It is the BG harness. I have a review on it also

Yes. I don't have a very good way of posting the stuff that I play however

@@Sirvalorsax that's cool

I'm thinking about trying synthetic on my clarinet