Posted on

Peak Performance Woodwinds: Adjustable-Incline Thumb Rest

I can comfortably say, almost every saxophonist I know has had some performance related injury, or at least discomfort at some point during their career.  Whether is it has temporarily (or not so temporarily) halted their performing, required regular stretching, gym work, or just occasional discomfort.  This is even more prevalent on soprano, where especially right hand/arm/thumb discomfort is extremely common.  For a long time people have been finding ways to make soprano more comfortable for the right hand:  Jerry Luedders added a cord to his Buffet High G SDA Soprano so he could hook a neck strap onto it, Harvey Pittel created a brace that was also used by James Rötter that rests against the diaphragm, now available as “Harvey Pittel’s Hand-Eze,” that replaces the thumb rest with one that allows an adjustable fixed position brace to stabilize and support the saxophone, the Finnish company ErgoBrass makes the ErgoSax that attaches to the neck strap hook, and can be used sitting or standing and has a spring to allow a bit more freedom of movement, Ton Kooiman invented the Forza Thumb Rest, there are right hand thumb rests with a “wing” like the Ishimori Type II Thumb Hook, etc.  With all of these products available (and the armchair saxophonists online replying that they just use an old Ray Hyman neck strap on their bare skin and have never had any hand or neck pain) it is no surprise that something that can adapt for the angle/position of our left thumb would finally be invented.  This is where the Peak Performance Woodwinds Adjustable-Incline Thumb Rest enters the market.

I was very excited when I saw Will Peak’s Facebook post about his new thumb rest, so I quickly sent him a message about buying one and he was kind enough to put a 3-D printed plastic one on hold for me so I could pick it up at NASA. I was excited because, especially on soprano, I never felt completely comfortable with the thumb position as I pressed the octave key, but always disliked the other solutions I had tried.  Unfortunately about a month later while practicing soprano after NASA, the thumb rest broke.  Will had this happen to another one at NASA I later found out, so I think I was the only one that ended up with an original plastic one at NASA, and he had already checked in with me (though I didn’t know why at the time) about how mine was holding up.  He quickly helped me get a metal version, I picked a bare brass and solid silver top ($237), he sent it out the next morning, and even worked with me on paying for it at the time which was early on at the beginning of the pandemic when so much work had been cancelled, though I should note this combo is no longer available except by special order request.  In the months since then he has redesigned the plastic version twice (redesign for durability and now V.2), which was on my alto, but since has come out with a V.2 of the Incline Thumb Rest, a debossed prototype of which is now sitting on my alto. 

I have put in many on my soprano since I received my Incline Thumb Rest and I can say, without a doubt, it is more comfortable than a stock thumb rest.  To keep my thumb on the saxophone I don’t have to have my thumb at an odd angle, to keep my thumb in a comfortable position it doesn’t have to sit floating in the air.  It has taken a few adjustments and I’m sure I will continue to adjust position as time goes on, but the biggest benefit I have found isn’t actually my increased comfort (which I would normally say is paramount), but actually the feeling of increased stability. Tools like the ErgoSax also help with stability but it is an external stabilization. Just by positioning my thumb more comfortably the saxophone itself was more stable, my technique felt more comfortable and while I can’t say it “improved” my technique, everything I was doing felt easier.

On alto with the V.2 I have gone back and forth adjusting the position, angle, height, and for now have been going back and forth between flat, using it as a very comfortable thumbrest with wonderful grooves, and to the lowest position which while I’m not quite used to yet on Alto, does seem to reduce tension, though it still feels a bit foreign since I haven’t had nearly as much practice time outside of teaching as I would like.  The new curved design and the locking lid means that no matter what angle or position you find comfortable, there will not be a flat or sharp edge there, and with the locking lid, you don’t have to worry about the magnet alone to hold the lid in place.

While there will be many people that have never had any complaints with a normal thumb rest, there are an even larger number that have had pain or problems.  Its invention addresses the needs of saxophonists, like ergonomic chairs, keyboards, mice, standing desks, and adjustable monitors address the needs of those that work at computers all day.  Starting at $160 for bare brass, and just $60 for the plastic version, I know these are not inexpensive, but versus other saxophone accessories which others can have very strong opinions on, ergonomics is not an arguable subject, they DO matter even some people don’t have issues.  A neck strap, thumb rest, riser, or any other accessory we put on our saxophone is well worth it. Especially with the narrower body of the soprano, issues of hand comfort are very important.  We can consider the price of ergonomic computer equipment, like a chair. There is a reason, despite the price, that more than 7 million Herman Miller Aeron chairs have been sold; being comfortable while working is incredibly important to a making a happy and productive worker. If your workplace is a saxophone, especially a soprano saxophone, you won’t be disappointed with this purchase.

Will is making a great product (in addition to the bell rings, which I have used for years), is a great player/tech, and a really nice guy.  I held off on the publication of this for a while because Will was excited to show me the new design, and because then life happens, but I hope everyone gives this a try, especially if you’ve had any left hand thumb pain.

Posted on

Yanagisawa BC 200/220

Disclaimer: I am a Conn-Selmer Artist. I purchased the BC200 mouthpiece from Conn-Selmer at NASA 2020, the BC220 was ordered used off of eBay from Japan.

I had the chance to play the BC200 in March at the 2020 NASA Biennial Conference at ASU. I originally had one of my college students play it since she prefers more closed tip openings on baritone and when she did her face changed; a look of intrigue and excitement. I asked her about the mouthpiece and all I got back was a simple chuckle, a pause and, “I like it.”  She sounded great on it too, no adjustment period, top to bottom. I knew right then I had to play it too.  She was right, as was her initial response.  It isn’t tubby, it isn’t too bright, its color reminds me of Dietrich Fischer-Dieskau, and when pushed it can even take on a great brilliance that reminds me of Fritz Wunderlich.  That isn’t to say if you prefer colors more reminiscent of Hvorostovsky or Terfel it isn’t also capable of it, it is.

I don’t normally describe mouthpieces this way, but from the instant I played it I fell in love.  From getting a punchy low end in quartet, to a singing upper register for Debussy‘s Cello Sonata the mouthpiece responds in tune and effortlessly.  I would describe ease of response on the BC200 to something like the Vandoren B27/BL3, or Selmer S90 170, however there is a bit more control to the sound than the B27, more color and flexibility than the BL3, and seems to produce more volume and can if desired bite more than the S90 170.

I used this mouthpiece through the summer and early fall 2020, even making some recordings for a COVID Quartet on it until I found a BC220 on eBay for about $150, and I lent the BC200 to my student who loved it. She had been working so hard on her Yamaha 5C, and while I think they’re great and capable especially for the price, it isn’t a great match for her and as soon as she switched the sound went from good to, “woah.”  The BC200 was such an easy adjustment from 15 years on an S90 190 and 1.5 on a BL5 (which was a great mouthpiece that let me play orchestral pops gigs, solo, and classical and jazz quartet pieces with ease). Figuring out the tuning and response idiosyncrasies was almost non-existent, it just played.   The BC220 was much the same, a bigger tip opening than I usually prefer (though definitely smaller than the BL5, but playing that tip in Mammoth should require a 3rd lung), but the feel was that of a mouthpiece that is more closed. It lacked some of precision of sound found on the BC200, but a lovely sound that was a bit more robust. It was a great balance for me, I A/B’d them for about 90 minutes one day after spending time “getting used” to the BC220, and while I did decide on the BC220, I have played many mouthpieces of the same model and tip opening that played more differently than these two did.  I could have taken either out to a performance or practice session and if I didn’t look at the mouthpiece, I might not have known, just picking whichever reed worked best that day.

For those looking for another option to the Selmer S80s & S90s and Vandoren V5s & Optimums, these shouldn’t be missed.  I think the transition is more similar from other mouthpiece brands than the alto line is, but still has a distinct way of playing and a unique sound.  I know for a long time Yo-Yo Su played a Soloist C* with the BC220 facing applied to it by Ramon Wodkowski on his Mark VII baritone, and I believe is the facing that can be heard on his Tansmann recording on YouTube.  I would say unequivocally, that these mouthpieces are going to be appearing more and more on people’s instruments and that while Selmer and Vandoren may continue to “reign” (and with good reason, they are great mouthpieces), that this new line will certainly be a contender and offer another voice for those hunting to find their own.

P.S.:  I would also consider trying out their jazz pieces. While they may not be that many people’s pick for their *ideal mouthpiece*, there seems to a sort of “election by adoration” where by these mouthpieces end up becoming beloved main mouthpieces because they do so much, so well.  In smaller tips they can be used in a saxophone quartet, especially if the group is doing both classical and jazz tunes, but they can also have the projection to be a straight ahead jazz mouthpiece or for pit/show orchestras. This recommendation is also partly because they can be regularly found for less than $150 on eBay and I have yet to play one with a bad facing.

Posted on

Yanagisawa AC 140/150

Disclaimer: I am a Conn-Selmer Artist, I was fortunate to be given both of these alto mouthpieces to try when I visited Conn-Selmer in Elkhart, IN to pick out 5 Artist Select saxophones for my students. The moment I played them I knew they were special mouthpieces that needed more time and attention. I was told when I inquired about returning them that it was okay to keep them since they were samples, but when I was given them and was allowed to keep them, I had no intention of writing a review of them.

Before I get directly into the review, I’d noticed over the past few years that I would run into people at gigs or heard them play and inquired about their mouthpieces, far more often than I had before, people kept saying Yanagisawa. To be honest, I knew they made mouthpieces, because when looking for a sopranino mouthpiece, they seemed to be one of only 3 brands available, but they never really came up on my list for mouthpieces to try. Those were the standard Yanagisawa mouthpieces, not the new Classical line, and I often found them in quartets playing multiple styles in one performance or at pops concerts, but everyone that played them said something like, “Something happened to my other mouthpiece and this was around; it ended up working really well, so I just kept playing it.” While qualities that really push a mouthpiece to excel in certain styles are important, I was always amazing at how versatile and flexible in color the standard Yanagisawa mouthpieces were.

I found these mouthpieces to be incredibly responsive (even more so than the AP3) throughout the range and also colorful. When I played these mouthpieces it felt like I was playing the best pre-redesign S80 C* that I had ever encountered. The sound they produce gave me a nostalgic feeling for when I teach and hear saxophonists in Japan, perhaps a brilliance and compactness to the sound. There is immediacy to everything with this mouthpiece, the compact focused sound, lighter and a bit brighter than newer Selmer’s, there is the sensation that the mouthpiece is ready and plays, almost before I start my air.

In terms of tip openings, this is where I had trouble; my preference was for the 150, but my D’Addario Reserve 3.0+ were too soft (sound and performance), and my 3.5s were almost all too hard with a sort of permanent fuzz/airiness to the sound, even though they felt pretty good (Including with the Yanagisawa ligature which tends to allow me to use harder reeds than my Ishimori.) I tried various other reeds find a match, perhaps Vandoren Traditional and V12 mated slightly better to the facing curve, but the problem persisted. This led me to the 140, which mated to 3.5s quite well, even though I needed to select the harder 3.5s (It even takes 4s, but I don’t tend to keep many of these around.) It lacked some size and volume compared to the 150, but since it matched the reeds better, that is what I played on. The responsiveness was seductive, but when I wanted louder dynamics the 140 seemed to hit a limit for before I was ready; I tried to work with it but felt a bit limited. I finally committed to play the 150 and make reeds that would work, this allowed greater dynamic range and a bigger sound. Ultimately, reeds became the downfall of these mouthpieces for me; I felt that if they were a bit more open, perhaps 145 and 155, I could match them to reeds better.

If it sounds like I am not recommending these mouthpieces, you’d actually be wrong, I kept the 150 in my case as a mouthpiece that I could switch to if needed even when traveling to performances, or on days where the weather changes and all of my 3.0+’s are too hard for my normal mouthpiece. I also know many (it seems most) people prefer harder reeds than I do for any given mouthpiece or tip opening. These were MORE responsive than the AP3, and it seemed like if I could’ve found a comfortable reed, I would’ve liked them even more.  The pitch was not as locked in or centered as my S90 170 or the Lyric, but some of this could be to the slightly mismatched reeds.

It is really quite thrilling that there are multiple great new mouthpieces, and from different brands on the market. Most people play one of the same 4 or 5 mouthpieces from one of two brands, a few coming in only one tip opening. Different mouthpieces from other brands that play well means even more colors and individualized sounds.  This isn’t to say that on the same mouthpieces we don’t hear individual sounds, but I think more mouthpieces means greater variation and nuance in those differences.  When a mouthpiece plays well, as these do, I think they should be in consideration, especially for those looking for something that is different. It has all of the sound and performance qualities that I look for in a mouthpiece, even if I had a bit of trouble matching reeds and locking in pitch, this isn’t uncommon for me when I feel a reed strength isn’t really lining up. I’m glad I have these Yany mouthpieces so students can try them out, whether you decide you like them or not, I wouldn’t pass up giving them a try if that is a sound you desire.

Posted on

SaxQuest Lyric by James Bunte Review

James Bunte was refacing some mouthpieces for me and in our conversations the Lyric came up. The next package he sent me returning mouthpieces included one to try (despite USPS’s best efforts).

While most mouthpieces seem to be a variation of something familiar (either in the style of Selmer or Vandoren, in the very least their playing style if not sound), but then every so often you find something different, the SaxQuest Lyric is just that. It has a sound and feel that is fairly unique.  My closest analogy might be the darkest and biggest sounding Selmer Concept I could imagine, but even that isn’t quite right. The floor is lower, the chamber slightly larger, I need to push it a bit further on my cork, it tunes a bit differently without the tendencies towards sharpness, and the chamber is in fact oval, not “round.” The sound of the mouthpiece has a fullness to it that isn’t present in the Concept, but also has a different color.  Perhaps if you took all of the qualities you like in an AL3, but without the limitations felt on most, and without going to an AL5 for increased dynamic range, you’d start getting close between those 3 descriptions, though again, darker than them all.  Though it accomplishes this with a manageable and comfortable tip opening of 1.52mm (0.060”).

The mouthpiece plays incredibly well with a nice resistance while still being very responsive. The color is incredibly even from low Bb through altissimo. Altissimo response is also very good and has an ease of response and stability across the break. I would say it does not have the immediacy of response like the Yany’s or Vandoren Profile series; there is still great response, but I think because of the slightly larger interior and perhaps the color there is a certain amount of resistance built in, but ultimately probably feels a bit more like an S90 in that regard.  As I was writing this review, James wrote me that when I got the chance that he’d love for me to send the mouthpiece back to him since he found a way to further improve response, without making it brighter, and when this happens, I’ll gladly update the review, though even with a bit of increased brightness this would still be a dark mouthpiece.

The Lyric doesn’t have the flexibility of sound like some mouthpieces (like the AP3 or A28) which can, if desired, have a wonderfully un-beautiful sound.  This mouthpiece has flexibility and one can change the color, and after weeks of playing it and bringing it back out to play it again as I reread my draft and all of my notes, I continue to find more flexibility in the mouthpiece.  The darker color does not seem to affect the projection, at least as far as I can tell from recording myself and my sense of the sound in the room.  There is a fluidity to the response, sound, and the way it accepts air that makes it feel imminently comfortable.

This mouthpiece is REALLY easy to play, those pitch adjustments I was talking about, once you have the mouthpiece on a bit further, and play a bit it feels very automatic, which I didn’t quite expect the first moment I put it on.  It is really a beautiful sound with nice response, with no tendencies towards being edgy or gritty, even with a reed that is a tad soft. It is a wonderful mouthpiece to play, especially at home where sometimes I find myself preferring a slightly less bright sound, however the size of the sound and projection of this mouthpiece I think will transfer well to the stage.  I am sure this will also find fans in those that don’t play classical saxophone often, but would like a mouthpiece with a dark and robust sound that is easy to obtain.

If you’ve wanted a mouthpiece that has size and warmth to it, this could be exactly what you’re looking for.   I think it is a bit too dark for my personal sound preference, but it plays so well I am drawn back to it, even after I finished playing it for a while, months after my notes were already written for this review.  Where the AP3 comes out on occasion, especially as I demonstrate, or for certain sax quartet situations, this one has ended up being a close second but it is the opposite color direction from those mouthpieces and my normal S90 170.  The cost of this mouthpiece is quite reasonably priced for a hand finished mouthpiece at $249, sitting in between a Selmer Concept and the new Claude Delangle (though much closer to the Concept).

I know this piece won’t be for everyone, but I think it will prove to be the perfect piece for quite a few people, and am grateful I was able to try it, and can recommend it to students and people who are looking for what it has to offer.

Posted on

Vandoren Profile Mouthpiece: AP3

I purchased the AP3 in August 2019 from the Vandoren Advisory Studio in Los Angeles from 3 options, and decided to make it my main mouthpiece for at least 2 months—or at least as much as I could—to give Vandoren’s first new classical alto offering since the Optimum a thorough review. Of the three I chose from it was the example that I felt had the most color, but also the one that when I had the right reed felt like there was some ‘magic’ in the sound. The other examples were consistent, but less colorful.

The first thought I had as I blew into the AP3 was how incredibly responsive the mouthpiece is throughout the range. It has an immediacy that lends itself to a harder reed than I might normally choose for its tip opening, but does not necessarily require it. The altissimo register responds smoothly and with ease, without much change from where I usually place the notes, and the low register response is remarkable, which I did not expect with a larger tip opening than I am used to (1.58mm by digital measurement, exactly as indicated by Vandoren).

  • AP3 Box
  • AP3 Box 2

Compared to my S90 190, the sound feels open. It is perhaps not as dense through the middle range, but has a very even color. It has a clear, crystalline sound, without being brittle, as it is still full and projects well. The mouthpiece plays so well that I decided to use it in a performance of the Philip Glass Quartet a few days after purchase. Even though I wasn’t yet fully comfortable on it, the AP3 performed remarkably well.

The shape of this mouthpiece is, to me, similar to the Selmer Concept. It is sleek and shapely, which is not a description I would apply to the Optimum. To that end, it is interesting to note the beak profile of this mouthpiece: it is more thin and straight than the Concept’s thin duckbill, until it reaches a distinctive upturn at the back. It is in contrast to the medium height beaks of the Selmer S80, S90, and Concept—or even the Vandoren V5 series—and to the taller beak profile of older Soloists or the D’Addario Reserve line (although some may put them in the medium category).

To me, the AP3 is a mouthpiece for those who want the Vandoren sound and may have enjoyed the sound of the A28 or other V5 mouthpieces—or perhaps loved that sound on recordings, but could never quite replicate it—or those that want that characteristic sound but don’t feel that Optimum line offers the color, flexibility, or dynamic range they seek.

Something that I and many of my colleagues have noted is that the A28 can be a lot of work to play. This work is worthwhile, but as life, work, teaching, or any other number of other obligations can take away from the practice time, a mouthpiece that is so rewarding with daily practice and regular work can become difficult to manage. On the other end of the range, the Optimum line offers a lovely sound, but at times I have felt that a lack flexibility and color are sacrifices I don’t want to make and I often find myself returning to a mouthpiece which offers a larger palette. I recently tried the Optimum line again and found a very good example, but I still wasn’t able to find all of the textures and colors I look for.

This is where the AP3 enters Vandoren’s lineup. I feel that the AP3 combines the color and flexibility of the A28, the playability of the updated V16 line, and the purity of sound of the Optimum. Due to its flexibility it is not quite as stable in pitch or timbre as an S90 or Optimum, but that isn’t necessarily a bad thing, as with flexibility comes a multitude of sound colors.

I have no reservations about recommending this mouthpiece to saxophonists, either professional or student. It is an excellent new option and a terrific mouthpiece. If one is looking for a new mouthpiece, I would definitely include this on the list to try.

Review Note: I tend to find that recordings can tell more about the player than they do the product, and therefore aren’t as helpful as written observations about the feel and sound of a mouthpiece for me. For those curious, Jérôme Laran now has quite a few YouTube videos in which he is playing the AP3, and while it still sounds like him, it is possible compare them to the recordings he made using an Optimum AL3 over several years.

Posted on

Yanagisawa “Yany Sixs” Ligature

Today is my first review, and will start with a disclaimer, I am a Conn-Selmer Artist, and was sent this ligature to review due to my experience with many other various high end ligatures on the market, such as the Silverstein and Ishimori. After reviewing it I was also graciously allowed to keep it, though I received no remuneration for my initial review of it, and did not know I would be allowed to keep it. I am writing now because the ligature is now showing on the Yanagisawa website. My experience of testing this ligature did not include an external recording source, though I did play it on stage and have colleague feedback, so my experience is based on how it sounded and felt to me as the player, and to colleagues on stage.

Thank you for your time and interest.

The Yany Sixs gives a light, vibrant sound, with a quick response.   The ligature gives a brilliance that isn’t found in similarly priced competitors.  The same reeds seemed to play softer with the Sixs, compared to my Solid Silver Pink Gold Ishimori (which is my normal ligature), but because of this it also allows you to play a harder reed and maintain a brilliant sound that isn’t stuffy or too resistant.  The lighter sound was a different aesthetic than I have normally gone for, but with slightly harder reeds a clear crisp sound and articulation.

It is a wonderful, aesthetically pleasing (both visually and aurally), addition to the ligature market and will a great option for many. The way it hold the reed and sonically, it reminds me a bit of a Winslow, but rather than looking like an ungainly part you might find in the plumbing section of a hardware store, it is a lovely gold plated ligature, with hard rubber spacers, and a flower engraved on the screw.

The responsiveness of this ligature was something that was quite noticeable, it had a very ‘positive’ feel, where one felt exactly that what they put in was exactly what came out, from low Bb through altissimo. This is in contrast to my SSPGP Ishimori ligature, where I feel like I get more feedback and perhaps in someway there is a bit of a filter, where the sound becomes a bit denser. Because of the lack of feedback I found octave slurs to altissimo to feel less fluid than on my Ishimori, though not overly difficult. The response through altissimo was commendable as the sound stayed full and brilliant the entire time. In my experience, some ligatures tend to change the sound throughout the range of the instrument, that isn’t the case with the Sixs, it maintains and even and clear sound and response throughout the full range.

I thoroughly enjoyed playing the Sixs, and think it is a great addition to the saxophone ligature market.

Here is a link to the Yanagisawa website.
http://www.yanagisawasax.co.jp/en/ligature.html

I would appreciate any feedback about how to make my review more helpful.

Thank you again.