 The Clarinet BBoard
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Author: graceej13
Date: 2007-12-29 16:32
Hello everyone. I currently play a Buffet clarinet with a Larry Combs mouthpiece. I'm an adult who hadn't played (clarinet or sax) in years. Now I've been playing clarinet for about 2 1/2 years and I've acquired an alto saxophone to play around with. I haven't played an alto since high school, and have given mine away (including mouthpiece). My questions is, does anyone have a suggestion for a mouthpiece I might like to use on the alto?
I don't remember exactly what mouthpiece I used, but I think it was a selmer hs* or something like that...I will be playing mostly for my own enjoyment - maybe some jazz or pit work down the road...
Thanks for your suggestions in advance!
Grace
PGrace
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Author: Chris P
Date: 2007-12-29 16:42
Or a Selmer C** or D - see how they compare.
Try a Meyer 6 as well, but don't go for a metal Otto Link on alto (although they're alright for tenor).
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Hank Lehrer
Date: 2007-12-29 16:45
Exactly right with the Selmer and Meyer. I also play on, of all things, a cheap Rico Royal B5. Great for legit work and really common.
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Author: hans
Date: 2007-12-29 16:58
I concur with the Selmer C* recommendations above. For me it works well with a 1 1/2 plastic Legere studio cut reed.
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Author: clarnibass
Date: 2007-12-29 17:46
I double on saxophones a little because I need to be able to play test them, and sometimes I like to play a saxophone for a little change from clarinet (but usually it gets boring very fast and I run back to clarinets!). Here are some mouthpieces that I think are very good for a doubler/beginner who is looking for something good and comfortable.
Yamaha 4C
Selmer S90 170
Selmer C*
Fobes Debut
Hite Premiere (I've tried only on tenor sax)
I've tried many others including expensive professional models and although some were better in some ways they didn't necessarily have an advantage overall, especially for a beginner.
I would go for the S90 but depending on your budget the 4C is cheap but excellent and not much behind. The Debut is also very good, maybe even better than the Yamaha in some ways, but a little different so either is fine (the Debuts I have are very roughly finished with a lot of machining marks and very sharp edges with burrs, all in the inside so doesn't make a difference but a little surprising). The Premiere is much more open (on tenor) than the Debut and has a sound I prefer slightly but it is a little harder to control (might need softer reeds) so I would probably recommend one of the others but very possible some people might prefer this sound.
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Author: donald
Date: 2007-12-29 17:47
I like the Vandoren Optimum AL3
(Optimum mouthpiece, not ligature... i don't know why they use the same name?)
dn
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Author: Chris P
Date: 2007-12-29 19:16
I would say Lawton 7*BB if you have the chops and bank balance as they're changing hands for way too much nowadays. Gone is the time when you could get a used metal Lawton from between £20 and £50 - now you're looking at nearer the £200 mark for a Geoff Lawton era one.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Bill G
Date: 2007-12-29 20:56
I currently play a Meyer 5 and a rubber Otto Link (I that the metal Link is to be avoided for alto). However, for one starting back after several years off, and expecting to play jazz or pop music, .I recommend a Brilhart 3* plastic. They are very inexpensive, reed friendly, and many professionals have played them over the years, particularly in the big band era. Bill G.
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Author: David Spiegelthal ★2017
Date: 2007-12-29 21:16
You might also try one of the Eugene Rousseau mouthpieces. If you want something a little different, Pomarico also makes crystal and wood sax mouthpieces that are OK, as long as you get one of their more open facings.
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Author: DougR
Date: 2007-12-29 23:48
Personally, on alto, I'm using a Meyer 5M, which (I've been told) is kind of the gold standard for mainstream alto mouthpieces, and I'm very happy with it, so I'd recommend trying out a bunch of Meyer 5's and picking the one you like best. (I should add that mine has had a little involuntary custom work done on it--I was trying alto saxophones at Bob Ackerman's once and he said, 'Can i see the mouthpiece?' and took it out of my hand, picked up a tool, and went skritch skritch skritch, and handed it back to me--and it's now much brighter and more open, but still with a good center to it, and I really like it. FORTUNATELY!)
But, if I were to replace the Meyer, I'd get an Ernie Northway, and here's why: I have a good friend and playing colleague who's kind of an old-timer, was in service bands in WWII, played with Sammy Kaye, Bubbles Becker, Dean Hudson, Phil Napoleon, radio orchestras, hotel orchestras, blah-blah-blah, played lead alto for Jimmy Dorsey, the Elgart band, etc etc., and ever since I've known him, I've had to listen to him bemoaning the fact that some time ago, in a moment of abject stupidity, he gave away his treasured Brilhart Ebolin 7, and nothing he's played since can touch that mouthpiece, for projection, flexibility, tone, blend, tuning etc.
So about six months ago he calls me up, all excited, saying he'd found a terrific mouthpiece that was AS GOOD AS his Brilhart 7. Just pulled out a dresser drawer, rummaged around, and there it was. He didn't know where it came from, who'd given it to him, or when. I asked him what kind it was, and he said, "Well, there's no brand name, but it looks like the last guy that had it put his name on it: Ernie Northway."
So, since I'm the guy with the computer, I googled Ernie Northway and found him at:
http://ernienorthway.com/handFinishedMouthpieces.html
My friend has an older Ernie Northway, but it's nothing terribly special, not hand-finished or custom made, but my friend can't stop raving about it. He had Ernie make him a clarinet mouthpiece, and he loves that too.
For reference, my friend is very much in that mainstream big-band lead alto tradition, sounds stylistically a lot like Marshall Royal or Toots Mondello, if that helps.
So, since Ernie is still around and making mouthpieces, when I replace my Meyer I'll get an Ernie Northway.
(I would respectfully disagree with the recommendation for today's Brilharts, since the modern ones are nothing like the standard set by the older versions, although if you try one out, as we say around here, your mileage may vary!)
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Author: Sang1Lee
Date: 2007-12-30 00:00
NO metal mouthpieces(not on an alto anyways..)
meyer 5 medium chamber
the rubber otto link
i have a selmer C* but i feel it's too closed and long..
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Author: Wicked Good ★2017
Date: 2007-12-30 00:39
I've never understood the bias against metal mouthpieces on alto saxophone. Is that perhaps due to players using too wild a facing for the situation at hand, and somehow equating the material with the facing?
For concert groups, orchestras and chamber music I use a metal Selmer classical C* mouthpiece. For jazz and shows I use a metal Otto Link 6. Never has a negative comment been directed my way about the sound.
Any enlightened opinions? Somehow, blanket statements like "never use metal mouthpieces on alto sax" just seem strange to me.
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Author: LeeB
Date: 2007-12-30 02:14
<<Any enlightened opinions? Somehow, blanket statements like "never use metal mouthpieces on alto sax" just seem strange to me.>>
I'd say try as many things as you can get your hands on, and see what you think. It sure can't hurt. Don't rely too much on the preconceptions of others. See what *you* think.
I've been using a C* on my recently acquired alto, and it feels good. It's definitely easy to play.
I tried a C*, E and F on my tenor, and it felt like the tone was happening in my nose. Then, I tried a link 7* metal mouthpiece, and it feels like the sound is radiating out into the world.
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Author: stevesklar
Date: 2007-12-30 02:40
since you haven't played alto in a long time I would recommend more of a Selmer C* or C** mpc. of course a Meyer 4 or 5 would do well too.
going to a large tip right away i would think could be a mistake unless you had a teacher. But the embouchure is different than a clarinet embouchure.
btw, I use a metal mpc on alto from time to time on alto. I also have a Kasper metal, which is very dark. I see no reason not to use a metal if you want too. Though most look at the Meyers as the jazz standard mpc.
==========
Stephen Sklar
My YouTube Channel of Clarinet Information
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Author: Wes
Date: 2007-12-30 06:13
Many players I've heard with metal alto mouthpieces are spectacular in rock venues but I've also heard some irritatingly ugly sounds when they are used in a sax quartet or some quieter venue. Domination may be a factor and we can all play that game.
Meyer seems to be great for overall use. Years ago, you could buy a great meyer in NY for $25, and, even without trying it, be reasonably sure it was fine, just because of the visible precision of its manufacture. I still play every day on one bought on 47th street, 35 years ago.
Good luck!
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Author: Chris P
Date: 2007-12-30 07:22
I've played the alto part in L'Arlesienne using my metal Lawton 7*BB at a concert - only reason is because that's what I'm used to playing as I've been using it for years, and when I tried a Selmer S90 180 and S80 D I didn't like the sound or the way they played incomparison, so I stuck with what I'm accustomed to.
But I wouldn't recommend a metal sax mouthpiece when starting out - a good quality ebonite mouthpiece with a tip opening no larger than a 6 (and no narrower than a 4) will get you established.
And remember, don't tighten up your embouchure as you play higher up on any sax - you'll only end up going sharp. Saxes are saxes, clarinets are clarinets, and what applies to one doesn't always apply to the other (embouchure-wise).
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: DougR
Date: 2007-12-30 13:01
I once played in a rehearsal band (a quasi-educational situation) led by a guy who had tons of big-band experience Back In The Day, and he absolutely refused to let sax players bring metal mouthpieces into the section. He had a huge library, spanning the early 30s up to the 70s, every major big band you could think of, and to get a good blend in the section it was easier just to rule out metal mouthpieces than get into arcania about facing, lay, tip opening, interior baffles, etc.
(Of course if Coleman Hawkins or Ben Webster or Frank Foster had shown up to play, I have a feeling nothing would have been said about "no metal mouthpieces.")
It's not the material that's key, it's the construction and design. It just happens that most of the metal alto mouthpiece players (that I see, anyhow) are playing "smooth jazz" or the Sanborn-esque jazz/rock in highly amplified settings, and prize that bright, loud sound. But as indicated upthread, there are plenty of metal mouthpieces with darker sounds--one just has to know what to look for.
Which is why I stick with my recommendation for a Meyer 5M--good, well-made mouthpiece, easy to sound good on, similar in character (resistance, playing characteristics, etc.) to the Selmer clarinet mouthpiece the original poster is already comfortable with.
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Author: Buster Brown
Date: 2007-12-30 14:23
This doesn't add anything, but I hadn't played for 40 years and I'm playing again on both alto and clarinet (5 years now). I currently use the C* and Meyer 5M. Not sure which one I like best. Play lead in a couple of big bands and tend to use the Meyer for those gigs. It's a bit brighter (for me) than the C*.
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Author: Roger Aldridge
Date: 2007-12-30 16:28
Grace,
It ALWAYS comes down to finding the particular mouthpiece and equipment that works best for us as individual players. Thus, any recommendations that we make may or may not work as well for you.
If you have a local music store in your area see if they will let you bring in your horn and try a selection of mouthpieces in the store. Hopefully, you'll find something you like. Also, keep in mind that as you progress and refine your tonal conception of the alto saxophone you might find a mouthpiece later on that works better for you in that next stage.
Of the mouthpieces already suggested, the Fobes Debut has my vote. I have not tried one. I'm simply going by reputation and what I've heard from other players. I'm suggesting the Fobes because Clark Fobes makes quality mouthpieces, they are hand-faced, and the Debut is inexpensive. You also might consider Clark Fobes' step up mouthpieces....to see if you like them better than the Debut.
If you use a hand-faced mouthpiece, like a Fobes, you will not have to worry about possible facing problems as with a mass-produced mouthpiece. In my mind this is an important consideration. For many years I used various Selmer mouthpieces and thought them to be okay. However, around 7 years ago I tried a hand-faced Ralph Morgan mouthpiece and it was like a revelation. With the Morgan my sound was bigger, had much more resonance, and the level of projection was dramatically increased. I was deeply impressed with the Morgan and wished that I could have been playing on it YEARS AGO. From that point on I've only used hand-faced mouthpieces on clarinet and saxophone. Along with that, I've gotten to know the mouthpiece designers whose mouthpieces I've come to use. In this way I can talk with them and describe the performance characteristics I'm looking for in a mouthpiece. Then, the mouthpieces I receive from them are typically a perfect match for my playing. Also, if there is a problem with a mouthpiece I can send it back for tweaking.
Finally, it's helpful to understand that some of the great mouthpiece names of the past -- like Meyer and Link -- are now made by the Babbitt Company. This does not mean that they are bad mouthpieces. But, I can factually state that they are not the same as the old Meyers and Links in that their facings and materials are different from the originals. One of the WORST experiences I ever had with a mouthpiece was trying a Babbitt Company Meyer. However, I've heard from other players that if one tries a number of Babbitt Meyers or Links you might find a good one. Of course, it takes a level of experience to do that. It's my understanding that the currently produced mouthpiece that is closest to truly being like an old Meyer is a Morgan M (medium chamber jazz).
My personal saxophone mouthpiece of choice is a Ralph Morgan 6C. However, I would not recommend it as a mouthpiece to start on.
The more that I think about a Fobes, the more sense it makes to me.
Good luck!
Roger
Post Edited (2007-12-30 18:34)
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Author: Cindyr
Date: 2007-12-30 20:42
My 10 year old is just starting (3 months) to play the alto sax. Would the Meyer M5 be a good upgrade mouthpiece for him, or should I wait? He's playing on a good old Bundy 2. Thanks, Cindy.
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Author: Chris P
Date: 2007-12-30 21:00
I think you should wait for a while before upgrading to a more expensive mouthpiece.
If the (I assume) plastic mouthpiece he's using is fine, then this should be perfectly adequate to learn on until he feels it's limiting his tone (and that's after he's found the most suitable reeds that work for him and the mouthpiece).
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: susieray
Date: 2007-12-31 06:59
I'm using a Clark Fobes Nova 5M on my Oleg alto and I'm very happy with it. It's also very affordable for a pro mouthpiece.
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Author: stevesklar
Date: 2007-12-31 18:47
There's many great student mpcs out there. I always recommend the Selmer C*/C** - just a matter of habit from the old days. But they normally have a good facing and play well right from the box. There's many others out there too of course.
btw, whether you play a metal, large tip, small tip, etc. in a big band, concert band, wind ensemble etc it all comes down the balancing your voice with the other voices of the band. "domination" is more due to the player. you can have a loud mpc, you just have to learn not to over power everyone else.
==========
Stephen Sklar
My YouTube Channel of Clarinet Information
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