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Padgard Tenor Saxophone Swab
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This instrument or product has been carefully played/used and returned to us in virtually new condition, however its packaging may not meet the standards set by the factory. Also, it no longer carries the manufacturer's warranty. If you're looking for a virtually new instrument in possibly less-than-perfect packaging, this is a great value. We feel so strongly you'll like what you see, we're including our 60-Day Satisfaction Guarantee on instruments and 30 days on accessories, to this used product making it a no-risk purchase.
Very Good: This instrument or product has been carefully played/used and shows few, minor signs of use. In most respects it looks and performs like new and may be considered equivalent to display units found in retail stores. Its packaging may not meet the standards set by the factory and it no longer carries the manufacturer's warranty. Condition 2 products are a terrific value and you can buy with confidence knowing our 60-Day Satisfaction Guarantee on instruments and 30 days on accessories applies to this used product.
This instrument or product is in good working condition but has one or more cosmetic flaws beyond those of a Condition 2 product. These flaws are typical of an instrument or product that's seen normal wear and tear, including incidental scratches, chips, dings, dents or other imperfections. It performs just as well as a Condition 1 or Condition 2 instrument/product. Its packaging may not meet the standards set by the factory and it no longer carries the manufacturer's warranty. Condition 3 is a great choice if you're looking for performance and value and not as concerned with cosmetics. You can buy with confidence knowing our 60-Day Satisfaction Guarantee on instruments and 30 days on accessories applies to this used product.
This instrument or product is not in working condition and needs repair, but can be brought back to full functionality with replacement of parts or some skilled repair work. If you are a do-it-yourselfer or know a skilled repair person this is a terrific value. Condition 4 products are sold AS-IS: they do not come with a manufacturer's warranty and are not returnable.
This instrument or product has been damaged beyond what we judge is reasonably repairable. It's best used for spare parts or to practice repairs on, and at this price Condition 5 products are sold AS-IS: they do not come with a manufacturer's warranty and are not returnable.
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Selmer Paris Soloist Alto Saxophone MouthpieceThe Selmer Soloist mouthpieces for alto saxophones designed by Selmer (Paris) were inspired by the older Soloist model manufactured in the 1940s. Features include a round throat and traditional bead design. Precision tooled from a hard rubber bar, its inner chamber offers a nice direct volume with a warm, centered sound to play both jazz and classical repertoire.Model C*: Tip: 1.70 / Table length: 22.00Model C**: Tip: 1.80 / Table length: 22.00Model D: Tip: 1.90 / Table length: 22.00Model E: Tip: 2.00 / Table length: 22.00Model F: Tip: 2.20) / Table length: 22.00
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I have played on many mouthpieces through the years; Berg Larsen, Beechler, Dukoff, Runyon, Lakey and several others. They are all wonderful mouthpieces but are very limited to what they can do. Today I play on a Selmer Soloist G facing with Alexander Superial DC 3 1/2 reeds and an Oleg ligature on a P. Mauriat 66R Alto; I also use an Otto link Super Tone Master for the added brilliance that only metal can give. The Soloist is a beautiful and expressive mouthpiece!! I can have the power of Gerald Albright and Nelson Rangell, I can have the lush warmth of those velvety smooth alto players from back in the day; this of course is due to your experience and talent. I have found that this mouthpiece is very expressive and has a very wide palette of tone. I have heard many people complain about these only being goon for Classical music, but I'm tell you with a little bit of effort on you side and some experimentation with different reeds and ligatures these mouthpieces can do anything; Rock, Jazz, Hip Hop you name it. It all depends on your talent and what you bring to the table. For people who do not like metal mouthpieces or need something not so brilliant in tone I highly recommend these mouthpieces for those looking for a perfect all around ebonite mouthpiece, they have never let me down and I am confident they will do the same for you.
One of my favorite saxophonists living has always been Lanny Morgan. The mouthpiece he uses is a modified Selmer Soloist E. When I found out that Selmer released a mouthpiece line modeled after the vintage Selmer Soloists, I immediately went ahead and ordered myself a Selmer Soloist E. As a jazz mouthpiece, I found it to be darker and fuller than my Meyer NY Limited Edition and Vandoren V16, which made me like it more. Not only was I able to sound closer sounding to my hero, Lanny Morgan, but I felt that I could better re-create Phil Woods older sound (growls) better on the Selmer E. It also works so well for me as a classical mouthpiece that I now only use this one mouthpiece. My setup with this mouthpiece is a Selmer Mark VI with a Winslow Ligature and La Voz Medium or Vandoren V16 #2.5.
I love this mouthpiece. I'd been curious about it ever since Kenny Garrett came on the seen. I've been playing on it for about a year now. Wide dynamic range, with the F facing anyway. That's what I use. It's a dryer sound than most mouthpieces for most of those who use it. I use Alexander Superial 3 1/2 reeds. My sound is brighter than Kenny Garrett's though. Probably because he uses a Mark VI and I use a Selmer Refrence 54 and the different reed types. I wish I was a little darker actually. A different sound for alto. It's a nice lush tone with good texture. It's got a nice warm center with lots of body even around the edges. Even though it's dryer, It's full and big with just the right amount of edgyness. And the intonation is unbelievable. I tried a lot of different reed brands and strengths on it. They all sound different for me at least. It quickly became my favorite mouthpiece. I'm obsessive about my tone. I found what I'm looking for, for now anyway. The Super Session was a little darker and it had a unique tone as well. I'm sticking with the Soloist though. It has greater projection. Of course I'm playing in a rock band right now. I need projection. For a jazz quartet I might try the Super Session.
A few days ago I went shopping for a mouthpiece. I lined up a massive line of modern and old school mouthpieces such as Brillharts, Myers, E.Rousseau's, Selmers. I had the pleasure of trying out a Selmer Soloist F. It was nice. I had to play a fair bit before I really got into the mouthpiece. When I was playing with my best tone I sound like Kenny Garret. I really enjoyed that. However, I found this mpc to be a bit low on the responsive side. It was a toss up between this and the E. Rousseau JDX. So naturally, I kept going back and forth. It wasn't everytime I got a perfect tone out of the soloist, but on the otherside I was getting everything I wanted out of the JDX. As a result I chosed the JDX. It's not that this is a bad mouthpiece, not at all. If I had the money I would have bought this one too! However, I found it lacked consistency. Whereas I believe in having good tone and working for it, during a gig I don't want to think about how my tone sounds, I want it to be there. So the tone was nice. The responsiveness wasn't particularly great nor was the consistency all that wonderful. However, as someone said before, this isn't a beginner's mouthpiece and it should be kept away from beginners.
This is the mouthpiece you NEED to get for playing classical music. I am using a Selmer soloist F with a #3 Hemke reed.