Thanks everyone. Yes, I was going to use WWBW and send back the mp's I didn't want. SaxMan, what's the difference between the regular Meyer and the G? And, in going from the C* to a Meyer 7, will the 7 be very tough to adjust to? I was using a metal Link 7 on the tenor just fine, but I know the alto takes a lot more lip. I don't mind of reasonable period of struggle.

The G is made to mimick the paul desmond sound. and there is less that you can do with it than the standard meyer. THe 7, is an .08 tip opening, the C* is a .067, but the C* has an inferior curve and chamber and ther eownt be too much difference between the C* and 7 in terms of resistance - the 7 will be easier to play, but you have to give it more support and you be able to play as long on it as on the C* before getting really tired. (I am good on a concert, where you are playing the hardest you ever do, for about 2 hours on my 7, but in a concert, I play such that I use about one reed - or at least 2 fibracells) but overall, you wont notice much difference between the 2. (for the effort it takes to play it.)

your alto tone should not improve from playing tenor... the embochure is completly different and you have to be dead on when playing an alto you can bend and do what ever the F you want on tenor and its awesome but on alto always on always in tune

Thanks for the info Saxman. It was valuable. I'll try the Meyer 7. Bari, I know what you're saying is true. I'm thinking that perhaps the tenor, which takes a lot more air, finally forced me to breathe properly (from diaphragm), and I learned to open my throat with it (both of which my instructor had been hammering me on). Nontheless, after a year of gambling on the low notes on the tenor, they seemed easy and sure on the alto.