Hi everybody.

Somebody can help me to understand why mostly of the soprano
mouthpieces  give a ... kind of nasal sound? Obviously that sound come
from the soprano himself but the mouthpiece can make it strong or lowest.
What do you think is the best mp to cut off what I defined as nasal?
My sop is SML Gold Medal, but I've listen it with many mps and some of
those ad example a Yana 7 HR dont give that sound, the old metal
Selmer C* so and so, a Lackey HR7 plenty nasal. 

There is on your experience of mouthpiece workers a kind of line to
follow on the construction of soprano mp to exclude that problem? or
just some reeds compared to some kind of baffle can help?

Gian 

I haven't played very many soprano mouthpieces, but I find that larger
chambers with lower baffles tend to sound less nasal than smaller
ones.  Perhaps the "edge" created by a small-chamber, high-baffle
piece on alto, tenor, and bari comes out partially as a certain
nasal-ness on soprano.

Tully

On 4/21/06, Gian Luca Corino <cubismofree@...> wrote:
> Hi everybody.
>
> Somebody can help me to understand why mostly of the soprano
> mouthpieces  give a ... kind of nasal sound? Obviously that sound come
> from the soprano himself but the mouthpiece can make it strong or lowest.
> What do you think is the best mp to cut off what I defined as nasal?
> My sop is SML Gold Medal, but I've listen it with many mps and some of
> those ad example a Yana 7 HR dont give that sound, the old metal
> Selmer C* so and so, a Lackey HR7 plenty nasal.
>
> There is on your experience of mouthpiece workers a kind of line to
> follow on the construction of soprano mp to exclude that problem? or
> just some reeds compared to some kind of baffle can help?
>
> Gian
>
>
>
>
>
> Got a Mouthpiece Work question?  Send it to MouthpieceWork@yahoogroups.com
>
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I found that Bari 62 Hard Rubber, Selmer Super Session H, Selmer s80 
refaced to 62 thou tip, Yamaha Custom (relatively cheap) refaced to 64 
thou tip gave nice sounds on my Mk6 Selmer Soprano. The Yamaha needed 
some serious work but turned out very nicely.  These were all used with 
2 1/2 or 3 reeds.
Hoped this helps.
Ross

To minimize tha nazzle sound, avoid mouthpieces with baffles.  Vintage 
barrel chamber mouthpieces are the darkest.  If you want a little more 
projection, the squeeze chamber mouthpieces are good without getting 
too ducky.  I use a Vandoren S25 most of the time.

Next, reduce reed buzz by playing on a mouthpiece tip that allows you 
to use #3 or harder reeds.

Some embouchures will sound darker than outhers.  But soprano 
intonation may dictate what embouchure you need to use.

Last, consider getting a dark sounding soprano sax.  Vintage Conns and 
Bueschers are dark.  Curved can be darker than straight.  But my 
straight Conn is darker than my modern Asian-made curved sop sax (Its 
a Musica).  

To minimize tha nazzle sound, avoid mouthpieces with baffles.  Vintage 
barrel chamber mouthpieces are the darkest.  If you want a little more 
projection, the squeeze chamber mouthpieces are good without getting 
too ducky.  I use a Vandoren S25 most of the time.

Next, reduce reed buzz by playing on a mouthpiece tip that allows you 
to use #3 or harder reeds.

Some embouchures will sound darker than outhers.  But soprano 
intonation may dictate what embouchure you need to use.

Last, consider getting a dark sounding soprano sax.  Vintage Conns and 
Bueschers are dark.  Curved can be darker than straight.  But my 
straight Conn is darker than my modern Asian-made curved sop sax (Its 
a Musica).  

ALL GOOD POINTS, KEITH. IF YOU REALLY WANT A DARKER SOUND, GET A SOPRANO
WITH A SOLID SILVER BELL AND NECK. THIS REALLY TAKES THE "SHRILLNESS" OUT OF
THE HORN. 

-----Original Message-----
From: MouthpieceWork@yahoogroups.com [mailto:MouthpieceWork@yahoogroups.com]
On Behalf Of Keith Bradbury
Sent: Friday, April 21, 2006 7:22 PM
To: MouthpieceWork@yahoogroups.com
Subject: [MouthpieceWork] Re: soprano mouthpiece and nasal sound

To minimize tha nazzle sound, avoid mouthpieces with baffles.  Vintage
barrel chamber mouthpieces are the darkest.  If you want a little more
projection, the squeeze chamber mouthpieces are good without getting too
ducky.  I use a Vandoren S25 most of the time.

Next, reduce reed buzz by playing on a mouthpiece tip that allows you to use
#3 or harder reeds.

Some embouchures will sound darker than outhers.  But soprano intonation may
dictate what embouchure you need to use.

Last, consider getting a dark sounding soprano sax.  Vintage Conns and
Bueschers are dark.  Curved can be darker than straight.  But my straight
Conn is darker than my modern Asian-made curved sop sax (Its a Musica).  





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Thanks Keith. I've tested a Vandoren S35 but I found it a bit difficult to control, maybe a 25 will be more balanced. The ducky sound was not out anyway, better tuned with the Yanagisawa. From your words It seems to me you indicated the baffle as most responsable of ducky sound, as I was thinking...
 How much a metal mp can give a more ducky sound  than hard rubber?
 I heard from many source entusiastic people talking about the Bari for soprano. Seems reduce totally this duck-duck sound, someone have direct experience? I heard from Guardala stuff Bradford Marsalis use one HR64 on soprano. Somebody knows if it is true?

Keith Bradbury <kwbradbury@...> wrote:    To minimize tha nazzle sound, avoid mouthpieces with baffles.  Vintage 
 barrel chamber mouthpieces are the darkest.  If you want a little more 
 projection, the squeeze chamber mouthpieces are good without getting 
 too ducky.  I use a Vandoren S25 most of the time.
 
 Next, reduce reed buzz by playing on a mouthpiece tip that allows you 
 to use #3 or harder reeds.
 
 Some embouchures will sound darker than outhers.  But soprano 
 intonation may dictate what embouchure you need to use.
 
 Last, consider getting a dark sounding soprano sax.  Vintage Conns and 
 Bueschers are dark.  Curved can be darker than straight.  But my 
 straight Conn is darker than my modern Asian-made curved sop sax (Its 
 a Musica).  
 
 
 
     

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Ciao GL,
I play a curved soprano partly for that reason (Yanagisawa). I currently use a standard Yanagisawa n°5 mp, and like the sound. The rubber Links are fine, and not nasal at all. I don't know exactly the "scientific" reasons, but probably these 2 brands have designs according to the comments made by Keith and the others.
Greetings from sunny Svizzera             db

----- Original Message ----
From: Gian Luca Corino <cubismofree@yahoo.com>
To: MouthpieceWork@yahoogroups.com
Sent: Friday, April 21, 2006 10:00:22 PM
Subject: [MouthpieceWork] soprano mouthpiece and nasal sound

Hi everybody.

Somebody can help me to understand why mostly of the soprano
mouthpieces  give a ... kind of nasal sound? Obviously that sound come
from the soprano himself but the mouthpiece can make it strong or lowest.
What do you think is the best mp to cut off what I defined as nasal?
My sop is SML Gold Medal, but I've listen it with many mps and some of
those ad example a Yana 7 HR dont give that sound, the old metal
Selmer C* so and so, a Lackey HR7 plenty nasal. 

There is on your experience of mouthpiece workers a kind of line to
follow on the construction of soprano mp to exclude that problem? or
just some reeds compared to some kind of baffle can help?

Gian 





Got a Mouthpiece Work question?  Send it to MouthpieceWork@yahoogroups.com

Visit the site at http://groups.yahoo.com/group/MouthpieceWork to see the Files, Photos and Bookmarks relating to Mouthpiece Work.

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>  How much a metal mp can give a more ducky sound  than hard rubber?

In my opinion, no difference.  Its just that high baffles are found more
often in metal mouthpieces.

>  I heard from many source entusiastic people talking about the Bari for
> soprano. Seems reduce totally this duck-duck sound, someone have direct
> experience? 

Yes, a HR Bari is a similar squeeze chamber design to the Vandoren.

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>>  I heard from many source entusiastic people talking about the Bari for
>> soprano. Seems reduce totally this duck-duck sound, someone have direct
>> experience?
>
> Yes, a HR Bari is a similar squeeze chamber design to the Vandoren.


I have a HR Bari 70 and a Ponzol HR 65.  They both are "squeeze chambers" (I
had never heard this expression until now). They look almost exactly the
same to me, except the Bari has a little bit more of a rollover baffle than
the Ponzol.

They are similar to a scrollwork HR Selmer D I have, except the Selmer
squeezes down to a smaller throat, and the throat constriction ends about
1/8 inch closer to the tip.

FWIW, the Ponzol plays more easily and projects better than the Bari, at
least for me, even though it is a slightly narrower facing. I've been trying
to adjust the Bari to play as well as the Ponzol... so far unsuccessfully.

I find that a relaxed embouchure with the lower lip acting as a damper (like
subtoning) cuts down the nasality (I have a straight soprano.)


Barry

> I have a HR Bari 70 and a Ponzol HR 65.  They both are "squeeze chambers"
> (I had never heard this expression until now). 

I think I borrowed the term from Theo's site.  I call it a squeeze throat
too.  I think it is sometimes called a double chamber, but this is less
common.

The HR Barone also appears to be from te same blank as the Bar and Ponzol. 
Meyers and Morgans have this design too but with slightly different
diameters throats.  Choosing between these MPs helped me to fine tune
intonation between ocataves.

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[ Attachment content not displayed ]

--- August Stohrer <abadcliche@...> wrote:

> This may be a little radical, but...
> 
> I find that playing a straight sop at more of a
> clarinet angle works wonders
> for the sound, eliminating nasality in particular
> and really opening
> everything up.  For me personally, magical wouldn't
> be too strong of an
> adjective.
> 
> I play a buescher straight true tone and a buescher
> mpiece.
> 
> On 4/22/06, Keith Bradbury <kwbradbury@...>
> wrote:
> >
> > > I have a HR Bari 70 and a Ponzol HR 65.  They
> both are "squeeze
> > chambers"
> > > (I had never heard this expression until now).
> >
> > I think I borrowed the term from Theo's site.  I
> call it a squeeze throat
> > too.  I think it is sometimes called a double
> chamber, but this is less
> > common.
> >
> > The HR Barone also appears to be from te same
> blank as the Bar and Ponzol.
> >
> > Meyers and Morgans have this design too but with
> slightly different
> > diameters throats.  Choosing between these MPs
> helped me to fine tune
> > intonation between ocataves.
> >
> >
> > __________________________________________________
> > Do You Yahoo!?
> > Tired of spam?  Yahoo! Mail has the best spam
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> >
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> > MouthpieceWork@yahoogroups.com
> >
> > Visit the site at
> http://groups.yahoo.com/group/MouthpieceWork to see
> the
> > Files, Photos and Bookmarks relating to Mouthpiece
> Work.
> >
> > To see and modify your groups, go to
> http://groups.yahoo.com/mygroups
> >
> >
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> > YAHOO! GROUPS LINKS
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> >  ------------------------------
> >FYI:
I heard Gary Foster say he thinks the soprano should
be played with a clarinet approach.  Your are not
alone, and for me too it works.

BK 
> 


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> I think I borrowed the term from Theo's site.  I call it a squeeze 
throat
> too.  I think it is sometimes called a double chamber, but this is 
less
> common.

It looks like Theo just calls this an extra small chamber.  I think 
most of the chamber is still fairly large.  The the throat is small.