How Saxophone Mouthpieces Work - Everything You Need to Know
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- Опубліковано 21 лип 2024
- #bettersax #saxophone #mouthpiece
Jay Metcalf gives a lesson on how saxophone mouthpieces work so that you can understand how to choose the best mouthpiece for you.
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New Burnin' Mouthpiece for Tenor Sax now available! imp.i114863.net/9Wxx1e
When do we get the Bari mouthpiece
Excellent!
I’m not even a saxophonist…I’m a drummer but it fascinates me how air flow can affect your sound!
Amazing explanation of mouthpiece design differences. It's crazy how much a small difference can impact the sound. Happy to say I've got a Tenor Burnin' on the way to pair with my Chicago DV!
Thanks Troy!
Here's a blast from the past for you: In the early 1960s during the height of the bosa-nova craze, Stan Getz' saxophone was stolen from his Corvette parked outside a Greenwich Village (New York) nightclub. A columnist writing for the Village Voice newspaper announced the famous saxophonist was offering in excess of $1,000 dollars for just the mouthpiece.
I am a long time music educator..
I throughly enjoy your Videos.
Wonderful resources for all who wish to advance their skills and knowledge..
Thank you.
Slaying the details. FIVE STARS
Hey Jay, I’m wondering if you ever heard of, or had dealings with,a man by the name of Claude Humber? He lived in Dallas Tx in around 1970-80s. He was a professional “hand surfacer” for sax and clarinet mouthpieces. He also sold his own hard rubber blanks. He had a handwritten book of all the work and measurements he had done on so many professional musicians. It was incredible to see Coltrane, Parker, Hodge, Carney, Getz, Basie band, Ellington band, Welks orchestra and many more. And he only charged $5.00 to surface it, to how you wanted to sound, and $25.00 for his autographed blank. Man, it must’ve been a trip, seeing and hearing these sax legends sitting at his kitchen table while he worked on their mouthpiece!! “Those were the days!”
Great tutorial on a much neglected topic. Thanks Jay. Superb presentation as always!
Thanks!
This was an excellent breakdown! I really need this deep explanation. Thanks soo much
Such a fast and beautiful turnaround for the Better Sax Tenor is amazing!
Yes, I agree. Great to work with Jody Jazz!
I remember your solo on a world sax collab Jay and so good, i wanna say for me a word can be good for your playing is the perfection, i don't know you play so perfect, perhaps i wanna listen of you something more free or wild but is so good, thanks. I love the classical too, i went a conservatory, Marcel Mule reminds me so many things hehehe.
I really like your videos. They are always very instructive. Congrats
Thanks Pedro!
I switched to a Vandoran v16 opening 5 from a Yamaha 4C on my alto and loved it. It’s a big jump but absolutely worth it in my opinion.
Love your videos btw!!🥰
Great to hear!
Well explained. This is a very important or valuable information for any saxophonist. Thanks.
Just got my yas280 today! 😂First time i even see a saxophone with my own eyes. I have music experience... So first thing i'm learning is some Kaori Kobayashi. Managed to get a sound out of it earlier. But gotta set the bar high now! 🔥 🔥 🔥 Been following your channel for some months. Best most detailed straight to the point saxophone source on the internet🎷
Thanks a lot!
thank you!
As always very helpful
Great presentation J! Thanks for clearing up so much of the Internet propagated ignorance that we see on forums about how mouthpieces work. You already touched on the difference in materials in your Jody jazz comparison where you pointed out that their darkest mouthpiece is metal. I would love to see you dive into a materials comparison a little more deeply with different brands comparing metal versus hard rubber versus 3-D printed ABS plastic and dental resin. And one last subject that I feel is very underserved - comparison of different types, not just brands but types/cuts of reeds. Vandoren has some useful comparison videos of the different cuts within their own brand but I’d love to see you compare some jazz cut, classical cut and other reeds. I think many players who complained that they have tried a mouthpiece and immediately found it to be unplayable might have been better served by trying different types of reeds. It’s an expensive habit but that’s what we sign up for when we choose a reed instrument.
Joe, that's a good idea for a video. Would need to have the same exact mouthpiece mad in three materials for that. Honestly material does make a difference, but not as much as the shape or precision with which the mouthpiece is made. For me, the material has a huge impact on how it feels to play a mouthpiece which is very important.
Thank you so much for explaining this, Jay!
Very informative and well made video. 👍🏻
Wow that was so helpful! Thanks man 😁👏🏾
I use the Rousseau NC4 for orchestral on my T-SA80 II and JodyJazzCHI7* in big band and of course the Burnin’ 6 on my Yani AW020 Alto. Very happy with them, but it’s definitely always an experiment!
Thanks Rick, so glad you love the Burnin'!
This was a great lesson. Now I know as a casual hobby player I don't need to try some of the fancier gig mouthpieces. After watching the tip opening video I know I'm good with the Yamaha 4c and Selmer C* I have for quite some time. Thank you Jay!
John, glad this helped you.
Thanks for this informative video. I play clarinets and brass. I'm aware of the subtleties of brass mouthpieces, but I didn't realize there are several designs of single-reed woodwind mouthpieces that influence the sound the instrument produces.
The best mouthpiece description ever, thank you!!!
Most interesting and informative, thanks!
Wonderful, Jay. That said, I have no trouble getting a warmer sound and good subtone on a step baffle and medium small-chamber.
Hi and thanks. One type of baffle you didn't mention is the absence of any baffle having no baffle at all. My Jody Jazz Custom Dark tenor mp appears to have no baffle. I assume that and the large chamber with scooped side walls are what delivers its warm spread sound. Personally, I love it!
Wow! Very informative Jay. Great video. Thank you!
Thanks Sidnei!
A good video. I've never felt the need to experiment much but it's useful to know this stuff.
If you ever do want to experiment, you'll have more info now.
Thanks for the help, I've been trying to learn more about mouthpieces right now as I'm about to upgrade.
Glad to be of help!
Great video, Jay!
Thanks. I used part of your Dexter clip.
What a great video inclufing one of my besti solos michael brecker on pick up the pieces
Took me 3 times with Syos then with ligature tests to get the right sound i was looking for…worth it
Great videos!
Great, informative video. Well Done!...As usual.
Thank you!
Jay, you are the real deal. Next
Comes Embouchure!!!
Great video, thank you very much.
BTW, what would determinate facing length in a mouthpiece and on sound?
I'm currently looking for a baritone mouthpiece to replace my yamaha 5c.
Thanks
You hit the point.Brilliant.Thank you.👍🔝✔
Thanks!
Hi, loved the video. Can you recommend a step up or 2 steps up from the Yamaha 4C flat baffled tenor mouthpiece? I just started back on my tenor (I currently play Alto, mostly jazz) but pulled the Tenor out after a 15 year absence . I want to move up from my "4C flat baff" . What say you?
Get the BetterSax Classic or BetterSax Burnin’ 6* mouthpiece.
Great informative video....all this info holds up very well if ur doing an acoustic gig...but when u play thru a mic hooked up to an amp or pa system, mouthpiece dynamics dont really matter as much as far as sound goes....especially when U have the volume, echo and reverb effects going...Gato Barbieri played with tons of effects so I don't think it really mattered which of his mouthpieces he used..and for most pros, we usually always blow thru a mic
I agree with this. Once you are in a heavily mic’d environment, you might as well just play what’s most comfortable. When I was playing a lot of tenor in heavily mic’d settings, I just used an off the shelf Otto Link STM NY 6* for everything. The difference between old school swing and modern funky stuff was just bumping up the reverb and presence.
@@justinjohansen5992 there U go! I think most sax players feel the same way..it's when U play somewhere acoustically that ur mpc becomes crucial in ur sound..be well my friend!
Yes, always go with the mouthpiece that gives you your best sound. However, sometimes you may want that sound to blend well with a funk band and have more higher frequencies in it, while other times you may want your sound to blend well with an acoustic piano, bass and vocalist. I totally agree that one solid middle of the road mouthpiece is the way to go so that you can use it on any kind of gig. (that was the basis of the design for the Burnin' mouthpiece). Some people can get a dark sound on a step baffle piece or get a bright sound on a low roll-over piece. Most people are not at that level though.
I´m BAFFLEd at how quickly you ROLLed out this video filled with TIPs....teheehee
Haha
I like the not-so-subtle plug for your Burnin' mouthpiece @ 4:50. I'm gonna get one.
😀
Hi jay what is the best mouth piece to use with 2.5 vandoren factory fresh alto sax reeds
Interesting, thank you.
Hello!
But what is DGSKRB ? A mouthpiece I guess..but which brand, I can't figure out !! I would be so glad to get an answer!! Thank you
3:01
I’m glad you let him finish that phrase because we all know what comes after it ;)
Bonjour, dommage que votre émission ne soit pas traduite en français.
J'adore tout les contenus de la chaîne.
Cordialement.
Fréd.
Désolé
Wow! Well, I’m an young tenor saxophonist and about to buy a mouth peace. I play solo, duets and in a big Korps. What mouth peace type do you suggest? I found your videos very helpful and I enjoy watching them
Classical I assume? Definitely good for a Selmer C*
Best of luck on your journey, and, as always, may mouth peace be with you…
If you are playing classical saxophone and need to blend with others in that style you will want an appropriate mouthpiece to make that easier.
Good sounds great song saxophone 🎷
Thanks
I 'm KOREA(SOUTH) Peace maker
♡
Over time, you'll find a way to get "your sound" on any saxophone, mouthpiece, reed, ligature, etc. you please. Mouthpieces in particular are roughly analogous to wardrobe choices at best, and the player can "wear" them in this fashion. Some mouthpieces "match up" with certain saxophones and players better than others, for acoustical physics reasons. Actual saxophone tone, as with the voice, is largely determined by the physical attributes of the player. At least that's what Stan Getz said, and he should know a thing or two about saxophone tone.
Hi Jay, Got a problem maybe you can solve. I have a tenor and have used a Selmer C* to play in concert bands etc. However, I wanted to go to a brighter sound as I played jazz and got a Jody Jazz HR. But the JJ is too big for the cork on my neck, while the Selmer fits fine. I've tried plumber's tape to build up the neck but that doesn't seem like a good solution. Should ai just go with two necks or is there a cheaper solution to this? Thanks!
Craig, have a new cork put on by a repair technician. Doesn’t cost much.
Maybe stupid question, but I would like know the answer. Should be the inner space of differrent mouthpieces the same value? Or is it possible to have mouthpiece with high baffle and small chamber, or on other side, low baffle with large chamber?
Yes those combinations exist.
Not a word about the popular Vandoren V16 metallic pieces...Are they that bad???? Got a T6 small recently and it's beautifully crafted, although I found so difficult to blow air into it with any reeds bigger that 2.0...Am I doing something wrong? Thanks!
No those are good pieces but they are very much inspired and based on Otto Links.
Hard to beat a Berg Larsen IMO. I play a 90/1 for Alto, and 110/2 on Tenor. Classical, Lead Jazz, and Bebop. I have many many many mouthpieces ( Meyer, Peter Panzol, Otto Link, 3D Printed,, and I always go back to the Bergs...
I still blow my s/s Berg © 1965 110/2. Plays anything from Getz to hard rock. Superb m/p.
Bergs are great. I could have mentioned them for sure.
Tried a Berg 130/2 SMS for Tenor the other week. Sonny Rollins played one of those, e.g. on the "SR's Next Album". Absolute unit of a mouthpiece
Question: what type of mouthpiece was used in the 20's and 30's and later into the century, featuring among the saxophonists in bands such as Guy Lombardo and His Royal Canadians? Was this intermediate sound being able to project but also to control the dynamic range created by the emergence of different baffle mouthpiece + classical embouchure, or the other way around - classical mouthpieces featuring modern adaptation of embouchure? Thank you for your videos, they are really helpful.
Hi. My teacher ran big bands during WWII. He said the guys would use chewing gum in the mpiece to improve the sound. Probably very little choice in those days.
@@derekakien7379 that’s kinda cool
Good question, and something to investigate for a future video perhaps.
What’s the horn in thumbnail preview?
This begs one to ask: what happens if the ramp rolls UNDER instead of OVER? In other words, what happens if there's a concave curve inside the mouthpiece? Do you get a super round, dark, and flugel/French horn-like brass sound? Do you create a honk that could knock down the walls of Jericho? Will the mouthpiece simply fail to sound at all because it messes with the pressure differential between the inner and outer sides of the mpc? At an extreme, what about an anti-step where the baffle goes up at a high angle and then turns to nearly flat?
I don't even play a sax (clarinet Conn Director 56' Boosey Hawkes 45') but I love your delivery and humor, wouldn't have guessed you spoke French (reeds) a great deal of your vids translate across woodwin. Thanks (trying to resist sax because I have an array I am meh on across the board from Dig to accordion but your vids aren't helping my impoverished/common cents. 🤔 p.s. lots of logic
How does the Burnin' Tenor mpc compare to the JodyJazz HR Tenor mpc?
It’s got more power and a bit more brightness.
But Michael Brecker in that excerpt was playing a Florida Link with rollover baffle.
any recommendations for jazz/funk rock bari sax mouthpieces??
Yes, Jody Jazz DV, Jet and Super Jet are great choices. I did a couple bari sax mouthpiece comparison videos you can find on the channel.
@@bettersax Thanks! I'll look into them but as a casual player I'm not necessarily trying to make my wallet cry with a super jet
Jay, your description of a rollover baffle, with an arrow pointing to the bump in the middle of the baffle at 2:00 is surprising. Theo’s website explains the rollover that characterizes this type of design is right at the tip! He refers to it as «a short round at the tip» with a drawing showing it. I’m so confused.
On Theo Wanne's website there are 2 arrows indicating the baffle. "The baffle is the section of the mouthpiece directly behind the tip rail that extends back into the mouthpiece about two centimeters." hope this clears things up. My arrow is pointing to the middle of the baffle section.
@@bettersax I guess this means the entire about two cm of baffle being curved as a "bump" is what characterizes a rollover baffle. I always thought what mattered most was the slight bump right under the tip. thanks for the clarification.
Great video! Brecker isn't playing on a step baffle in that clip (probably a Florida No USA)--he's just nuts lol
Yeah I wasn't sure what he was playing there and had to choose a clip that wouldn't get me a copyright claim on the video. He probably had a wedge added to his Link though...
@@bettersax You’re probably right about it being modified🤙 Congratulations on the new mouthpiece!
When I was in marching band, I used a flat baffle mouthpiece. By the time I was a Junior, I ended up turning that thing into a rollover baffle due to me accidentally biting down while marching
Saxologic's mom can now claim that her videography made it into a BetterSax Vid 😂😂😂😂
I know there’s a lot of myths about what previous players used, but didn’t Trane have a wedge, or makeshift step baffle put in his mouthpiece? It sounds like in his earlier recordings it’s not there but in the later ones his sound is much edgier.
I have heard that many times yes. I cannot know really what setup he had exactly in that clip, but earlier Trane sounds a lot more Roll-over baffle than added wedge baffle to me.
Off topic, but was Coltrane a small-statured guy? His horn always looks so big on him. Obv Canninball was a big man and played alto, so his horn always looks small, but Trane always looks like he’s playing an outsized horn.
Matt that’s a great question-I always felt that the tenor in the hands of tall/bigger guys like Dexter Gordon, Sonny Rollins, Micheal Brecker certainly must have been more physically comfortable than say in the hands of shorter guys like Jimmy Heath Joe Henderson and Johnny Griffin yet they are all amazing and all handled the horn with no discernible difficulty!
Coltrane was 5' 8" / 1.73m. I'm an inch shorter and the Tenor looks outsize on me but it feels easily playable. I've never had any issues with its weight or size.
Interesting question.
I'd like to know how shapes affect altissimo.
This is a great topic for a video actually. I have come to realize that altissimo does not depend on any particular shape of the mouthpiece interior since I can get altissimo pretty easily on any mouthpiece as long as it's well made and the reed is good. Some are easier than others for me, but I suspect each individual will have different results depending on how they blow. Classical saxophonists can shred altissimo with no baffle at all so I think that is a bit of a myth that you need a high baffle for it.
@@bettersax I couldn't get altissimo on my Selmer classical mouthpiece so I bought a SYOS and was able to get it. When I tried again on the Selmer some months later I was able to get altissimo on the Selmer. I think mouthpiece shape facilitates it, especially when learning.
Great job 👏
Thank you! 😃
Sir mouthpiece price 4c
Its actually a Selmer S80 C*
Yes, you are right. For whatever reason we always just refer to these as C* when that is actually just the tip opening not the model of the mouthpiece. I should have been more precise...
Jay - On advice from his private sax tutor, I'm thinking of upgrading my son's mouthpiece from the Yahama 5C he currently plays to a higher level one and your new tenor burning sax looks/sounds interesting. Do you think your mouthpiece is a good choice? He is almost 14 (7th Grade), has 3 years of tenor under his belt and plays in both the school symphonic and jazz bands and made the area All County Jazz Band (only took 2 tenors). Do you think the 6 tip opening would be the way to go or maybe a 7? We will also be upgrading him to an intermediate or higher level horn here fairly soon. Thanks! We enjoy your videos a lot!
Steve, glad to hear your son is doing well with his saxophone playing. Good for him. The Burnin' would be a great choice for him playing in the jazz band for sure. In the symphonic band he should probably stick with the 5C as it will blend well in that type of ensemble. There will likely be an adjustment period for him as he has only ever played the Yamaha mouthpiece and switching to your first upgraded pro level mouthpiece takes some getting used to.
@@bettersax Thanks for the reply! Watched your mouth piece video and I assume the smaller tip opening in the Burning Sax would be the way to go for him.
I’ve learnt something today….
Irony is in the Brecker clip he's playing a Link.
5th!
Regarding the original question - the most important part of my sax is the idiot stuck on the end of it.
Useful video
It's a little misleading to call the Selmer S80 mouthpiece a "C*". C* indicates the size of the tip opening, and the S80 is available in several sizes C-F (C* being a little larger than a C). Several models of Selmer mouthpieces are available in size C*
This is true. In the old days we always just referred to them as C* even though the model was S80 or S90.
Roll over Beethoven !!! 🎷
haha
@@bettersax Yep, I thought I made a funny.
I tried the whole range of mpc’s for quite a while, only to find out that sticking to an STM 7*
on Tenor, and basically a Meyer clone on Alto, was, for me, all that was required to nail the tone I personally was looking for. I found that variables of the saxophone, the embouchure, and especially the reed variable, made it a much more time consuming endeavor, but I learned a lot in the process about what works, and what is snake oil, and how one can waste much money if not careful..🎷🥳
Postscript: I’m glad that you and a handful of others are doing a great service for saxophone education out here on UA-cam.
Well I agree that mouth pieces can change how a sax can sound but without a good reed no sound can be generated. Why is a Reed geek so important in correcting imperfect reeds? Why is it only a percentage of reeds out of a box is fitting to use in a gig? Even a beginner mouthpiece can generate sound plenty good to do a gig. A mouthpiece is also made of pretty tough material while reeds are very delicate and easy to destroy or make unplayable. So although a mouthpiece can have design changes that aid in certain styles of music. The Reed has to have that perfect fit in order to reach that sound or any design change in a mouthpiece is irrelevant.
Every sax teacher, make sure you have enough mouthpiece in your mouth. 3:40 - no
well time to go listen to some more dexter gordon, it's been too long
No wander my alto mouthpiece cost me practically everything I own ($200 is a lot to an 18 year old without a job lol )
You might want to give at least a mention of the actual most important part of the mouthpiece, the facing curve. It might over complicate things for the students this video is targeted to but saying the baffle is the most important part of mpc design is misleading. Good content as always though, the criticism is meant to be constructive.
Lukas, thanks for the comment. I find it more helpful to try to convey small chunks of info at a time here on UA-cam. When I have tried to include every detail, it takes too long to create the videos (so they don't get made) and/or people don't watch them because of info overload/boredom. This video is targeted to people who know little to nothing about how mouthpieces work. Also I did not say that the baffle was the most important part, I said that it has the most impact on the sound.
What are you doing, step baffle?
I don’t know how many saxophones I’ve looked at, because the sax player brings it in and it doesn’t play or it’s out of tune or stuffy, because of the mouthpiece, reed & ligature combination. They think it’s something else.
I guess they purchase a mouthpiece, etc - based on what they’ve read on the internet. Then, think it will fix everything.
In this business, I always said: The customer is NEVER right………..
W-what are you doing....step baffle?
he cringed when he said classical saxophonists lol
haha I used to be a classical saxophonist (not a very good one admittedly)
Hello , after watching this upload three separate times now there is a clear need to rebuff the whole message of your presentation .
Firstly , you have not explained anything regarding how a reed mouthpiece works - that is how it generates sound. By dismissing that issue you then eroneously make false statements about the baffle . That confirmed to me that you don't understand how a reed mouthpiece both creates the 'attack' of sound and how the baffle functions .
Secondly, most of your presentation continues to reinforce and give creedance to the error that the mouthpiece somehow regulates the character of the sound by altering the 'flow of air '. This lack of understanding of schoolboy physics regarding the relationship between air and how sound is transmitted needs to be addressed .
Thirdly ,like all public figures,and you have become one with the many videos here , a certain duty of care and accuracy is expected regarding the facts . The whole presentation is based on false presumptions and lacks facts.
It is so simple . The player squeezes the reed up towards the mouthpiece top rail then pushes/ blows/ injects air in the space. This creates a 'venturi ' pressure passage lowering the pressure in the space . The two reed 'wings; and centre tip are pulled further in closing the gap until the elastic strength of the reed pulls them back . They then snap back under air venturi induced depression slapping the air against the top rail and 8mm or so of the inner baffle creating a series of repeating sound waves . These sound waves can only go into the mouthpiece where the side rails, lowerbaffle and throat shape and size ,by reflection , alter the charcter of the sound. At this stage the flow of air has done it's job and is just an exhaust waste , Its the flow of reflected sound waves completetly independant of any air 'movement which creates the character. Obviously the more air pressure you inject into the venturi tip space the louder the sound .Once that sound has been made its out of your control and dependant on how its reflected against the baffle,side walls undersid eof the reed which is not moving and the throat Just for the record, sound waves are transmitted through still air , at sea level at 1125 ft/sec.(or 343 m. persecond .They do not travel any faster or slower in moving air . nor are altered by the flow or direction of that air. Do what you like but you cannot blow sound waves down a tube as they are travelling much faster than you can blow . You can deflect soundwaves with solid objects by natural reflection and alter the pitch of a sound within a tube by adjusting its length . This is acheived when the constant uniform reflection of the sound waves inside the tube is interupted by a hole .
Please read and re read this comment and try to forget all that the fancy mouthpiece makers tell you about 'air flow'. Its a nonsense and so obviously so . Jonny Uk