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Selmer Paris Soloist Tenor Saxophone MouthpiecesThe Selmer Soloist mouthpieces for tenor 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: 1.80 / Table length: 24.00Model C**: Tip: 1.90 / Table length: 24.00Model D: Tip: 2.00 / Table length: 24.00Model E: Tip: 2.10 / Table length: 24.00Model F: Tip: 2.30 / Table length: 24.00Model G: Tip: 2.50 / Table length: 24:00Model H: Tip: 2.70 / Table length: 24:00
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I bought this before school started and I thought it would just be temporary until I got a new Tenor because mine was getting worn down. When I first played it I was amazed at the amazing tone and intonation! I fell in love with it and have been using it for about 2 years now and love it!!!!!
this is truly a great mouthpiece. it has a full sound rite away, and if you like sub tone you can get it out with ease. i like the tone on this mouthpiece because it's not like the other brands. on Meyer the sound is to thin, on a rubber link the high register is to hard to work with plus its not powerful enough, on a metal link the sound is not warm enough, but on the soloist it gives enough of a warm sound and the sound just pops out and it's also phat and round it's a great mouthpiece well worth the price.
I was given a Selmer Soloist years ago by Joe Henderson; which I still own today. Lately it has been leaking the sulfur from it though so I decided to purchase a new one, I purchased the H facing. This new model is not exactly like the vintage one I was given; quality has changed since 50-years ago, but it is very nice. I have played many mouthpieces throughout the years; Dukoff, Berg Larsen, Runyon, Beechler, I have settled on this mouthpiece and an Otto Link New York for that extra brilliance that only metal gives, the Selmer Soloist is one of those mouthpieces made for those who truly know how to shape their tone into what they want. I use Alexander Superial DC 31/2 with an Oleg ligature and play on a P. Maurait 67R Tenor. This setup has given me the power I need for Gerald Albright when needed and the smooth lushness of Stanley Turrentine and Joe Henderson when needed; of course I sound different; I am not them and everyone's morphology and embouchure is different, but it has allowed me to have any tone I want. This mouthpiece is beautiful and has a very wide palette of expression depending on your technique and talent. It can be very dark, in the middle of the road and even very bright, once again depending on the talent you bring to the table. For those who do not like metal mouthpieces, I highly recommend this mouthpiece to anyone looking for a great all around ebonite mouthpiece. It will certainly get the job done for you.
I love this mouthpiece. My preferred setup for jazz is an F facing with a Vandoren Java 4 reed. Sometimes I'll use a regular Vandoren 3. It's round and warm, Dry and dark and it's easy to play. It's a great cross over mouthpiece for those who play both jazz and classical music. That is unless you're looking for something bright. I like mellow. It's certainly not a Dukoff or a Guardala if that's what you're looking for so if you're into pop jazz you probably won't like it. This is totally straight ahead although those who come to listen to the rock band I sometimes play with think it sounds great. So does the band leader. With the java reed I sound a lot like Joe Lovano and with the regular Vandoren I sound a little more like Joe Henderson. An east coast sound. My shiny black Cannonball Stone Series sax makes it even darker with just the right amount of light overtones especially with the Java.
I got the E facing (.95 - .100 I think). It replaced a 1962 C* Selmer Soloist that was getting pretty grungy. (Therefore this is "cleaner"). At first, the larger tip was harder to play. Changed to a La Voz medium soft and it sounds pretty much like my older rubber piece. The vintage soloist line is known for ease of use and the ability to give different tonal qualities depending on the player. That's what they're aiming for here in the newer Soloist model. And despite popular opinion, lots of great jazz has been played on hard rubber pieces. I still have to put on a metal piece to wail the best, but this one gets a bit closer than my C*, in case I don't want to change. And it does not have any of that metal shrillness. This would be a good choice for someone who plays a variety of music and does not often find it necessary to cut through loud guitar amps to be heard.