http://www.saxmusicplus.com/articles/issue9.htm "Mouthpieces. This is a subject I usually avoid because to be brutally honest, I don't know much about them. (Are they hoots of derisive laughter I can hear?) When my colleagues strike up conversations on the subject of tone chamber dimensions and baffles, (I'm the baffled one!) I quickly steer the subject away to something else. This statement coming from someone who has earned his living playing saxophone and clarinet for over thirty years must seem a little strange. (Yes it's definitely laughter I can hear). How then can I have played such a long time without delving into the black art of mouthpiece secrets? Well, the answer is - I don't really need to. Don't get me wrong. I'm not still playing the cheap plastic mouthpiece, thrown in as part of the deal when I bought my first sax. However, what I have done, is searched around over the years and found the mouthpieces that work for me on each saxophone and, most importantly in my view, stuck with them. I'm not advocating the idea of never changing - I do from time to time - just don't change for the sake of it. I'm a great believer in the power of the mind. The sound we want is in our mind. I've known experienced players who constantly changed their set ups, and spent a fortune in the process. And guess what. They ended up sounding much the same as they always had done. Why? Because whether they realized it or not, they had a sound in their head. A less experienced player doing the same thing would, very likely, end up completely confused. I have used three tenor mouthpieces over the years. A metal Berg Larsen (excellent) a metal Lawton 8 star (excellent but difficult to control) and my current metal Otto Link Super Tone Master. This is brilliant. Why? Flexibility and warm character. I can play any style of music on it. I doubt I'll be making any more changes. On Alto I've only ever seriously used two mouthpieces. A metal Dukoff (excellent, loud, but difficult to control) and an old Selmer E which is fantastic. I've used it for years. Again, very flexible. Soprano? Only two. A Selmer E and a metal version. I only play the metal one these days. Pupils often ask "which mouthpiece shall I buy"? If they are beginners I usually advise them to invest in something decent. Whatever they buy, it should not have too wide a tip opening. Something that blows freely with soft to medium strength reeds. The middle of the road approach is best to start with. After that, I advise them to listen to as many players as possible. Their own sound will develop in their head. That sound will eventually be transferred to their horn. Then they can experiment. Finding what suits and not changing too often is the way. All great players have a sound of their own. Whatever instrument or setup they use, they sound themselves. They can't help it. It's in their head." Substitue mouthpiece for amp/preamp/bass/eq/scale length/pickups. I think you guys will be able to interpret it. What are your thoughts?