I'll second the Java being a cup of coffee comment. I'll also second the person going down some reed sizes. (but I was the kid in high school who was using a metal link and 3-3.5 reeds) I think I had a bad embture back then. I you could have embature problems, but I doubt that since any person "should" be able to play most notes just find that are in a sax's normal range. By normal I mean low E up to high D - just fine without much problems.

The greatest players in the history of jazz tenor saxophone played on mouthpieces that hardly resemble the Java or Jumbo Java setups that seem popular today. Let us begin with an example -- Dexter Gordon. His mouthpiece of choice was the original Dukoff Hollywood. There was NO baffle in this mouthpiece. It was a wide open chamber. After his Conn was stolen (with his mouthpice) Dexter played Selmer horns with a Tone Master Link. Again, a wide open, no baffle mouthpiece. John Coltrane -- no baffle..... Johnny Griffin -- no baffle..... Wayne Shorter - no baffle..... Coleman Hawkins -- baffles weren't invented...... Sense a pattern? The Java and Jumbo Java have a huge, high wedge baffle that distorts the air column, giving the player an immediate sense of edge, that misleads them. Yeah -- it is an edgey sound. But it is a thin, brittle gutless edgey sound, uneven in the registers of the horn. The wedgey style mouthpieces cause many intonation and response problems as well. I would suggest staying away from them. ii-V=I kenny j

You're wrong about the Java, Kenny. The Jumbo has a distinct baffle, but 'wide open chamber' are exactly the words I would use to describe my regular Java. There's a slight hump to the top, but I wouldn't even consider calling it a baffle. For whatever it's worth: I know I haven't really learned to control the Jumbo yet, but so far I do prefer the the sound I get from the plain Java...

Takes a stronger embrocure to control bright mouthpieces, when I first got some of my mouthpieces (Dukoff and Jumbo) i squeeked alot but they're so easy to play on now :) And with a baffle...the gutless stuff, no offense but I love David Sanborn and no way is his sound anything like you described it, and he plays on a dukoff (high baffle, but not as high as jumbo).

Coltrane and Shorter where/are know for putting gum and various things in their mouthpieces to create a baffle and give their sound more punch. I know many players that use old links with epoxy and other artificial baffles put in for projection. Baffles cause the air to speed up from the restriction which creates a brighter sound. This is needed in many situations when you need to cut, I don't mean only in funk,and pop situations, but also in the jazz setting.

Pay attention to Johnson's post. Bloody good advice. As to Coleman Hawkins and the invention of the baffle, check out some photos of him later in his career. It's a Berg. Johnny Griffin was known for "fixing" his mouthpieces. Wedge baffles aren't an evil thing, but you have a good point, Kenny, that if you don't have a good air stream your sound will be thin, brittle etc. So get your horn checked by a competent tech and find a Link with a good facing!

Yeah, I lose track of the selmer brand mouthpieces. But yeah everyone at my school has one. And it's fun when one of them try to play on my metal mouthpiece and completely make a fool out of themselves. :) Just out of curiosity, I do use the C* for concert band, is there some other quiet mouthpieces for that stuff too? My super session seems to be a little loud...I dont know just a though.

I've got a #6 Rovner G that's nicely mellow. It was my favorite until I got the T45 Java... I'd say it was perfect for concert band, but I've never actually been in a concert band! ;-)

But yeah everyone at my school has one. And it's fun when one of them try to play on my metal mouthpiece and completely make a fool out of themselves. :) I imagine the same thing happens when a lot of players used to open peashooters move to a Caravan or AL3. It's all about what you're used to. there are quite a few different "quiet" mouthpieces out there. There's too many places to really begin. In any event, switching to softer reeds should let you play softer on most setups. Playing an alto of .100" tip with hard reeds would be difficult to at p :)

A couple of things: If you are having a problem playing lower notes with ease you should check the rails and tip on your mp. First look at them and see if they have any visible problems. Second, take a non warpped reed put it on the mp and suck the mp on to your hand by putting the circle end in your palm and sucking in where you blow. This should cause the reed to stick against the MP. You should be able to remove your mouth and have the reed remain stuck for a few seconds and then there will be a loud pop as the reed comes loose. If it wont stick to the mp, you have found your problem. Becareful looking at this problem and then looking at Trane and Shorter for advice. I love their sound and gravitate towards them more then other players but when have you ever been blown away by how softly they are playing low notes? They put a lot of air through their horns. (Well some of Shorters recent playing) Practice your overtones on low notes. This should help you develop your range.

Err, doubt it. Vandoren is well known for making their stuff perfectly accurate and all that, as int he rails should be perfect. Just stay away from the Berg Larsens, Brilharts, Dukoffs, because those have a big reputation but now suck because all the people that made them died. Otto Links have changed too, they tend to be brighter thant he old vintage. Lots of new brands like Brancher, Peter Ponzol, and Yanagisawa are really good mouthpieces. (I've done lots of research :))

Count: How would rate the Otto Link New York against the Vandoren V16 (for tenor)? I'm starting to think about a metal piece, but want to stay on the dark side (if you know what I mean)...

I don't play tenor first off, so my info might not be totally accurate. From what I've heard, V16 metal is warm and dark but when you push hard enough it has some edge to it... People tend to use the otto link metal for fusion because its kind of bright... So my choice would be the v16, and preferably v16 reeds + the optimum vandoren lig with it...that would probably help more. If you were to go with otto link id buy a vintage one... Keep in mind though that metal and plastic can sound the same, it just depends on how they're shapped on the inside. Maybe you live near a good music store that will let you try out different mouthpieces?