Saxophone Mouthpiece 2
Mouthpiece, Alto Sax, S-80 Selmer Paris, C* Tip Opening: Med Close 1.70 / Facing Length: Med 22.00
The Saxophonists best friend…
What’s Your “Set up”? I often times get asked that question, meaning what kind of mouthpiece and reeds do you use. Fortunately I found my perfective set up over 15 years ago and have no need or desire to undertake anything else because like I said, it’s the perfective set up… for me.
I’ll tell you what I use but I ‘m not here to commend anything in particular, every one must undertake assorted kinds of shapes and sizes in a saxophone mouthpiece. We’re all dissimilar and what’s right for one person won’t feel right to another.
There are a heap of parts and dimensions to a sax mouthpiece; baffle, tip, lay, rails, chamber, shank, etc. Best thing is to try as a heap of dissimilar brands as you have access to then when you find a brand that feels more or less better than the rest start out zeroing in on the particulars such as chamber size, lay opening, etc.
When you’re an experienced player no one needs to tell you what’s right for you but as a beginner your instructor will make helpful suggestions; for example, if your tone is thin he might suggest a more opened tip mouthpiece.
Mouthpiece Graveyard
For some years I tried each kind of mouthpiece I could get my hands on. Whatever people were proposing and whatsoever I saw advertised. I’ve got a box full of ‘em; Otto Link, Berg Larsen, Bari, Yamaha, hard rubber ones and metal ones. I can’t even do not forget them anymore.
I borrowed a friends baritone sax once so I went mouthpiece shopping. After with regards to an hour in the exercise cubicle I had it narrowed down to a couple nice ones, then the guy working at the store asks me if I’ve tried the Rico’s yet, I told him that I was looking for a mouthpiece not reeds. He said that Rico is making mouthpieces now and he hands me one to try. This bari Rico ended up being my bestloved one and so when I took it to the counter they told me it costs 12 bucks, yes $12! I was so impressed with it I had to undertake one on my tenor but it just didn’t feel right. You never recognise till you try,
Finally I had the chance to try a Dave Guardala mouthpiece and fell in love instantly. It was a Michael Brecker model. This was around 1990 and it’s what I am using today. I later also got a King Curtis model and have it as a back up. I hope I never loose the Brecker model cause I like it the best.
Dave Guardala “Reeds” My Mind
I don’t recognise if Mr Guardala still takes phone orders but in those days he did cause he took my order and tried talking me into using Vandoren Jazz Cut reeds. I didn’t go for it cause I had tried Vandoren reeds before and hated them. He persisted on these and I at last said just send the mouthpiece, I’ll worry in regards to the reeds myself.
When the mouthpiece came in the mail and I opened the box I had to laugh because there was a Vandoren Jazz Cut reed set up on the mouthpiece by Dave. I though, man, this guy sure is persistent regarding these reeds on his mouthpiece. Well, of coarse I gave it a undertake and since that day haven’t applied anything else. This is the best combining I’ve ever tried. I have tried those same reeds with other mouthpieces but they just didn’t work the same.Thanks Dave Guardala!
Beginners will begin with a #1 or #2 reed. As you get into a more opened mouthpiece and your air aid becomes more powerful you’ll most likely get a harder reed, possibly #3 or #4. Like shoes, they come in half sizes as well. Again, this requires a lot of experimenting with reed amount of energy and mouthpiece combinations. You’ll know when the right one comes along.
More Important Than The Sax
Yes that’s right, your mouthpiece and reed combining will make a more spectacular divergence in your sound than your saxophone. Of coarse we all look for a good horn that’s well made and is working in the right manner but the mouthpiece is were the air hits the road. This is where basi contact is made so your reed and mouthpiece combining play the most crucial share in the tone you will manufacture through the other end of your horn.
Saxophone Mouthpiece 2 Pic
Saxophone Mouthpiece 2 Picture
Saxophone Mouthpiece 2 Photo
Saxophone Mouthpiece 2 Pic
Most helpful client reviews
74 of 75 persons found the following review helpful.
 Selmer = industry standard
By P. Petersen
As a professional woodwind instructor and player, I commonly commend the Selmer C* mouthpiece to all of my students as their original “step up” from the beginner’s mouthpiece that came with their horn. When they buy or rent a saxophone, peculiarly these cheap new Chinese/Taiwanese horns like “First Act” or other brands, the mouthpiece that comes with the horn is ordinarily substandard, normally plastic, and is scarcely sufficient for the beginner to get a sound out of the horn. Even so, a good mouthpiece may assuage some of the difficultnesses caused by an el-cheapo instrument.
Obviously, each student ought to always have the best possible instrumentation at his/her disposal, but even if the cost prohibits a student from buying a top-of-the-line pro horn, they must still invest the cash in a top quality mouthpiece. The mouthpiece and embochure form the foundation to tone production, and a good mouthpiece will make it possible to learn to invent a decent tone on even the worst-quality instrument. Conversely, the best instrument in the world is only going to sound intermediate if the mouthpiece is sub-standard. Garbage in, Garbage out.
Selmer has always had a good reputation for quality, and this piece is no exception. I’m not sure why they decisive to modify their nomenclature from C* to C1, but as far as everything I may find to read when it comes to them, this is the standard model S80 C*. The letter C refers to the tip opening, which ranges from A (narrowest) to H (widest) and the star refers to little deviations in tip opening that aren’t sufficient to warrant a whole letter. This mouthpiece, the C1 or C*, has a tip opening of sixty-five thousandths of an inch, which is a good mid-range intermediate which will give students a outstanding deal of control over the full range of the horn without sounding too bright (as with wider tip openings) or too dark (as with narrower openings). Most other mouthpiece manufacturers use numbers rather of letters, normally 1 to 10, with 10 being the widest tip opening. The C and C* Selmers are roughly equivalent to in regards to a 5, so just in regards to medium. For this reason they’re good for students who are still developing their sound – this piece will give them the most skillfulness and “growing room” for their money.
As with any purchase, each student will have to spend numerous time playing a new mouthpiece BEFORE buying it to see if it’s right for them. Every mouth is shaped differently, and so a lot of mouths will naturally take to the shape of the Selmer while others might find a Meyer or Otto Link more to their liking. No matter what you read when it comes to how this or that mouthpiece is the one, THE TRUE TEST IS IN THE PLAYING, no matter what. Copy the following phrase down and memorize it:
The idealisti mouthpiece is the one that makes it easiest to achieve the sound you want with the minimum of effort.
Notice I didn’t say that this or that mouthpiece will make you sound like this or that. YOU are the major element in what you sound like. Any player with sufficient control over their chops may make any saxophone sound like anything if they contort their face into the right position to make it take place through embouchure. The mouthpiece is shaped to make it having little impact or harder to achieve a queer sound with less or more crusade based on what the rest of your mouth is doing. But the overall tone quality is something YOU control by embochure, breath control, and concept.
So – when choosing a mouthpiece, it’s vitally important to have an idea of what you want your tone to sound like FIRST, then try various dissimilar mouthpieces and remunerate attention to how hard you’re having to work to get that desired tone. Some of the mouthpieces will make it posing no difficulty to get your Preferred Sound, numerous will make it harder. The one you want is the one that lets you sound like you with the least amount of “shape changing” of your embouchure.
With that in mind, it’s primary to say that if you’re planning on buying a mouthpiece through mail-order, be sure you’re not frighted to take vantage of the company’s return/exchange policy if need be. If you plunk down cash for a good mmouthpiece, and then you get it and play it and it’s not making it requiring little effort for you to sound like what you want to sound like, don’t be affrighted to send it back and interchange it for a better one. Sometimes it’s as simple as altering to a dissimilar facing. If a C1 doesn’t feel right, try a C2, etc.
And – don’t be affrighted to ask the counsel of a pro and take a lesson if you’re necessitating help. That’s what we’re here for.
4 of 4 persons found the following review helpful.
THE BEST
By Rudolph B. Jackson
Great mouthpiece for playing all types of music surperb shipping too! Great for intermediate player and pro’s.
2 of 2 people found the following review helpful.
GREAT MOUTH PIECE
By designomatic
Finally, my original review… Shipping was lightning fast and this mouth piece actually sings. I was told my various alto players that this was a outstanding piece. Sure enough, it unquestionably beats my generic mouth piece that came with the alto. It plays well with 2 1/2!
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