I'm choosing a sax mouthpiece with Jody Espina
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- Опубліковано 4 лип 2024
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Are you looking for your first sax mouthpiece upgrade? Are you confused by all those options? This video is going to help you!
I’m choosing a saxophone mouthpiece with the help of Jody Espina from Jody Jazz. Should you choose a darker mouthpiece or a brighter mouthpiece? What about tip opening?
In this video, we share expert knowledge to help you choose a saxophone mouthpiece that’s right for you. You will learn how to choose the best sax mouthpiece for the style of music you love to play, to get the sound you want. Whether you play tenor or alto, baritone, or soprano sax, this video from Nigel McGill, Sax School Online, will help you when you pick the right saxophone mouthpiece.
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Chapters:
0:00 - Intro
1:00 - How to choose a mouthpiece
2:29 - Best first upgrade
5:00 - Why the HR*
8:59 - Darker upgrade in mouthpiece
11:42 - Brighter Upgrade in mouthpiece
13:38 - Wrapping up with Jody Espina
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Jody is the Man! I like the hour practice chart, great idea. I was in Savanna on vacation he came to his shop special for me on a Saturday Morning and helped me choose a Soprano mouthpiece, brought out about a half dozen mouthpieces to get started. I bought an HR 7, great choice for me, thank you Jody.
I'm using the HR custom dark #6 and for me this is the best alto mouthpiece I have played so far. Really great sound.
Great to hear that Yanni!
After watching your and Jody's videos I ended up getting the DVNY and it's absolutely amazing. Can't begin to express how much life it's bought to my old battered sax 😂
Great to hear that!
10:38. I got an idea. Bring a student or two into your studio and have Jody work with them.
Thanks Paul, great idea for Josh’s next visit.
@@McGillMusicSaxSchool because it’s like Jody says, Nigel can make any mouthpiece sound great. Maybe have an advanced beginner, and an intermediate try a few new mouthpieces with Jody’s guidance.
As a beginner I started with the Yamaha 4C, got brave and invested in a 6C. Didn’t like it until I got stubborn and played it for a couple of months, then came to love it.
Got cocky and did the 6 questions at Jody Jazz. They recommended the Custom Dark - it was a bit expensive for me but I bought it… and fell totally in love with it ❤️🎷
That’s brilliant Hasse!
For other newer players considering a new MP, here is my story from today. I was playing a Yamaha 5C on my YTS but I couldn't get much volume with it, as well as a really bland tone (not unexpected). I'd played bigger MPs on alto, up to an 0.090 without issue, but wasn't sure about how big an opening I could manage on tenor (only had tenor 2 months). A local shop stocks some JJ MPs, so I went with the intention of trying an HR* 5*, and possibly testing a 6*. They didn't have a tenor 5*, so I got the 6* to at least give it a try. I first put on a Legere Sig 2.25, and after a few seconds of "test blowing" on just the neck, found it quite easy to play. It didn't take a lot more air, and had a nice general tone. I also tried a Java Red 2½, with equivalent results. I had a couple ZZ 2s, so I put one on. Easy playing, but unlikely to be the "right" reed for that MP. I walked out of the store owner of a new tenor HR* 6*, and I am really looking forward to finding a good reed combo and playing it for a long time.
that JETT sounded AMAZING to me !
Cool
Really great video! I love it! I started on a Yamaha 4c 3-4 year ago. I upgraded to a Selmer S80 and that was a big step forward. Then a JodyJazz HR 7*. This is a really great mouthpiece, I love it. I am ready for the next upgrade and that will be a JodyJazz HR* Custom Dark.
Arne from Norway
Great to hear that Arne. I think you'll like the Custom Dark, it's a good move from the HR* if you like that "classic jazz" sound.
Awesome! Thanks!
8:00 those old mouthpieces had a different facing curve where the arc made the much smaller tip opening "feel" bigger by modern standards. iirc the curve was cut shorter so it was more extreme. I think this is also why the 4c plays with a bigger feel than its .067 (which would be like an otto link ~3?) opening, it also has a short facing curve cut like older mouthpieces.
I think it's actually the opposite - the older mouthpieces used a longer facing so more of the heart of the reed was involved, giving a darker, sub-tone friendly sound, whereas modern mouthpieces use shorter facings which favors speed of response, altissimo, and brightness. Correct me if I'm wrong though :)
I upgraded to the HR Custom Dark 5*, great mouthpiece from the 4c Yamaha, big chamber but not to big for my 1st upgrade, Happy
Nice one!
Le custom dark a sonorités excellente
Does the bigger chamber help with the ease of low notes?
I notice that you are using a different ligature on the Yamaha 5C mouthpiece. Does that make any difference? I don't know what the difference is between a Yamaha 4C and 5C. I think the 5C has a darker tone, which is why I bought the 5 C. Some people prefer a brighter sound, but I prefer a darker sound.
Then I upgraded from a Yamaha 5C to a Selmer S80, and that made a big difference in the quality of the sound. And then I changed from a Legere Studio Cut reed to Legere American Cut reed and that made possibly the largest difference of all those changes. The American Cut reed allowed me to play more softly and some improvement in playing in the lower register.
Great to see you experimenting here Jeff. Yes reeds do make a huge difference. The ligature less so to the listener. 4C to 5C should sound pretty similar, the bigger size just suits some people better. The S80 is a big step up in quality I think.
@@McGillMusicSaxSchool In retrospect, I think the upgrade to the Selmer S80 made the biggest different in sound, contrary to what I said initially, but the American Cut reed was noticeably easier to play, with more control over the sound as noted. I'm not sure how the Selmer S80 compares with one of the Jody Jazz reeds. Fairly pricey to test it out. Besides, I've only been playing for 2 months, so I'll stick with what I have. Thanks for the video - very helpful.
I’m confused by Jody’s explanation that small chambers create high air velocity for brighter and louder tone production, because the chamber is downstream from the source of the sound, the reed. It doesn’t seem like a small chamber would cause higher air velocity at the reed. When I tried some small chamber mouthpieces with baffles recommended to me by the questionnaire, I thought that they resisted air flow too much and air velocity at the reed was reduced. On tenor, I keep playing a D’Addario jazz select 7, but I did keep a JJ Jet HR model 7 recently to keep trying the idea.
I think the idea is that the larger chamber needs more time to fill up. The small chamber starts overflowing faster. It's like water at shallow rapids versus the water at a deeper riverbed; at shallow rapids, the water moves faster (and there you can build a hydro-powered plant).
The air gained speed and can excite the upper part of the saxophone faster, escaping faster. But the smaller amount of air per unit of time, and greater escaping speed, are NOT sufficient to excite the entire instrument, to be able to hear all the fundamentals in all notes.
The tone sounds "brighter" because many fundamentals (in lower, slower frequencies) are missing. Only (the upper) part of the saxophone is sufficiently excited, not the entire instrument because there is not enough air coming that will stay long enough and excite the horn throughout. Being partially excited, the sax sounds "bright" and "projects farther” because it doesn't wait for all (s)lower frequencies to be included in the sound package.
The tenor sax with a "bright" mouthpiece sounds almost like an alto saxophone because the lowest third (bow and bell notes, Bb, B, C, C#) receive less air, which escapes too fast for proper excitement. But to properly excite the entire long instrument, to hear all fundamentals in all notes and many overtones, a slower airstream and more air volume must be used. For that, we need large(r) chamber mouthpieces.
Classical mouthpieces have a sufficiently large chamber to excite the entire instrument, but they limit the tip opening, to prevent "overblowing". Narrower tip disciplines air control and homogeneity of sound because that is what you want in a large orchestra (as homogenous as possible sound, which will not destroy orchestral harmony). But it allows very little freedom of "personal expression" and effects that overblowing allows. Therefore jazz mouthpieces come in all sorts of larger tip openings to allow "expressive playing", and "personal sound signature", but at the expense of homogeneity of sound.
very interesting !
Cheers, thanks for watching Basile.
You said the Venn was bright and now I believe you..... too bright. It made to the comparison more difficult.
How would you compare the HR DARK with the Theo Wanne SLANT SIG 2 ?
Interesting question Gary. I played the Slant Sig for ages and really like it. The custom dark seems a little more flexible for me though.