Marcel Mule mouthpiece specs (Mouthpiece Work Yahoo Group)

FROM: framytuck (framytuck)

SUBJECT: Marcel Mule mouthpiece specs

This is my first post in the group, so please forgive me for its 
length and if its inappropriate for this message group. I am trying 
to find out whether Marcel Mule played on a D or a C* 
Selmer alto piece and whether he actually played on the metal 
mouthpiece or were the pictures of him with that mouthpiece just an 
advertising ploy of Selmer.Also, if possible..was his mouthpiece the 
older somewhat oblong (round) chamber or the Selmer chamber that was 
shaped more like a horseshoe. I studied with one of Mule's students 
for a few years and he left me with the impression that Mule played 
the hard rubber D, not sure of the chamber shape. But i've heard from 
others that he played the C*.so if you know where I can get a 
definite answer about the facing and chamber, I would really like to 
know. I have a few Selmer D pieces that need to be refaced anyway and 
i would like to have them refaced to the original specs of the 
mouthpiece that Mule would have been using in the 1940's or 1950's. 
So if anyone happens to know the correct mouthpiece and could share 
the specs or range of specs for it from the 1940-1950 time frame, it 
would be greatly appreciated.   Thanks for your consideration.   
Frank Tuckwiller

FROM: tenorman1952 (Paul Coats)

SUBJECT: Re: Marcel Mule mouthpiece specs

It is my understanding that Marcel Mule actually played the metal 
mouthpiece.  I don't know what facing. 

I have never been able to figure out why the C* facing is rammed down 
student's throats.  It is OK on alto, but soprano, tenor, and baritone 
C* is too small.  Most players who experiment any at all with other 
sizes usually go to D or E  for soprano, tenor, and bari.  Alto players 
usually like C** or D.

The metal classical mouthpiece from Selmer is NOTHING like the S80 and 
S90 models of today.  That model (Fred Hemke also played it on alto and 
tenor) had a distinctly round chamber.  This chamber was copied by Larry 
Teal for the LT model from Selmer.  But Teal, perhaps because he was 
mainly a clarinet player, applied a long narrow facing, which required a 
very hard reed (Vandoren 4 or Med Hard), and LT's were only offered in 
that one facing.  BTW, if you want your LT to really play, I have turned 
these sows' ears into silk purses for many players.

I had the experience of being asked by players from Australia and 
Europe, "Why do you Americans play the C*?  We prefer the D for 
classical saxophone."

My theory on the C*, it is so bad that they can't get rid of them, so 
they stick them in cases with the horns and ship them to America.  
Unfortunately they weren't tossed in the trash like stock mouthpieces 
usually are.

Frank, you will be happier with a D, and a more moderate #3 reed (try 
Hemke 3).  An LT with a D facing and the roll taken off the baffle makes 
an excellent classical mouthpiece.  Or, you can skip the refacing and 
baffle work, and just buy a Vandoren V5.  They play well right out of 
the box, and come with better facings.

Paul

framytuck wrote:

> This is my first post in the group, so please forgive me for its
> length and if its inappropriate for this message group. I am trying
> to find out whether Marcel Mule played on a D or a C*
> Selmer alto piece and whether he actually played on the metal
> mouthpiece or were the pictures of him with that mouthpiece just an
> advertising ploy of Selmer.Also, if possible..was his mouthpiece the
> older somewhat oblong (round) chamber or the Selmer chamber that was
> shaped more like a horseshoe. I studied with one of Mule's students
> for a few years and he left me with the impression that Mule played
> the hard rubber D, not sure of the chamber shape. But i've heard from
> others that he played the C*.so if you know where I can get a
> definite answer about the facing and chamber, I would really like to
> know. I have a few Selmer D pieces that need to be refaced anyway and
> i would like to have them refaced to the original specs of the
> mouthpiece that Mule would have been using in the 1940's or 1950's.
> So if anyone happens to know the correct mouthpiece and could share
> the specs or range of specs for it from the 1940-1950 time frame, it
> would be greatly appreciated.   Thanks for your consideration.  
> Frank Tuckwiller
>
>
>
> Got a Mouthpiece Work question?  Send it to MouthpieceWork@yahoogroups.com
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FROM: saxgourmet (STEVE GOODSON)

SUBJECT: Re: Marcel Mule mouthpiece specs

Paul:
I agree with your comments, and offer this theory: the C* facing has (for
years) been the standard facing on Selmer (Paris) horns sold in the USA. I
don't know if this is the case in other nations. I believe that band
directors (who I refer to as BRAND directors) figure that "if it's good
enough for the factory, it's good enough for my students". I find the older
Selmer metals (easy to distinguish, the logo is different) play a little
darker. I've got several in my collection.
-----Original Message-----
From: Paul Coats [mailto:tenorman@...] 
Sent: Wednesday, August 11, 2004 8:26 PM
To: MouthpieceWork@yahoogroups.com
Subject: Re: [MouthpieceWork] Marcel Mule mouthpiece specs



It is my understanding that Marcel Mule actually played the metal
mouthpiece.  I don't know what facing.  

<!--[if !supportEmptyParas]--> 

I have never been able to figure out why the C* facing is rammed down
student's throats.  It is OK on alto, but soprano, tenor, and baritone C* is
too small.  Most players who experiment any at all with other sizes usually
go to D or E  for soprano, tenor, and bari.  Alto players usually like C**
or D.

<!--[if !supportEmptyParas]--> 

The metal classical mouthpiece from Selmer is NOTHING like the S80 and S90
models of today.  That model (Fred Hemke also played it on alto and tenor)
had a distinctly round chamber.  This chamber was copied by Larry Teal for
the LT model from Selmer.  But Teal, perhaps because he was mainly a
clarinet player, applied a long narrow facing, which required a very hard
reed (Vandoren 4 or Med Hard), and LT's were only offered in that one
facing.  BTW, if you want your LT to really play, I have turned these sows'
ears into silk purses for many players.

<!--[if !supportEmptyParas]--> 

I had the experience of being asked by players from Australia and Europe,
"Why do you Americans play the C*?  We prefer the D for classical
saxophone."

<!--[if !supportEmptyParas]--> 

My theory on the C*, it is so bad that they can't get rid of them, so they
stick them in cases with the horns and ship them to America.  Unfortunately
they weren't tossed in the trash like stock mouthpieces usually are.

<!--[if !supportEmptyParas]--> 

Frank, you will be happier with a D, and a more moderate #3 reed (try Hemke
3).  An LT with a D facing and the roll taken off the baffle makes an
excellent classical mouthpiece.  Or, you can skip the refacing and baffle
work, and just buy a Vandoren V5.  They play well right out of the box, and
come with better facings.

<!--[if !supportEmptyParas]--> 

Paul

<!--[if !supportEmptyParas]--><!--[endif]-->

framytuck wrote:


This is my first post in the group, so please forgive me for its 
length and if its inappropriate for this message group. I am trying 
to find out whether Marcel Mule played on a D or a C* 
Selmer alto piece and whether he actually played on the metal 
mouthpiece or were the pictures of him with that mouthpiece just an 
advertising ploy of Selmer.Also, if possible..was his mouthpiece the 
older somewhat oblong (round) chamber or the Selmer chamber that was 
shaped more like a horseshoe. I studied with one of Mule's students 
for a few years and he left me with the impression that Mule played 
the hard rubber D, not sure of the chamber shape. But i've heard from 
others that he played the C*.so if you know where I can get a 
definite answer about the facing and chamber, I would really like to 
know. I have a few Selmer D pieces that need to be refaced anyway and 
i would like to have them refaced to the original specs of the 
mouthpiece that Mule would have been using in the 1940's or 1950's. 
So if anyone happens to know the correct mouthpiece and could share 
the specs or range of specs for it from the 1940-1950 time frame, it 
would be greatly appreciated.   Thanks for your consideration.   
Frank Tuckwiller



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FROM: framytuck (Frank Tuckwiller)

SUBJECT: Re: Marcel Mule mouthpiece specs

juat a note of thanx for the input guys. i've been playin a mark6 alto with a selmer d and vandoren reeds ( 2 1/2-3 ) for about 35 years and i was a bit set in my ways. i tried the new soloist d and the vandoren V5 A20. the new selmer piece felt just like the old soloist d, but the vandoren was a revelation.it outperformed the selmer from altissimo to low b-flat.i tried the A20 because it has the same tip opening as the selmer soloist d but the difference in response is incredible. i'm using hemke 3's ( tired of the inconsistency with the vandorens) and am getting excellent results but i will be trying some glotin 3's as well. i've never used glotins but i've heard excellent reports about them. thanx again for alleviating some of the frustration i had been dealing with and for helping put some fun back into playing again.

Paul Coats <tenorman@...> wrote:

It is my understanding that Marcel Mule actually played the metal mouthpiece. I don�t know what facing.