MOUTHPIECE TEST DRIVE!

Below is an analysis of various mouthpiece, reed and ligature set-ups tested by ourselves. There are also some suggested set-ups which are flexible and cover a wide range of playing styles.  The best advice we can offer to people who are unsure about upgrading to a better quality mouthpiece is to play it safe and go medium for everything. A good ligature will then help to produce a good sound and will help the development of good technique. Think carefully about the sound and style you want to produce. Everyone has their own sound just like the human voice and it is important to choose a mouthpiece that will enable you to reproduce that individual sound. These are our own findings and are by no means definitive, but hopefully they will guide the developing sax player in the right direction.''

The mouthpieces chosen for test are a wide selection of the most well-known makes. They are mostly of medium size with average tip openings and medium size facings, so this can be used as a reference. We have dealt with the soprano first, followed by alto then tenor. We have used a variety of reeds and different ligatures which gives an idea of the set-ups available.

 SOPRANO SAX ; sax used Yanagisawa SC-901

1. BARI #62 ebonite. Played with its own standard metal ligature and Vandoren no.2 reed. The response was excellent and I found it easy to control in all registers of the sax, whilst being able to maintain my embouchure position. The sound produced was clear and the intonation solid, tonguing effortless and generally very enjoyable to play.

2. Selmer S80 C* ebonite. This is the 'industry standard' for most soprano players. Again with its own ligature and Vandoren no.2 reed, the response was excellent and blew quite freely. However, a harder reed was necessary (no.3), and even then I found reaching the notes in the higher register required a lot of effort.

3. Otto Link 5* ebonite. Tested with own ligature, Rovner ligature and Vandoren no.3 reeds. It felt a lot bigger in the mouth, quite a chunky mouthpiece. The tone was very clear and the sound cuts through and is quite punchy, great for funky styles! This just seemed to lack a bit of control and it felt like hard work to keep it in tune. However, with the Rovner ligature intonation was greatly improved and  control was better. A very nice mouthpiece, and for jazzheads a good alternative to metal.

4. BARI Hawk II metal. WOW!! The sound of the soprano really cuts through with this one. Very big and bright sound and yet very easy to control and a beautiful clear tone. With a Rico Royal no.3 reed the sound was edgy and 'buzzy' , a very contemporary sound. With a Vandoren no. 3 the sound was slightly tamed but control was improved. It was still a big sound and the altissimo register was excellent.

5. VANDOREN V5 S25, ebonite. This produces a beautifully clear sound in all registers. Intonation on soprano was excellent. I tried this on a variety of saxes, Selmer series III, Keilwerth SX90 and Yanagisawa S981. It seemed to feel at home more with the Selmer, the tone was rich and it was no problem hitting the harmonics of the altissimo register. But I was impressed with the Keilwerth which really produced a big sound( more on that horn on the Keilwerth page). Overall, on all saxes, excellent dynamic range and very easy to control. It would suit a variety of playing styles even though Vandoren claim that it is mainly for classical playing. Put this with an Optimum ligature for superb clarity and make the most of this excellent mouthpiece.

6. RUNYON QUANTUM Metal, No. 7. Tested with Consoli Dark ligature and a variety of reeds. I expected this mouthpiece to be a bit on the bright side but I was pleasantly surprised to find this was not the case. Very easy to control and I was able to produce a very clear sound in all registers. Particularly easy to blow were the higher register notes with good intonation at all times. A good range of dynamics could be played and response was excellent especially playing very quiet passages of music. Without a doubt this is one of the best mouthpieces for soprano I have come across and it was very comfortable to play. I think it would suit a variety of playing styles and for a metal mouthpiece is reasonably priced. 

Some suggested ebonite set-ups for soprano sax:
 

Jody Jazz Classic 7.  This one really soars! – it had a very open feel, fluid, but with a light huskiness round the edge of the sound – it made me want to play soulful lines all day (but I had to stop after 10 minutes to continue with running the shop!)  If you are a fan of Kenny G this mouthpiece might give you the slickness in tone that you are looking for.   I normally find it a bit of lip-killer when it comes to playing the top end on the soprano but this piece made it seem effortless.  It is provided with a Rovner Dark ligature, which complimented the sound very nicely, but if you wish to go one step freer, try the Francois Louis lig.
 

Yanagisawa 7.  Offset against the Otto Link (which I see as a standard ‘control’ mouthpiece if you like) I found the Yanagisawa offered more brightness and perhaps a little more colour in the sound.  It was free blowing, provided great clarity of tone and had a good subtone.  This one doesn’t come with a ligature so I used a Rovner Dark as it provided a good, secure fit.  A nice alternative that emphasised the sweeter end of the soprano sound.
 

Berg Larsen Ebonite 70/2.  I tried this one with a Rovner Dark ligature as I found the provided metal lig was fairly ill-fitting.  Rico Royal strength 2.5 reeds seemed to work well with this tip opening.  I found that it had a solid sound, with plenty of ‘bite’, and was also great for articulation.  It was similar to the Jody Classic in its ease of producing top notes.  Very flexible and very satisfying! 

ALTO SAX ; sax used Selmer S80 Series II

1. MEYER 6 medium ebonite. This was tested with it's own ligature, Rovner 'Dark' and BG 'Standard' and 'Super Revelation' ligatures and Rico, Vandoren V16 and Vandoren nos. 2 to 3 reeds. With its own ligature and Rico no.2 the response was excellent with a very clean sound. Tonguing was even with good intonation. With the V16 reed size 2 1/2, there was far better control over the sound, improved clarity and a rounder tone. Things got even better with the Rovner in terms of articulation and control while the sound became richer. The BG 'Standard' was very similar to the Rovner, but I had problems with the 'Super Revelation' which seemed to strangle the sound, and it just didn't want to project. I have personally found a lot of pros using this mouthpiece because of the huge variety of styles that it can be used for.

2. SELMER C* ebonite. With a BG 'Super Revelation' ligature this mouthpiece really sang out. Definitely one for the classical players, the tone was pure and the ligature helps to really project the sound. The reed used was a Vandoren no.3 which for me was the ideal size for this set-up. The mouthpiece facing is quite long making a narrow tip opening which does require a harder reed. Articulation on this set-up was effortless, and allowed for excellent freedom of expression with a rounded full tone . Extremely musical and a joy to play.

3. OTTO LINK 6* metal Tone Master. Used with Rico Jazz Select reeds this was a very warm sounding mouthpiece whilst the reeds add a further dimension to the sound.  The mouthpiece has a big tone chamber which gives a rounder tone while the reed had a nice 'buzzy' edge to it. The ligature provided with the mouthpiece is not the best I have used, and I find it slightly better when used upside down! It doesn't seem to connect the reed securely and flat enough to the table. When used with a BG Revelation Jazz ligature the sound really opened up, became much more flexible and the response was great.

4. YANAGISAWA (EBONITE) 5. With Rico no. 3 reed and BG Super Revelation ligature it produced a nice clear tone very much like the Selmer C* but I found it not as expressive. The mouthpiece is fairly 'close'( narrow tip opening) and it would suit a more relaxed embouchure. I found articulation hard work and not all that enjoyable. The results were interesting when I changed for a Rico Jazz Select size 2H( like a Rico 2 1/2) and the character of the sound changed, bit harder and a lot more expressive, made me feel like I wanted to swing. This mouthpiece would suit a hard reed even with a relaxed embouchure, very good for a beginner looking for better quality.

5. OTTO LINK 6* ebonite. With BG Revelation ligature and Vandoren no.2 1/2 reeds this mouthpiece sings and swings! Articulation was very clear, intonation spot on. The sax played evenly in all registers and seemed to respond to everything I did. Edgy and expressive, but with a very fulsome sound, it got even funkier with a Rico Jazz Select reed, nice 'buzz' to the tone. Altissimo register was not a problem, very easy to blow, with just the right amount of resistance to make you work( but not too hard). This has to be used with a BG ligature. The Rovner seemed to clog things up a bit and as for the standard ligature - just forget it! 

6. RUNYON 'QUANTUM' ebonite. This is no ordinary ebonite mouthpiece - it is built and shaped like a metal one. For those of you into jazz-funk and soul then this is for you. Very comfortable wailing away in the extreme high register of the saxophone and gives a hard edge sound that is very aggressive and just makes you want to blow hard. Tested this with a BG Revelation Jazz ligature and a BG Standard Jazz ligature.

7. RUNYON XL ebonite. I am a huge fan of David Sanborn and have always loved that unique sound of his. Playing in jazz and fusion bands I have been heavily influenced by Sanborn and though no one will ever reproduce his sound, this XL mouthpiece seemed to bring me closer to it. It has all the drive of the Quantum but just not as hard sounding. It had plenty of punch and I could produce a pleasing 'reedy' sound which wasn't at all stuffy. I could play with plenty of power without really straining to reach the altissimo register and the sound seemed to project very well out of the end of the horn. I found it worked best with a Rovner Custom MkIII ligature and can be used with any reed, although I did like the normal Rico with it.

8. RUNYON XL, special edition, smooth-bore, metal. Wow! Everything that the XL is and more. The smooth bore design involves a ridge on the inside that fits snugly to the end of the neck so that the air from the mouthpiece enters the saxophone without any excess reverberations form the join between mouthpiece and neck. This works very well and seems to lift the sound and add greater projection. I am going to give this a big work out, but on first trial I am convinced that this is the mouthpiece for me. - SB.

9. YANAGISAWA Silver plated solid brass. For me, this is one of the best metal mouthpieces.  It delivers all the qualities that you'd expect from a metal mouthpiece, such as power, projection and brightness in sound, but what did it for me was the smoothness in tone.  This is a rare feature in metal mouthpieces as they can so often sound "edgy", or without body.  Whereas with the Yani the tone has lots of body to it, and a nice soft undertone, making it great for ensemble playing, such as big band work. As you might have guessed by now, this is my alto mouthpiece of choice, and I find it very flexible for use in both the Sussex Jazz Orchestra and my local funk band.. - Jim Cheek.

10. LAWTON Stainless Steel (Silver Plate) 9 BB. This is a truly amazing mouthpiece. It is designed for a jazz/rock big bright modern sound. I used it with Rico Jazz Select 2H and experimented with a Rovner MK III. Wow! The tone is clear, defined, and bright throughout the sax and it certainly cuts through, however, there is a surprising sweetness and richness to it. This is very much a lead/soloist mouthpiece and is very individual. I tested in my various band’s sax sections and the tone sat nicely on top and projected well, great for Big Band, funk, pop and jazz.

Some players have commented about how Lawton’s are prone to squeaking and I think I know why. Lawton’s are very refined mouthpieces and made to the highest standard, if the reed is not seated and aligned perfectly it will occasionally squeak. In addition to this it is an incredibly resonant mouthpiece with fantastic overtones, however these can be hard to control. Lawton’s are also built with a well fitting plate ligature that holds the reed securely, although I found the Rovner Mk III gave greater control. The Altissimo register is easily accessible and one of the best mouthpieces for harmonics, I was wailing on top C/C# no problem! It felt like it wanted to pull me up higher and higher…amazing! This is a slick mouthpiece but definitely one for more experienced players (that’s why I use it, oh the arrogance!). TC

11. SR TECHNOLOGIES The Alto Legend L-85 (Polycarbonate). We came across these mouthpieces through the recommendation of professional players. I wasn't sure how the polycarbonate resin material would effect the overall tone, it is claimed to be similar to the material used in bullet proof windows and virtually unbreakable. Well, if that isn't throwing down the gauntlet I don't know what is! I must admit I was a bit dubious about the material but what a sound! Bright, edgy but still with a great full tonal core, free blowing and responsive. It has a big sound with plenty of projection, which one usually expects from metal. Intonation was spot on and easy to control. The altissimo range is a pleasure to play plus I could easily produce harmonics.  My preferred reed was Rico Jazz 3s as I found this to be the most consistent and jazzy, other brands made the sound too thin. It comes with a Rovner Dark ligature, which I found compliments the mouthpiece well, if you want a bit more edge use a BG Super Revelation. It has the added bonus, that if some trigger-happy trombone players catch you, it doubles as a small bullet-proof vest! Seriously, I would say that this is definitely a modern mouthpiece for modern players, plus the clear material gives it a very individual look and I like it! TC

12. JODYJAZZ ESP .83 This is one of the latest additions to our mouthpiece selection, and one of the hottest pieces available. I recently had the opportunity to meet Jody Aspina at the Frankfurt Show, and I can genuinely say Jody is a true professional, with one sole aim: to create an awesome sounding mouthpiece. I have to say, that the ESP is an amazingly free blowing mouthpiece, which is aided by its thin rails. The tone is full, fat and well centred through out the range of the sax. I found the ESP is fantastic up in the altissimo register, where one can play with confidence. When I really went for it, I got a nice edge. This mouthpiece is outstanding for both big band and funk work; I’d actually go as far to say that this is a definitive funk mouthpiece! The Spoiler is great idea that has been borrowed from Runyon, and refined by Jody. Personally, I preferred playing without the Spoiler, but for those of you who like a bit of edge, it leaves your options open. However, I did find it a little weak at the bottom end when I used the Spoiler.

The ESP comes with a Rovner (Dark) ligature, which compliments the tone well. However, I preferred the BG Jazz Revelation to open up the tone, added volume and cut down on resistance. I found this tip opening a fraction too small, but then I am used to playing on 9+ mouthpieces! So, I can’t wait for us to get some of the larger sizes in! Interestingly, Jody personally tests each mouthpiece, finishing them to perfection, discarding any that do not make the grade. It is this attention to detail and awesome tone, which makes these mouthpieces so endearing. Overall, this is one of the most exciting and refreshing mouthpieces that I have pleasure to play. TC

13. DUKOFF D9. David Sanborn has been one of the most influential saxophonists of the past 20 years. The D9 (or possibly a D7!) tip opening is supposedly his preferred choice, and it certainly helps to explain Sanborn’s individual tone. If you are new to Dukoff mouthpieces, they have an incredibly high baffle, creating an immense tone edge and cutting sound. This is certainly accentuated when one plays a Dukoff on an alto sax.

I’ll be honest with you, these are not the most well finished mouthpieces, internally they look a bit rough. However, the sound I could get was so brilliant, so bright, it was like a laser beam cutting through a wall of sound! With this mouthpiece I could create a sound like no other, I could really hear David Sanborn coming out of my horn, which was a bit of a shock! The top register/octave was very sweet, and I found the altissimo range easy and confident. The tone was consistent through out the range of the sax, although it was a bit weaker at the lower end, but nothing unusual for a high baffle mouthpiece.

Dukoff mouthpieces are made from ‘Silverite’, which I have found to be rather soft, and can tarnish easily, so handle with care. It also comes with a standard ligature, which doesn’t fit the mouthpiece too well. The best set-up lig I tested was the BG Revelation Jazz, which opened up the sound and made it more free blowing. I briefly blew a D8, and I found I had better control and sub-tone at the lower end. Overall I was pleasantly surprised, although cutting, bright and edgy there is still an underlying fullness and individuality. TC

14. SELMER SOLOIST (E) This mouthpiece is based on a vintage Selmer model, and certainly one can get a tone reminiscent of the golden age of jazz! The chamber is horseshoe shaped and small in size, which helps to create a well-centred and rounded sound. The tone was full and consistent throughout the range of the sax. I could produce a nice full warm pianissimo, and then a raw and buzzy tone when playing forte. This is a very versatile mouthpiece, one that could be used for classical concerts or for the lush sounds of a big band sax section. The Rovner Mk III worked well, enabling me to get loads for volume, but without compromising sub-tone. My favourite reed combination was La Voz M to get that definitive 1950s sound. TC

15. SELMER SUPER SESSION (F) This is one of the latest additions to the Selmer mouthpiece range, which is also included with new Reference Alto. For a few years now I have thought that the range of ebonite mouthpieces, offered by Selmer only catered to the needs of classical players. However, the Super Session opens up a whole range of possibilities for the pro player. I personally found the F (equiv. 7 Otto Link) tip opening very responsive, and gave a nice full sound. Tonally, this mouthpiece is fascinating, there is so much going on. Being a lead Alto player, I’m always looking for a mouthpiece with a bit of punch, and a tone that will be versatile. The tone was clear, powerful, and crisp and has a hint of brightness that one might relate to the sound of Paul Desmond. However, this mouthpiece has all the balls of Johnny Hodges, which creates an interesting combination!

Inside the mouthpiece, the chamber is circular and small and the baffle is raised, usual for a Selmer mouthpiece.  Interestingly there is a small step inside, making a smoother connection between mouthpiece and crook. Again I found the combination of La Voz reeds worked well. Balancing modern and vintage sound to create an awesome sound. The François Louis Ligature was an exceptional addition, and complements the tone well, opening up the sound, giving an exciting bit of buzz. TC

16. ROUSSEAU JDX (STUDIO JAZZ) 7 This was my first outing on a Rousseau mouthpiece, and I must admit I was a little sceptical. With typical jazz players prudence, I thought what could this classical guy Eugene Rousseau offer? But, with gritted teeth, my initial impressions of the JDX are good.

Inside the mouthpiece there is a raised baffle, with a step leading down to a horseshoe shaped chamber. This makes the tone warm and full but with an undoubting jazz like buzzy sound, a la Johnny Hodges. There is a lot of power in this mouthpiece but is still great for control. When I put this mouthpiece on any of the modern saxes we stock it helped get a vintage sound. There is a surprising nice bit of bite and the tone is consistent throughout the range of the sax.

This particular tip opening was a little close for my liking and the upper register was a bit of a workout. It was especially noticeable when playing up in the altissimo register; I just couldn’t get the response I’m used to. However, interestingly I know a couple of pros in a local big band that use the JDX and it works well and certainly cuts through. The JDX is great for sax section work and for lead players who like to have a little bit of edge but with an underlying jazz tone. A good ligature combo is the old faithful Rovner Light or the BG Super Revelation, with either Rico Jazz Select/La Voz or Vandoren ZZ, although I found the Vandoren a little too resistant. TC

17. Beechler Bellite No 7 Over the years, Beechler have built up an excellent reputation and an impressive list of endorsees (Dave Koz, Gerald Albright, to name a few!). So you can imagine my excitement when we started stocking these mouthpieces. Beechler metal mouthpieces are fascinating to look at and distinctive in design, with the barrel, beak and width are unusually thin. Inside we’ve got some interesting things going on; the baffle is medium-high and the chamber is open. This I find supports a brilliant contemporary sound, which is bright, edgy and has a snappy bite! However, strangely I could still get a subdued soft ballad sound. Harmonically, I could tell this was designed for modern players. The altissimo and harmonic range was just fantastic and a real pleasure to play.

Unlike many companies who exaggerate their product, Beechler mouthpieces do exactly what they say on the tin! This is an incredibly powerful and free blowing mouthpiece that has a consistent tone throughout. All I could think about when playing this mouthpiece is, what a big, big sound. Beechler metal mouthpieces are made from ‘Bellite’, which is basically a fancy word for steel. The mouthpieces are cast from surgical steel, and although cast mouthpieces can sometimes lack in quality, these are excellently finished. It comes with an excellent metal ligature and cap, however a good alternative combo is the BG Standard Jazz, with La Voz or Rico Jazz reeds.

Some suggested ebonite set-ups for alto sax:

1. MEYER Ebonite Mouthpiece, Rovner Eddie Daniels ligature, Vandoren Java reeds. This set-up is very expressive and offers effortless playing in all registers with great dynamics. It has a very rounded clear tone and projects very well. I was able to bend and shape notes at will and play with a variety of colour tones. There is a real depth to the sound and this feels like a very versatile set-up to be used for a wide range of musical styles.

2. BARI Ebonite Mouthpiece, BG Super Revelation, Vandoren Java reeds. Big sound is delivered and under complete control of the saxophone. Great projection, particularly in the extreme registers of the instrument. Felt very solid when playing and this has a very contemporary sound and like the above set up it would be ideal for any musical style. I enjoyed playing this set-up immensely and would be more than happy to put a Rovner Eddie Daniel's ligature with it.

3. RUNYON 'Jazz' Ebonite Mouthpiece, Runyon ligature, Rico Jazz Select reeds. The Runyon range of mouthpieces are new to me and I have tried a number of their range out. What a hard job!! Very impressive this mouthpiece with this set-up. Blowing was very free and easy with a nice bright sound, but not a piercing sound at all. Good range of dynamics could be achieved and altissimo register was a breeze. Good fun to play and ideal as it is a little cheaper than a lot of mouthpieces around. A good one for beginning players wanting to move into playing jazz.

4. Selmer S80 C* Ebonite, Rovner Light Ligature, Rico Royal Reeds No2. This is one of my favourite set-ups for a total beginner, it is highly recommended by teachers alike. The S80 gives excellent control and confidence that a beginner needs, it certainly helps to curb those irritating squeaks one can experience at the start. It is relatively free blowing and offers a good all round sound. I found the Rovner Light (or Dark for a slightly darker sound) compliments the mouthpiece very well, adding a hint of richness. Rico Royal reeds are easy to play and slightly softer than Vandoren, making blowing and tone production a breeze! The ideal first mouthpiece to upgrade to.

5. Otto Link 5 Ebonite, Rovner Light Ligature, Rico Royal Reeds No2. For all students who want a slightly more jazzy and breathy sound this mouthpiece will certainly help you achieve that. Again like the S80, I have tried to make starting out as easy as possible. Although slightly more resistant, it is full, rich and dark in sound. The Rovner Light, makes it a little more free blowing and is better for support. Again, Rico Royal No2 offer a good all-round, easy start for you.

TENOR SAX; saxes used Selmer Series II and Yanagisawa T991

1. SELMER S80 C* ebonite. I went to town on this mouthpiece and gave it a good work-over in a variety of set-ups. First off was the Rovner dark ligature and a Daniel's reed no.3. Blows very freely, intonation very good, nice projection and clear tone. Change the reed to a Vandoren no.3 and the tone is more mature, softer, more rounded with better response. Change to a normal ligature and the control is gone, struggled a bit in the extremes of the sax. Altissimo was almost impossible, but I would need to play a bigger size, an F or G, for me to get those notes clearly. With a Rico Jazz Select no.3 soft ( rico 3 1/2) more edge to the sound but still hard work in the high register. With the Rovner and a Rico Royal no.3 a pleasing reedy sound was produced, very full sound at the bottom end but the response not as good as with the Vandoren reeds. The BG Super Revelation worked much the same as the Rovner but just helped to project the sound further. Nice mouthpiece which needs a hard reed and a good ligature.

2. MEYER 6 Medium ebonite. Played this with La Voz Medium Hard reeds( like Vandoren no.3). Great control, very much like the alto mouthpiece. Softer and quieter sound than the other mouthpieces on test but such a mellow and cultured sound. Beautifully controlled tone, even with it's own metal ligature. With the Rovner 'Eddie Daniels' ligature, very warm, focused sound, response was instant and intonation not far off perfect. A touch of class with this mouthpiece and a nice understated sound. This would be an ideal set-up for those working in smaller ensembles and sax quartets, and those looking to really improve their sax playing technique.

3. OTTO LINK 7 ebonite. With La Voz Medium Soft reeds and own ligature. Nicely controlled and very expressive, I just found the sound a little closed in and I really felt like I wanted to open up on the treble. Good fun to play and a very warm tone. Articulation was clear and I could whiz around all registers without any effort and no squeaks or intonation problems. Adding a BG ligature brightens things up a bit and this mouthpiece like the soprano and alto ebonite ones, is good fun to play.

4. OTTO LINK 6* metal Tone Master. This is the 'standard' for those who like their jazz mellow with a bit of an edge. It has been my favourite for years. I play a size 6. The * has a slightly wider tip opening which allows more air in and assists in creating a bigger sound, although I found it a little less easy to control. All the Otto Link metal have a similar sound, nice big, round chamber, and a low baffle, which allows for very expressive playing. Try this mouthpiece with a BG Revelation Jazz ligature which is specially designed for the Otto Link mouthpieces. It makes a big difference and allows for greater expressive playing.

5. RUNYON QUANTUM ebonite, size 10. I was at first a little doubtful of good results with this very slim and lightweight mouthpiece, it weighs in at a mere 16 grams. Tried it with a BG Standard Jazz ligature and man does it have a big sound!! I could play very loud and make a wonderfully raucous sound without losing control. For rock and roll and pop music this would be ideal, it would be great in a live setting and with the spoiler there would certainly be a good case for not bothering with a microphone!! It plays and feels like a metal mouthpiece but a lot lighter and this helps to reduce fatigue when playing at loud volumes. The 10 in a Runyon plays very much like a 6 or 7 in most other makes of mouthpiece. See the Runyon mouthpiece page for more info.

6.VANDOREN JUMBO JAVA T45, ebonite. I tried this with the Vandoren Optimum ligature and the Rovner 'Eddie Daniels' lig with Vandoren V16 reeds. It delivered a very full sound with plenty of power. I was mightily impressed with the clarity of the tone, and this was particularly evident with the Optimum lig. The tone was not at all bright which I found surprising as the notes that come from Vandoren suggests that this mouthpiece is bright. The tone was warm and mellow, ideal for smooth jazz and more laid-back playing styles. Tone production was easy to control and it had a good dynamic range. We are delighted to add the T45 to the range in stock and I am sure that there will be many people who would find this an ideal upgrade for those in search of a jazz-playing ebonite mouthpiece.   

7. VANDOREN V16, T55, metal.  Excellent clarity and projection. Very big sound. I tried this with 4S Rico Jazz Select reeds and a Rovner light ligature and it positively roared. I was able to really blow hard but it was never overly harsh and the intonation remained secure throughout. This mouthpiece also comes with Vandoren's excellent Optimum ligature as a package which gives greater control, especially in the altissimo register. I also tried the T95 set-up with Vandoren V16 and La Voz reeds and it is beautifully clear with both. I found it extremely comfortable to play,  focusing my tone more, and responded to whatever I wanted to do. 

8. YANAGISAWA METAL SIZE 6. Played with its own ligature which I was pleasantly surprised with. This is a very well-finished mouthpiece which looks the business in a silver-plate finish over solid brass. Gave very good control, clear tone, secure intonation. Tonguing was effortless and response was very good. For a metal the sound was very warm and full sounding, not at all bright. I played this with 3.5 Rico Royal reeds and it was very easy to blow even with quite a hard reed. This isn't one for the power crazy out there but if you want a classy metal mouthpiece then this is well worth getting hold of.

9. RUNYON XL ebonite. Very much like the alto version, ideal for blues and jazz-funk, you can really produce a big sound with this mouthpiece without losing control. All the Runyon mouthpieces are very easy blowing but with some I have found the sound to break up at high volumes. Not so with the XL. Solid is the word that best describes this one. Personally I didn't like the spoiler in this one, it seemed a little harsh sounding, and I didn't feel at all comfortable with it in. But some might like it and the spoiler does have a dramatic effect, with an increase in volume( if you really like it loud). Used a BG Revelation Jazz ligature with this which I find to work very well with both Runyon's Quantum and XL mouthpieces.

10. SELMER 'Soloist', ebonite, size E. Extremely easy blowing mouthpiece with a very dark sound. It responded well but it didn't work well for me in the lower register, I would probably find an F or G a better size. Note production was clear with plenty of room for expression, flexible enough to shape notes and play musically. This seems suitable for all playing styles, particularly more mainstream jazz and classical music, and not at all for rock and pop. This is a welcome addition to the Selmer range of mouthpieces and offers a good alternative to the S80 models, giving more projection and the ability to play with more volume. 
 

Dave Guardala Laser Trimmed Mouthpieces:
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You can tell these beautifully crafted mouthpieces, designed by Dave Guardala, are a work of art and this is before blowing them!   Examine their internal structure and you'll see that they are engineered and laser trimmed to perfection.  The very thin side walls give them an unequalled amount of resonance. Designed with the advanced player in mind they are not produced in close lays with only one fairly open size available for each model. It's my feeling that part of their magic is the fact that the specific sound they produce is only obtainable from this carefully measured size. 
 

11. Dave Guardala Crescent. Reminiscent of the John Coltrane sound, this model was inspired by the album "Crescent," circa 1963.  I did some careful measuring and found the Crescent equated to an Otto Link 8 but despite this relatively large tip opening it feels remarkably free-blowing.   Tonally, it has a basic warmth, breathiness and 'body' to it, whilst giving out a huge amount of power and brightness on top.  It is this wonderful mixture that made me immediately fall in love with it.  I really do think this is one of the best mouthpieces I have ever tried – so I bought one for myself! Michael Brecker used a Guardala Studio mouthpiece back in the early 80s but unfortunately it is no longer available.  Despair not! Although the Crescent looks slightly different internally, to the Studio, I found that I got that same basic sound that Brecker achieved  (of course you need to have his sound well established in your head!); vibrant, rich and with a bit of edge on the surface.
 

12. Dave Guardala King. The King is patterned after the sound of King Curtis with the same great characteristics as the Crescent, plus a little more flare and brightness.  In other words it is rich in tonal colour, extremely powerful and with a certain amount of 'cut' to the sound.   It may be my imagination, but it did seem one step louder than the Crescent, but this could be due to the direct nature of the tone (and yes, there is a higher baffle) as opposed to any measurable increase in decibels!  The tip opening is a notch wider than the Crescent equating to an Otto Link 9 so once again, not for the beginner!   When playing the King, it made me think of jazz-fusion and pop saxophone-type licks and I found it excellent for hitting those top harmonics with real presence.
 

13. Dave Guardala Super King. Well, I can only repeat what I have said about the other Guardala models.  Excellent in every sense with a large tip opening allowing an enormous sound to be produced -  the Super King is the biggest & brightest!  The tip opening is the same as the King – equal to a Link 9.  I must underline that, despite the large tip opening of all of the Guardala mouthpieces, they are still pleasingly free blowing.  The Super King has a very similar high baffle design to the King, but a fraction higher making the sound even more direct.  It really made me want to play rock and pop sax solos over and over again;  'Simply the Best' by Tina Turner came to mind!  It's that kind of sound – very naturally inclined towards the upper harmonics (as the King was too) and refreshingly easy to produce them too!  - JC.

14. SR Technologies Pro Tenor. I have found describing the tonal qualities of these mouthpieces quite hard because there is so much there.  The sound is loud, full, dark and has plenty of punch. Harmonically these mouthpieces are just spot on, incredibly easy and responsive. The SR Pro 115 has a slightly larger tip opening for those player who like a full fat sound. Basically the best way I can describe the tone is like a wall of sound coming out of the horn, purely amazing! These are quite heavy mouthpieces which I think helps to centre the sound, making it nice and focussed. SR Tech mouthpieces come with a Rovner ligature, which I found complimented the mouthpiece nicely. TC

15. SR Technologies Fusion. This mouthpiece really surprised me. To look inside one might think it would sound like a Dukoff or DG King; bright and edgy. However, unlike some high baffle mouthpieces, which can sound rather thin, the Fusion retains plenty of body but still has some edge. The bottom end, was a little difficult to control, but this is balanced by effortless and responsive harmonic and altissimo register. Overall these are incredibly well-made and finished mouthpieces, and are surely one of California’s great sax secrets! TC

Some suggested ebonite set-ups for tenor sax:

1. BARI ebonite, Vandoren Optimum ligature, Vandoren Java reeds. This is a lovely set-up and found it one of the most expressive ebonite combinations to play. Notes in all registers were very solid and secure, good intonation and excellent response. I found playing effortless and even when playing for long periods I was not tiring as I have on some other set-ups. This set-up works for most types of music, except your loud rock and roll! But if you want a sound that is full and projects well, then this is a very good set-up indeed.

2. RUNYON CUSTOM ebonite, Rovner (light) ligature, La Voz reeds. This mouthpiece was a real find and a joy to play, without a doubt one of the smoothest tenor ebonite mouthpieces I have played. Very impressive. Tonguing was effortless and I was able to maintain good control over every note played from the lowest to the highest. Intonation was spot on with a very good response. This is a great mouthpiece, made even better when you consider the price and compare it to other good makes of mouthpiece out there.

3. MEYER ebonite, Rovner 'Eddie Daniels' ligature, La Voz reeds. Great control, very much like the alto mouthpiece. Softer and quieter sound than the other mouthpieces on test but such a mellow and cultured sound; beautifully controlled tone. With the Rovner 'Eddie Daniels' ligature, very warm, focused sound, response was instant and intonation not far off perfect. A touch of class with this mouthpiece and a nice understated sound. This would be an ideal set-up for those working in smaller ensembles and sax quartets, and those looking to really improve their sax playing technique.

www.du.edu/lamont/Mpce.html Check out the sax/mouthpiece/reed set ups used by some of the worlds most famous players.