The alto saxophone is a popular choice for jazz musicians. The alto saxophone mouthpiece is designed to produce a rich, full sound that is ideal for jazz. The alto saxophone mouthpiece is slightly smaller than the tenor saxophone mouthpiece, and it has a narrower tip opening.
The alto saxophone mouthpiece is available in a variety of different styles, and it is important to choose a mouthpiece that is comfortable for you to play.
20 Best Alto Sax Mouthpiece For Jazz
1. D’Addario Select Jazz Alto Saxophone Mouthpiece D6M
Expertly designed and made in the USA by a team of top musicians and engineers
No hand-finishing for greater consistency
Featuring classic sound and response, with even intonation across the entire range of the saxophone
Medium chambers and facing lengths for exceptional versatility in all styles of jazz
Milled solid rod rubber mouthpiece. The Select Jazz line is milled not molded, from solid rod rubber, using D’Addario’s precise computer-controlled mouthpiece-making technology. The result is a mouthpiece with a classic sound and response, with even intonation across the entire range of the saxophone.
The inspiration for these mouthpieces was derived from the great vintage mouthpieces of the first half of the 20th century, but with modern precision milling. D’Addario Select Jazz Alto Mouthpiece Tip Opening 6 Medium Vintage Inspired D’Addario’s Select Jazz Mouthpieces combine vintage inspired design with modern production techniques to provide the perfect balance of tone and feel.
Precision Design Expertly-designed and made by a team of top musicians and engineers, the Select Jazz Alto Saxophone Mouthpiece is milled, not molded, from solid rubber, using D’Addario’s precise computer-controlled mouthpiece-making technology.
Opening Options Completely machine-finished, these mouthpieces feature medium chambers and facing lengths, and are available in Four tip openings (5, 6, 7 and 8 ).
I had heard quite a lot of good reports about these mouthpieces. I know there is a lot of hype about the launch of new mouthpieces. Generally though people seemed genuinely delighted with them, so I decided to try one.
I was really delighted with it, it blows freely, I can do soft quiet passages at piano and when I increase the pressure it has great projection and some bite to it. I found it very, very versatile. The bore that fits on the crook is just a tad small, but I found it doesn’t have to go on too far to be in tune and the intonation it really great.
I experimented with different reeds and it is really reed friendly. I also discovered that I can alter my sound by choosing a mellow reed or an edgy reed and many different colours in between. I have had the MP a couple of weeks now but I’m looking forward to spending more time discovering exactly what it will do.
In my opinion D’Addario has really come up with a great product and produced a mouthpiece that doesn’t break the bank too.
Plays better than any Meyer, HR Link, V16 or Jody Jazz I’ve played. Faced perfectly out of the box. Best HR mouthpiece under $300 imho. Pick up this and maybe a metal Link or Berg and you’ll never buy a mouthpiece again.
The Meyer 5M Hard Rubber mouthpiece is a go-to for many saxophonists around the world due to it s consistency and stability throughout the range of the instrument and it s lack of resistance, allowing for a free-blowing experience.
The 5M features a medium chamber and a. 076 tip opening, perfect for the student transitioning to a slightly larger mouthpiece tip opening and harder reed. This mouthpiece is in very good condition, displaying minimal signs of use and the beak is free from major scratches and teeth marks.
The price you see is for the mouthpiece only. Ligature and cap are NOT included.
Recently decided to add Soprano Sax. I already play alto and use one of the meyer copies on my alto. After going through two other mouthpieces for the Soprano, I thought I should get something closer to what I use now.
The Meyer 6M is fantastic! If you are playing on any Meyer-Inspired mouthpiece now and don’t have a Soprano but are thinking of adding it to your line up, this is the way to go imho. Very affordable and easy to play.
I went into the store with my alto sax that day to buy a mouthpiece that was suitable for Jazz. I was given the opportunity to try several different mouthpieces and i was extremely impressed by the variety of mouthpieces available for me to try out.
In the end i decided upon the Meyer because it was less resistant than most of the rest and gave me the most control on a 3. 5 reed. I would definitely recommend it to anyone looking to find a good mouthpiece to get them started in Jazz.
When I was in the process of upgrading from my C*, I had the opportunity to play 5-10 different mouthpieces, (Any credible music store will let you), and this Meyer was the first one I played, and also the last one that I walked out with.
It has a bold, fat tone, great response, and is easy to play. I use it specifically for jazz, with V16 reeds, I also used it for marching band and pep band in school. I would recommend this mouthpiece to beginners and experts alike because you get great tone at a great price.
SIZE: Model 6M (. 078″) Beautiful Warm Tone That Blends Well Free-blowing Power and Projection Traditional to Modern Sound Hand-Crafted and Individually Play Tested A hard rubber mouthpiece at a great price aimed at professionals and students looking for a traditional versatile mouthpiece.
High quality, control standards, a beautiful warm sound and a nice free blowing feel make these new mouthpieces amazing players at an outstanding price. More Info Special Rubber From a source in Germany.
This hard rubber has the look, feel and sound of Vintage hard Rubber that make the most sought after mouthpieces. The mouthpieces are faced on a special facing machine and then hand finished.
Have a Meyer alto 6 I purchased in 78 and still use, but I have been playing an eight on tenor more lately, which made it seem too small to adjust to when I would switch back to alto. This 7 Jody Jazz HR* has the sound I look for on alto.
Happy, popping, responsive, cutting with meat in the lower register. I can approach the alto with pretty much the same feel as when playing the tenor now. Very happy with this piece.
I have a few high baffle mouthpieces which give me that bright, edgy sound. I tried the Jody jazz jet mouthpiece (# 7) at my local Sam Ash store on a Cannonball Big Bell tenor sax. All I can say is that I immediately noticed how easy it was to play.
Altissimo is child’s play on this mouthpiece while it gives a nice full bottom end sound on the low notes, It’s not quite as bright as my Guardala MBII but a great mouthpiece and it projects!. If you want a terrific mouthpiece for Jazz, R&B or Rock, this is a great affordable choice that is super easy to play.
After years of frustration with pricey Metal mouthpieces that gave projection but inconsistent tone across the entire range, FINALLY, this mouthpiece does it all! I didn’t even have to change the ligature! PERFECT sound across entire range; effortless altissimo, penetrating sound when needed and soft dark moody tone whenever you want! THIS, after over 30 years of playing, when hooked up to my Theo Wanne Alto Sax is the perfect combo!!.
Are you looking for an affordable, high quality student alto saxophone mouthpiece? Look no further!!!! The Hite Premiere Alto Saxophone mouthpiece is for you. This mouthpiece is recommended by our local teachers because they are affordable and produce a great sound throughout the horn.
Unlike some brands, the low and high ended notes sound clearly, without buzz. Get your Hite Premiere mouthpieces at Alto Music Today!!!!.
For years I have played mostly Bari and some Tenor, but got a job playing Alto in a big band. Needless to say my chops were not really up to that little mouthpiece. I had been using a C* on the Alto since it was not my primary horn and it did the job.
Daily playing of it revealed it was not that versitle or forgiving. I have been using the Premiers on my Bari and Tenor because they feel very similar, so I figured I would try one on the Alto. It was like night and day from the C* it played just like the other horns and I could do a lot more with the sound from the bottom all the way up to altissimo.
I’m using a Hemke 3, and depending on the venue either a Rovner Dark for quartets, or the Hite Ligature for Big Band. The Hite ligature is matched perfectly to the mouthpiece and responds very well. The included tooth pad is very thin and you don’t even notice it.
It protects well and is very comfortable. The only thing to watch out for is if you use a metal cap. I switched to a plastic because my metal cap was a little short and chipped the corner. The finish is superb and very consistent so I keep a spare in the case in the event of a tragedy.
There is nothing worse that chipping a piece and having to change everything mid-gig. They are so consistent, a quick swap and you are set to go. I have been playing for 40+ years and have tried countless pieces over the years.
For the price, you can’t beat it, if you double it’s the only way to go. I use these on all my horns including clarinet. While everyone perceives things differently, These are just what I need to succeed.
I ordered this mouthpiece for my tenor sax because I have been using the alto sax model for years and really like the breathy, robust sound it affords. I found the tenor to be just as good, with a similar sound quality.
However, the packaging is really inadequate, which is why I’m, giving it only a 4. The piece is actually packaged in a plastic flip top case with a piece of foam inside that has a cutout in it that is too small for the mouthpiece.
This prevents the case from being able to close without cracking the top of the case and slightly scratching the mouthpiece.
The Rico by D’Addario Graftonite Alto Sax A3 Mouthpiece produces the largest, darkest sound in the Graftonite series. This mouthpiece incorporates revolutionary materials to aid ease of tone production.
Each Graftonite mouthpiece is made from durable polycarbonate material and is pitched at A=440hz. This mouthpiece has a tip opening of 0. 070 and is ideal for advancing students trying to find that powerful, dark sound.
I am a former pro tenor player who is returning to performing. The Rico Royal mouthpiece is a very good piece. It plays in tune and allows me to play altissimo much more easily than some custom mouthpieces that I have bought through the years.
The Rico Royal mouthpieces are excellent values. If you are relatively new to playing and want to switch from the mouthpiece that was provided with your saxophone, I recommend that you play on a Rico Royal B3 (medium bright, medium closed tip opening) or you can jump to a B5 or a B7, depending upon the strength of your embouchure.
The C series refers to its brightness and volume, and ease of playing. The 5 indicates the tip opening. Thus a C5 designation indicates that it has a medium open tip and is bright. Note: it does not come with a ligature or a mouthpiece cap.
Recommended. Why pay more for a crummy Vandoren than playing a Rico Royal mouthpiece that costs 30%-60% less?.
A Vito tenor sax with a generic student mouthpiece had a decent dark sound miked through the PA system. With the Graftonite C5 mouthpiece, I was amazed at how much it opened the sound to a fuller, richer and brighter sax sound, making that humble Vito really sing.
Reports abound on inexpensive Chinese metal mouthpieces, varying from mediocre in sound reproduction and construction quality to very good. I gather it is depends upon the particular factory producing it.
If you want something that is definitely a good purchase versus uncertain, I’d go for the Graftonite. My only complaint is the sharp edged mouthpiece barrel lip issue, which is easily fixable with a pocket knife.
I’ve bought 3, a C7 alto, a C5 tenor, and a C5 bari Graphonite and have been happy with all of them. The Rico Royal Graftonite Tenor Saxophone Mouthpiece is molded out of plastic and comes in 3 chamber gradations, A, B and C, where A gives a darker tone, B is somewhere in the middle and C is brighter.
Each gradation comes in 3 lay widths, 3, 5 and 7, where 3 is more closed and 7 the widest opening with greatest potentional for volume. (Note, in general one would use a softer reed for a wider opening because the reed vibrates more, covering a greater distance.
) This mouthpiece was well molded and machined, workmanship was excellent, except for one little but easily user fixable issue. A Graftonite C7 mouthpiece I bought for my alto 6 months ago had a had a sharp edge on the lip of the mouthpiece barrel that heavily gouged the new neck cork.
This was easily removed by deburring with a pocket knife. On older corks it obviously did not appear to be a problem, as my tenor Graphonite fit without a problem. I checked and sure enough, it had a fairly sharp edge, too.
Afterwards, I deburred it to camfer that edge for safety. You may want to check the mouthpiece for this possible defect and do similar. For the price, this mouthpiece is a worthy, cost effective upgrade.
I got this mouthpiece to get accustomed to playing bari before trying out higher-end pieces. It plays beautifully on a friend’s Yamaha 52 bari, but on my 1928 Buescher True Tone, it is inordinately sharp and CANNOT be brought down in-tune.
I haven’t had a whole lot of experience with bari equipment, so I don’t know if it’s the exception or the norm for these to play this way on vintage horns, but my friend’s Selmer S80 had the same problem.
Either way, if your bari is older than, say, 1970, avoid this mouthpiece. I’d be curious to try a Metalite, too, but I have a feeling I’ll have similar problems. This does use an odd ligature size for a low-end piece – it works with ligatures that fit standard hard rubber tenor mouthpieces like Selmers and Vandorens (Rovner size 2R) – and since it doesn’t include a ligature, rememeber that for when you get one.
I would still recommend this to high school-level bari players, since I’ve never seen a school bari I wouldn’t call modern. If you’re playing any Yamaha bari, a Rico B3 or B5 would be a great change from a stuffy little Selmer C*, and can tackle marching, concert, and jazz band equally well.
Just soften your reed strength by a half or whole when you switch. P. S. For those of you who know your instrument history, my bari is low-pitch, so it isn’t the horn.
Rousseau JDX Mouthpieces feature a unique wedged baffle that balances a stable sound with greater power, edge and projection. Good response and an even scale in all registers. A full sounding mouthpiece, with enough edge to “cut through” but enough warmth for a sensitive ballad work.
Available for Alto, Tenor, and Baritone Saxophones.
From the lowest to the very highest, the notes just pop out with no effort (using a soft reed). Produces good volume with a bright hard tone similar to the sound of late 50’s hard-bop players. Reducing effort warms the tone nicely.
Not for classical music, its very loud. For big band players, you might need to consider how a brighter tone will fit with the rest of your section. For soloists, it’s worth a try if you need to be heard more clearly.
Provides good edge and power but remains consistent with a solid tonal center that has a lot of bottom in the tone. Good response with an even scale in all registers and easy to play. The Studio Jazz Series delivers great response in the low register when playing soft (full tone) and in sub tone.
Good intonation is a essential in an Alto saxophone mouthpiece and the Studio Jazz delivers excellent intonation across the range of the Alto. A full sound and better projection while maintaining a beautiful Alto sax sound are the benefits of the Studio Jazz Alto Mouthpiece.
In Jazz, the Alto has to cut through, but most straight ahead players don’t want a sound that is too shrill and cutting. The sound of Wayne Shorter, John Coltrane and Branford Marsalis are some examples of the range of tone one might obtain from the Rousseau Studio Jazz Alto.
The wider tip openings of Jazz sax mouthpieces necessitate playing softer reeds than the reeds you play with a Classical sax mouthpiece.
Otto Link OLR4025S 5* Hard Rubber Alto Saxophone MouthpieceOtto Link mouthpieces have been famous for being some of the best mouthpieces for playing jazz for over 50 years, and have been the preferred mouthpiece for many professional jazzers for nearly as long.
The OLR4025S has excellent projection and tone quality and is available in many different tip opening sizes and facings. Cap and ligature are included. Get yours today at Alto Mouthpieces!.
I purchased this “upgraded” mouthpiece for my 13 Y/O son who has been playing tenor and alto sax for 4 years now. He absolutely loves it. In his words, “It improves the sound quality of my instrument and makes it easier to play.
” From listening, I would agree, his ability to growl notes and play transitions faster seems a result of the mouthpiece. Now he is a pretty good musician, really enjoys playing, and so this was a natural progression for him.
He is happy with the mouth piece and has already determined that this one will be used when he wants to stand out during his solo performances. With less work, he is able to get much louder and we will have to see how that works in the Symphonic and Concert bands he plays with.
OTTO LINK almost had a winner with their New Vintage series, if they had spent the few extra dollars to finish the tip rail properly. As it is the tip rail always needs reshaping because it does not conform to the shape of a reed.
It’s a small job for a competent re-facer but an added cost to the buyer. I have owned several of these and have had to reshape the tip on every one of them. Once that is done these mouthpieces play beautifully, probably as well as many of the expensive hand-finished pieces on the market.
Also they tend to be about one tip size smaller than marked. The last 8* I just bought measured exactly as an 8. They’re still a great buy, especially if by chance you get one that does not need tip modification.
I played clarinet, bass clarinet, and contrabass clarinet for 20 years. Learning tenor sax now. Have played in Pop, Rock, and Dance bands on bass, guitar, and drums, 42 years of paying gigs, a gigging fool.
I’m still working so, yes a professional musician who gets paid. But learning tenor sax, started on a Yamaha 4C which is a good student model. Now I decided after research to buy an Otto Link made of Ebonite (or hard rubber).
Reminds me of the Brilharts I played on clarinet in the 60s and 70s. Better feel on the teeth and embouchre than plastic. My opinion. The Otto Link has a larger chamber for air. And I’m using the Fibracell reeds now.
This item was returned in great condition. It looks and plays like new, with only minor signs of use (slight scuffs, etc. ). Featuring a flat baffle and a round chamber, the V5 series jazz mouthpiece gives the most traditional sound of the Vandoren ebonite mouthpieces.
The mouthpieces find favor amongst stage band players and are also found concert bands and sax quartets. A great all-around playing mouthpiece.
I had the AL-4 but purchased this AL-3 with the lower tip opening because my endurance was not where I needed it to be as a player to use in the wind ensemble. So my review will be kind of a comparison.
The AL-3 has slightly thicker rails and front rail than the AL-4 but the inside of the mouthpiece baffle, throat, chamber, ramp, look similar. I experienced the AL-3 to be slightly darker like others are saying, but I felt I get a similar sound out of the AL-3 as with the AL-4.
I can still get high upper partials to the tone out of the AL-3 as with the AL-4. I’m happy with the over all tone I can get from the AL-3 although not quite as focused as with the Selmer Larry Teal.
The resistance is noticable but not too much. With the AL-3 I had the same issue others were saying it not projecting due to the smaller tip opening, but with plenty of practicing and stiff enough reeds, you can still project with the AL-3.
The bore inner diameter of the AL-3 is similar to the AL-4, no problems putting it on the neck cork.
Actually I’m the parent of the child who plays. It was time for a replacement for his original chipped mouthpiece so we thought we’d step up. After doing some research we settled on this one and he couldn’t be happier.
He really noticed the difference and so did his director and very talented friend who sits next to him. In my (very long ago) experience, mouthpiece preferences tend to be very individual, but this one worked really well for our son.
For reference, he’s a 5’11” 190 lb 13 y/o, so he’s playing with the size/muscle of an adult and has 2. 5 years of experience.
I own almost every Vandoren Alto mouthpiece for different styles. Each mouthpiece plays different in a physical manner. This is the one mouthpiece that is EASY to play. I would recommend this mouthpiece and size not just as a classical mouthpiece to professionals but a mouthpiece the serious student might want because of how easy it responds and how smooth it plays with a good standard alto sound.
More important is students have enough problems with a woodwind instrument without having to worry about the mouthpiece being the problem. (It’s not always the reed. ) Finally this is a professional mouthpiece that makes a sound the novice player should hear to have a better concept of the potential sound a alto sax can produce.
Vandoren’s V5 Alto Saxophone mouthpieces are available in several models so both classical and jazz players can find their ideal mouthpiece. They have a traditional round chamber for optimal sound. Cap and ligature not included.
V5 Traditional Models A15 An easy-blowing mouthpiece, this has a tip opening of 1. 76mm with a medium long facing length. A20 Designed for use with softer reeds, this offers a compact, centered sound.
1. 86mm tip opening with a medium long facing length. A25 This mouthpiece has a wider tip opening than the A15 but same quality sound. 1. 86mm tip opening with a medium long facing length. A27 This classic Alto mouthpiece offers exceptional consistency in tone.
1. 65mm tip opening with a medium short facing length. A17 Featuring an opening of 1. 52mm with a short facing length, this mouthpiece allies timbre and ease with richness of sound. A28 Offering incomparable richness of sound, color, brilliance, and dynamic range! 1.
63+mm tip opening with a medium short facing length. V5 Jazz Models A35 An open mouthpiece that is well-adapted to suit both jazz and classical styles! 2. 06mm tip opening with a medium long facing length.
A45 Featuring an opening of 2. 20mm with a medium long facing length, this mouthpiece is ideal for Be-Bop styles with its warm, velvety sound. A55 With a big opening of 2. 47mm and a long facing length, this mouthpiece has the biggest opening in the V5 Alto series and allows the player to shape sound and color.
Get your Vandoren V5 Alto Saxophone mouthpiece today at the guaranteed lowest price from Sam Ash Direct!.
I bought this mouthpiece as a step up mouthpiece from a Yamaha C4 mouthpiece on my Vito Alto sax after first trying a Vandoren V-12, A6. The V-12 A6 has a great full sound but it was was a step too far with a opening of 196 that left me winded and struggling after about 15 minutes.
The SM711 AL3 with an opening of 152 is just right with the Rico Royal 2 1/2 reeds I’m using. Beautiful warm sound that is forgiving and easy to control. Overall a great value for the price.
On my thinner brass tenor it’s a little brighter than my vintage Selmer C** but intonation over the whole horn is better with the TL3. On my 1922 Buescher C melody sax the tone is beautiful. If you’re looking for a good mouthpiece for your C sax, give the TL3 a try.
The Standard Series are made out of high-quality phenol resin (plastic) and feature a design based upon the top grade Custom Series. They are extremely consistent in specifications and playing quality, and offer excellent value for their price.
The facing of this series is slightly shorter than that of the Custom Series making them easier to play, and easier for beginning students to achieve a rich characteristic saxophone sound. The 4C makes is easy to obtain a balanced, clear, and focused tone in any octave.
Yamaha 4C mouthpieces are the “industry standard” for beginner/student mouthpieces for two very good reasons: quality and price. Quality: they are uniformly good quality. A lot of the mouthpieces under $100 are mass-produced in China under virtually no quality control processes (or so it seems).
You can get a good one, or you can just as easily get one where the table is uneven so the reed won’t create a proper seal, making the mouthpiece literally unplayable. In that instance, you have to either return the product and hope the replacement is better, or you have to get out your sandpaper and try to fix it yourself, voiding any warranty in the process.
Yamaha mouthpieces do not have this problem. Like Yamaha’s instruments, the mouthpieces have a reputation for consistent quality, unit after unit after unit, even if the items are manufactured in China, due to Yamaha’s insistence on quality control.
Price: somehow these mouthpieces remain extremely affordable, which — coupled with the confidence you can have in their quality — makes them a tremendous value. Are there better mouthpieces? Yes, for more advanced players, the Selmer C*, for example, gives an intermediate player more flexibility in terms of volume and tone, and it even (I am told by a subject matter expert) will help hide flaws like breathiness or wavering tone in a less-skilled player.
But it also retails for around $175 — that’s SEVEN TIMES the cost of the Yamaha. And given that there’s a likelihood a player ready to appreciate the difference between the Yamaha and Selmer is also probably looking to move out of a 4C and explore larger chambers, etc.
, it makes the Yamaha a great first choice. This mouthpiece that should also last the player’s entire life, even if they start adding more mouthpieces to their collection to have different tonal options.
TL;DR? Buy it with confidence. It’s a consistent, functional mouthpiece that sets the standard for beginner/student models, and when the player is ready to move up, the low price means they can do so without regret.
Good all-rounder and way better than most stock mouthpieces. It is very balanced – not as restrained as a classical mouthpiece, not as edgy as a jazz mouthpiece. The relatively small tip opening makes for easy and consistent notes and easy playing.
You can’t lean into it as much as you could with a bigger tip opening and the tone will be simpler but it a great reliable choice for beginners and intermediate players.
Even though it is priced like a student mouthpiece these are usually well reviewed. I was disappointed that my mouthpiece had a facing that was a little off. It was not cut in plane with the baffle resulting in a corner at the tip being different on one side than the other.
I noticed it immediately when putting the reed on. A quick visual inspection at Yamaha should have rejected this one. Even a beginning player could have seen it wasn’t done right. I bought it as a “New Open Box” item.
Probably someone bought it, opened the boxed and immediately exchanged it for another at the store. Otherwise it was new. I doubt anyone even tried to play it. I’m an experienced player, and fortunately have the skills and tools needed to correct the defect which I did.
It played, but not perfectly, until I made the correction. After doing the tip facing correction, which also opened up the tip a little as result, it plays very well on my vintage Conn 12M baritone sax.
It has a good tone and is now easy to play top to bottom. I have high regard for the quality or Yamaha products from past experience. Yamaha probably has full confidence in their automated manufacturing, so maybe they don’t do much inspection.
There are probably more of these out there that are less than perfect, but still “playable”. I would recommend only buying one that you can return if it is less than perfect on the facing cut and especially at the tip.
Get a perfect one and it may surprise you how good these can be for the price. When right they are as good as some mouthpieces costing much more, but make certain it is perfect when you buy or that you can return it if it is not.
Correcting or modifying a facing must be done by someone with experience and the proper tools. Otherwise the cost to have this done can exceed the cost of the mouthpiece itself. In the end however, I have a great sounding and playing mouthpiece that is now slightly customized and better than new.
Designed by the world’s leading mouthpiece designer, Arnold Brilhart, the Metalite line of mouthpieces incorporates revolutionary materials to achieve ease of tone production and a wide range of tonal colors.
A favorite among jazz musicians, each Metalite mouthpiece is crafted from a durable and resonant material to offer the sound of a metal mouthpiece — without the expense. Metalite mouthpieces feature a medium-small chamber and are available in two tip openings; they are pitched at A=440.
This is a Metalite M5 Alto Saxophone mouthpiece, which features a medium (M) chamber for moderate brilliance, a. 080″ tip opening. Pitched at A=440, each Metalite mouthpiece is made from durable polycarbonate material.
The Rico Metalite Tenor Sax Mouthpiece is incredible !!! I’ve owned an M9 for at least 20 years, but the. 115 tip opening was starting to be be a little big for me. I’m in my 70’s, so I just recently purchased an M7 (.
105 tip opening ) that is perfect for me at this time. These mouthpieces are very inexpensive ( around $30 ) and play better than mouthpieces costing 10 times as much. I also have an M7 and M9 Alto sax mouthpieces as well and am thinking about getting an M7 soprano mouthpiece next before they stop making them again or decide to jack up the price.
It is a good mouthpiece but has one major drawback. The finish on it means the sticky pads can’t stick on it, after a very short time they slide off. Haven’t found a way to cure this. Very frustrating.
I purchased this mouthpiece because I wanted a more traditional sound. After playing a metal Dukoff D9 for many years, I wanted something that produced a darker tone. This mouthpiece does that without sacrificing power and projection.
It took some getting used to since it is wider than the Dukoff. I gave it three stars because 1. It does not come with cap and ligature. 2. The color is light grey and does not blend well with brass colored instruments.
If it was black and came with cap and ligature it would be a five star.
The JodyJazz DV Alto Saxophone Mouthpiece produces a bigger, fatter sound that is achieved effortlessly with better intonation and response. This mouthpiece was created to be the most efficient mouthpiece possible.
That means that there are lots of harmonics and great projection, without the annoying shrillness that is associated with loud bright mouthpieces. This mouthpiece comes with Theo Wanne’s innovative cap, ligature and pouch.
JodyJazz uses a new proprietary CNC facing technology that puts the perfect facing curve on the mouthpiece. This results in absolutely no dead spots in the vibration of the reed, with the notes in all ranges responding equally.
It has a husky barrel-chested tone, while being able to sing and soar over the top of any band. Subtoning and low notes are extremely easy and the altissimo is out of this world. Be prepared to have possibly the most fun you ever have had on the saxophone.
I couldn’t be more pleased with this purchase. This mouthpiece has a strong, warm sound that is perfect in a jazz setting. I’m shocked by how well the horn responds throughout the full range of the instrument.
The lower register is very full, in tune and speaks with a consistent and even response. Overtones are clear and in tune, and overblowing into the altissimo register is far easier on this mouthpiece than in others that I’ve worked with on bass.
I have played for some time on a modified pickle barrel bari mouthpiece that works great in a classical setting, but this mouthpiece is just another story all together in resonance and flexibility in many styles of playing.
I’m using a stiffer, unfiled reed which works really with this. 100 tip opening. I don’t personally feel that the mouthpiece would need to be any more open for me. I’m primarily a tenor player and I use a pretty open setup.
This is a perfect fit sound-wise, and I feel like I have plenty of head room for louder and softer dynamics. I had my preferred mouthpiece re-facer measure the tip opening, rails, etc. and the machining is dead on.
The price tag is steep but well worth every penny. As an aside, this mouthpiece also work pretty darn well on bari too.
I thoroughly enjoy the Jody Jazz line. The attention to detail on the chambers, leveling the ramp and rails are outstanding. The DV NY goes against everything you have always been told about a metal mouthpiece.
The large open chamber produces a very free blowing experience along with a very unexpected dark tone. I knew it would be smooth, but not this smooth. If youre looking for that permanent dark studio or quiet atmosphere mouthpiece, this is it.
It still has enough power to cut through when it needs to with the right reed choice. Very versatile. Thanks Jody Jazz!.
Awesome mouthpiece, I can’t believe how free flowing this piece is. I play lead alto for a couple of classic rock and variety bands, and this mouthpiece will SCREAM past the amplifiers. And it stays in tune much better than my vintage Strathon – I’ve gone back to the Strathon a couple of times while adjusting, and I can’t believe how much harder it is to play, after using it for.
way too many years, I’m still a little shocked. Still adjusting to having my tone and vibrato so revealed due to the free flowing and open nature of the sound, crystal clear. Decided to take a chance, and I think it’s worth every penny.
The third octave notes are clear a bell as is low Bb. Using soft Fibracell reeds helps tremendously especially in the summer. NEVER thot I would go to anything other than cane, but they are so reliable and work well with the MPC (another review I guess).
This item was returned in great condition. It looks and plays like new, with only minor signs of use (slight scuffs, etc. ). The Otto Link 24k gold plated metal mouthpieces combine gleaming good looks with the rich sound quality of a larger bore rubber mouthpiece.
These pieces provide an exceptional sound and style. Includes ligature and cap. In the world of professional mouthpieces for saxophones, one name stands out among the crowd. It is Otto Link! These bell metal mouthpieces have been the choice of numerous touring professional saxophonists in every genre of music from pop and rock to jazz, classical and R&B.
With their superior tone and wide range of facing sizes available, your sound will ascend to unheard of levels. Find out why these mouthpieces are the “choice of the world’s greatest artists”!.
I must be fair. Otto Link has a great reputation. I have only been playing Sax for 17 months. So my evaluation may not be suitable for everyone. I found this mouthpiece to be hard to blow, and I got a almost muffled sound from it.
I am going to try some different reed sizes to see if that might improve the airflow and sound production from this mouthpiece. The ligature that is supplied with the mouthpiece is bad. It looks very good, however, it slips.
I did get some sound improvement when I placed another ligature on the mouthpiece, but not much. I use a 2. 25 Legere reed on my Vandoren TL3 Optimum mouthpiece. I get a great sound and smooth easy air flow from it.
I had read so many great reviews on the Otto Link and on metal mouthpieces that I thought I would probably get another great mouthpiece from the one I am using now. A great backup. No such luck! Overall, I am very disappointed in this mouthpiece or my inexperience to play on such a mouthpiece.
It is a lot of money to spend on disappointment. Humans are all different, so it may be that for some others this might be a great mouthpiece. It looks great, but for me it was money poorly spent.
I ordered this Otto Link FL 5* and it just arrived today. After getting it unboxed, upon visual inspection I could see the entire bore, chamber and table are off skew from the blank used in making this piece.
Its asymmetrical by perhaps 2mm. Not a tiny amount. Also the table isnt flat. When I put this onto a flat surface it wobbles side to side. I put a 0. 10 feeler gauge in the area that doesnt make contact with the flat surface and didnt measure more after that.
There are also several cosmetic problems with playing blemishes and very visible weld joint sloppiness even on the top rail. This is not great quality for a $300 mouthpiece. However, all that being said, when I got to playing this piece, it played very well.
It has a centered tone that is very Trane-like with 3. 5 V16 reeds. I am surprised. It responds well in all registers and is a great mouthpiece. If the cosmetic issues and questionable quality bother you, stay away.
However, at least in this case it didnt really bother how the mouthpiece played and Im kind of shocked.
This is my first time ever playing an ottolink (alto). It’s free blowing and this one properly machined out of the box. The ligature on the other hand is cumbersome and finicky. So I’m getting a BG to replace it with.
The altissimo is a tad more difficult to pull off but I’m sure working with it I’ll get it down.
The Rico by D’Addario Graftonite Alto Sax B7 mouthpiece produces the medium-moderate brilliance in sound that the Graftonite series is known for. This mouthpiece incorporates revolutionary materials to achieve the ease of tone production.
Each Graftonite mouthpiece is made from durable polycarbonate material and is pitched at A=440hz. This mouthpiece has a tip opening of 0. 90cm and is ideal for advancing students trying to find their sound.
The Standard Series are made out of high quality phenol resin (plastic) and feature a design based upon the top grade Custom series. They are extremely consistent in specifications and playing quality, and offer excellent value for their price.
The facing of this series is slightly shorter than that of the Custom series making them easier to play, and easier for beginning students to achieve a rich characteristic sound. They also are available in a variety of sizes, to suit the needs players of many different styles.
Im playing an Allora curvy sop. Stock mouthpiece very closed tip, every note WAY out of tune. The Yamaha 6C is a great way to learn how to play soprano. Every note perfectly in tune. Keeping your bottom lip out is the best thing to play in tune and get a better tone from your horn.
I really like the sound of the Yamaha mouthpiece. The tip opening on the 6C is not too open IMHO to start with. Its very easy to control and still considered a small tip opening. The 4C is really a small tip.
Get the 6C if youre not sure. The mouthpiece is a great piece and will teach you how to play in tune with a beautiful sound very quickly. When Im ready to upgrade my skills and purchase a better mouthpiece, Ill know what direction to go because the Yamaha is so good.
I find this Yamaha 3C tenor sax mouthpiece to be easier to play than a mouthpiece with a larger tip opening and longer facing. It plays the low notes and high notes with less effort. Each note plays in tune without me having to put forth a lot of effort to play in tune which frees me up to concentrate on the music rather than intonation.
I double on a soprano clarinet and jump back and forth between the two instruments a lot. This Yamaha 3C mouthpiece makes transitioning back and forth between the two instruments much easier. I highly recommend this Yamaha 3C tenor sax mouthpiece for a beginner because it produces a great “in tune” tenor sax sound without requiring a lot of extra effort.
Used ONCE Selmer S80 C* star Alto Saxophone Mouthpiece with a New Vandoran ligature and New Bonade Cap, included in the price. Selmer Mouthpieces are precision crafted with a firm yet responsive feel, machined from hard rod rubber to assure stability, accuracy, and consistent facings.
For any kind of playing, whether it be in concert band, jazz band or playing classical saxophone repertoire, this mouthpiece is perfect. The S80 allows for good intonation and can produce a full-bodied, responsive dark rich tone from low B-flat up to high F-sharp and even into the altissimo register.
The full dynamic range from pianissimo up to fortissimo is straightforward. This is an amazing, classic mouthpiece! 100% worth the money if you are ready for a professional upgrade at an exceptional price.
Selmer C* hard rubber mouthpiece: Arguably the most versatile mouthpiece available. The safest bet for a beginner. A reliable “work horse” and a “swiss army knife”. Maybe, not the best for each situation.
There are some better suited for: jazz, clasical, marching, or rock. But, there is no other that can do it all reliably. No sound comes out of your saxophone that does not start in the mouthpiece. Your: embouchure, reed, and breath are the most important factor affecting your “sound”.
Mouthpiece is second. The saxophone is third. Take care of this and it will last a lifetime. No harsh chemicals. No hot water. No abrasives. Soft cloth and swab should be sufficient. If there is an accumulation, soaking in denture cleaner helps.
Keep covered when bouncing around in the instrument case. Ozone and sunlight are enemies of the hard rubber mouthpiece. I do recommend a “tooth guard”, to reduce wear. I used a square of electrical tape for decades.
There are better solutions available today. A well-cared-for “used” mouthpiece can perform as well as a fresh-out-of-the-box new mouthpiece. However, A mouthpiece is a very personal item. Not every aspiring musician would be comfortable putting a used specimen in their mouth.
If you only had onemouthpiece, This should be the one.
Bought a couple of months ago. Could not get a sound out of top three and three lowest notes on my new Yanagisawa soprano sax. Sent the mouthpiece to Sopranoplanet. who adjusted the facing and flattened the table and now the mouthpiece plays like a dream.
Very disappointed with Selmer since I play both a Selmer Mark 6 alto and a Mark 6 tenor which I believe are the best alto and tenor in the world. So I expected their soprano mouthpiece to live up to my Selmer expectations.
This coat is true to size, well-proportioned, and accommodates longer torsos/taller people. The fabric is neoprene-backed for comfort and looks very expensive. Perfect for a wet British spring. I do not regret this purchase in the slightest.
I bought this Selmer Primo mouthpiece to replace the one that came with my inexpensive alto saxophone. I’ve played both over the last couple of days, and the Selmer produces a much better quality of sound with greater stability.
I recommend it as a worthwhile upgrade on a basic instrument.
The Studio Jazz series of Alto Sax Mouthpieces has been refined to allow the performer to maintain a solid tonal center and play with enough edge for excellent carrying power. About E. Rousseau Mouthpieces:Each year, more saxophonists throughout the world are discovering the advantages provided by E.
Rousseau mouthpieces. The reason is simple: E. Rousseau mouthpieces work. They work because Eugene Rousseau, active throughout the world as a soloist, has transformed the demands of today’s performer into precision performance tools.
When you purchase an E. Rousseau mouthpiece, you are making an artistic investment. You know that your investment is sound when you consider that all E.
I have played a Meyer Metal 7J on my Selmer SBA alto for about 5 years and I absolutely love it!! I am a pro musician and gig 4 nights a week and it has never let me down. It is easy to control, free blowing, and responsive to a wide variety of subtlties of expression.
I have ran teh gamut in mouthpieces and have found many to be a “one trick pony”. This mouthpiece, for me, is very flexible and suitable for a variety of situations. I will warn that it does tarnish and is pretty hard too keep looking new, but plays great!!!!Jason Kendall.
When it comes to choosing the perfect alto saxophone mouthpiece for jazz, there are many factors to consider. The most important factor is the type of sound you want to achieve. Do you want a warm, mellow sound or a bright, edgy sound Once you know the type of sound you want, you can narrow down your choices.
There are many different brands of alto saxophone mouthpieces, each with their own unique sound. Some of the most popular brands include Selmer, Yamaha, and Vandoren. Each of these brands has a wide selection of mouthpieces to choose from, so it’s important to try out several before making a decision.
The size of the mouthpiece also plays a role in the sound it produces. A larger mouthpiece will produce a louder, more powerful sound, while a smaller mouthpiece will produce a softer, more delicate sound.
Again, it’s important to try out several different sizes to find the one that’s right for you.
Finally, the material the mouthpiece is made from can also affect the sound it produces. Mouthpieces made from harder materials, such as metal, tend to produce a brighter, more cutting sound, while those made from softer materials, such as plastic, tend to produce a warmer, more mellow sound.
Once you’ve considered all of these factors, you’re ready to choose the perfect alto saxophone mouthpiece for jazz. With so many great options on the market, you’re sure to find the one that’s just right for you.
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