How to Choose a Saxophone Mouthpiece Stohrer Music. Choices, choices. Choosing the right mouthpiece for you can be a daunting task. Youve got an almost infinite amount of choices, and from among them you are expected to find exactly what works for you without being able to try them all and many times without the most basic knowledge as to what actually makes a mouthpiece a good mouthpiece. The main problem is not only is each mouthpiece a little different each horn is a little different and each player is very different. The combinations are endless, and what works for one person might not work for another and conversely, what one person thinks is the worst sounding mouthpiece theyve ever played might the a very good mouthpiece for their friend. Therefore, what is best is not knowing what brands to try, but knowing what actually makes any mouthpiece a good or bad mouthpiece, and what makes each mouthpiece sound how it does. I aim to help make this process easier for you by describing the why of mouthpieces. Yamaha Saxophone Mouthpiece Patch' title='Yamaha Saxophone Mouthpiece Patch' />Buy your new Yamaha WX5 from THE Wind Controller Experts. If you own or are thinking of owning a Yamaha WX5, you can go WIRELESSArmed with this information and a little bit of background work on your end, you can look at a mouthpiece whose brand and model has been hidden from you and without even playing it have a pretty good guess at to what it will feel like for you. You will know what parts of the mouthpiece are important, how the mouthpiece works, and how to start to learn what you like. Also, hopefully, you will be freed from the idea that you need to play what Trane played to sound like Trane. Before going any further, I encourage you to check out this mouthpiece glossary, which will define many of the terms we will be talking about here. Ok.  Now clap your hands. No, seriously, clap you hands. Look at your hands as you clap them slowly and evenly. Yamaha Saxophone Mouthpiece Patch' title='Yamaha Saxophone Mouthpiece Patch' />Each clap assuming you clap well is a single burst of sound pressure is built up between your hands and shoots out in a high pressure wave that travels outward, and when it hits your ear drum you hear the clap. Look at your hands again. How often are they actually touching The answer is not often. Yamaha Saxophone Mouthpiece Patch' title='Yamaha Saxophone Mouthpiece Patch' />Most of the time they are in transit. This is very similar to the motion and action of the reed on your mouthpiece. Most of the time it is in transit, opening or closing. Only a small part of the time is it sealed against the mouthpiece. This opening and closing creates pressure waves which travel through the instrument. Depending on how fast the reed is vibrating, you hear different pitches the reed is the tone generator for the saxophone. But most of the time the reed is open. Which means most of the time, you are part of the saxophone bore your oral cavity, throat, and lungs. This is why you can change the tonality of the instrument through not only embouchure changes but also changes inside your mouth and throat. And since each of us are slightly different physiologically, we each are in effect a different instrument even through we might play the same saxophone with the same mouthpiece. This is why no two saxophone players sound exactly the same. And this is why playing the same mouthpiece and horn as your idol or your neighbor doesnt get you the same sound. So now you are free free of the idea that you can acquire the sound you want through gear. What you must do is find the right horn and mouthpiece for YOU. Get your horn in good playing condition not as common a condition as youd hope, and then practice. So how do you find the right mouthpiece for youThe answer is to understand the parts of the mouthpiece and what they do, pay attention to these parts when you try out a mouthpiece, and build up a mental catalogue of what you personally like. Some parts of the mouthpiece are subject to taste. One part in particular is not. Search titles only has image posted today bundle duplicates include nearby areas albany, GA aby asheville, NC ash athens, GA ahn atlanta, GA atl. Bounce Tales 2 Game For Pc on this page. PATCHMAN MUSIC is an factory authorized dealer for Yamaha Synthesizers and Accessories. We also market hundreds of soundbanks and CD ROMs and specialize in wind. Choosing the right mouthpiece for you can be a daunting task. Youve got an almost infinite amount of choices, and from among them you are expected to find exactly. The facing curve and table. The facing curve is the curve of the mouthpiece where the reed lies. The table is the flat part where the back of the reed is held to the mouthpiece by the ligature. The reed, as it opens and closes, bends along this curve until it is completely sealed, and then opens again, and then seals again. This curve must be extremely precise, correct, and even. When it is precise, correct, and even, the reed may vibrate freely. Unfortunately this is very rareMost mouthpieces that werent made extremely well at the factory rare or refaced very well by an expert refacer rare have a facing curve that is incorrect and uneven. This adds resistance, stuffyness, and sometimes squeaks. If the facing curve is uneven or incorrect towards the back near the table, the low end will particularly suffer. If it is uneven or incorrect closer to the tip, the higher end will particularly suffer. In extreme cases though the measurements here are so tiny even the difference between a very good and a very bad facing will still not be visible to the naked eye the mouthpiece will not play at all. Mouthpiece facings are measured using a flat surface usually a glass plate with markings etched in it. This is held flat against the table, and feeler gauges of different thicknesses are slid down the facing until they wont go any farther. In this way, the distance of the varying thicknesses can be plotted on a curve the facing curve. More feeler guages more precision. What particular gauges to use, how many, and what thicknesses are up to the individual doing the facing. Mouthpiece facing glass gauge and some feeler gauges. Numbers on gauges are the thicknesses in hundredths of an inch. The far left feeler gauge is. This might be hard to believe, but the difference between a good facing curve and a bad one is much less than a hundredth of an inch of material. In many cases, any more than a hundredth of an inch off from ideal and it wont even play. Using the glass plate and the. The number must be correct for the facing, and it must be perfectly even. This one is nice and even. And example of a large and unacceptable unevenness on the breakback measurement using the. This facing error would likely result in a mouthpiece that was stuffy, unpredictable, and with difficult low end response. Not much of a difference measurement wise, and completely invisible to the naked eye, yet it will heavily affect how the mouthpiece plays. So the facing is the starting point. If it is not good, nothing else matters. A mouthpiece must have a good facing to play well, and unfortunately this is rarer than it should be between poor original craftsmanship, a reface not done well, or damage. Many mouthpieces have mediocre facing curves and are much more resistant than they need to be. Add that to the fact that most people play on horns with leaks or mechanical problems and perhaps 1 of saxophone players are playing the saxophone as it was meant to be played and as it CAN play. Here is a video that shows a mouthpiece blank in this case, a blank for a vintage Buescher soprano mouthpiece. This is what the mouthpiece looks like before finishing, including facing. So thats the facing. It must be correct and well done, or the mouthpiece wont play right regardless of any other considerations. A good facing is a mouthpiece that plays freely and easily, one that you dont have to fight, one that allows you to concentrate on playing well. Next up is the stuff that can vary a bit more, and affects the quality of the sound. Assuming a good facing, this is the stuff you pay attention to. Brass Ark For Sale. The classic small bore tenor trombone from Vincent Bachs original factory located in the Bronx, New York. Often regarded as the best trombones ever made, these early Bach trombones certainly have a mystique about them. Ever single one of these early 6s Ive had come through the shop, or played, have all had a personality of their own. This is another nice example of a vintage 6. Slide action is very good, no slide wear. The bell has had some impact from an errant slide in a case, youll see what I mean in the photos. The damage isnt bad and since the bell is so thin already, I wouldnt recommend removing them. Its a roman number i, the roman numerals denoting the seven variations of the model 6. Each variation is different and could be a larger or small neckpipe, tuning slide, or combination of either. The model 6i tends to show up as earlier models, with the 6vii becoming the most popular model. In case you wanted to know, the model 6i has these specs. Vintage King threaded counterweight is included. Two NY mouthpieces can be included for an extra price NY 7. C, NY8, 6. 0 each Sold without case.