This is a tenor mouthpiece I picked up at a music store a year or two ago. I use to own one about 8 years ago and it was one of my favorite mouthpieces so when I saw this one I grabbed it. Vandoren makes some of the best most consistent pieces out there. This mouthpiece plays a bit like an Otto Link but with more power and focus to the sound. I usually find that most mouthpieces sound much better when I play into a wall. I think it’s because they have a spread fat sound and it gets diffused in the room. So when you play facing a wall the sound bounces directly back at you.
When I play them into a wall the bounce back sound is very focused and centered and I love it. The thing with these Vandorens is that I don’t notice that as much. The sound I hear when I play into an open room is pretty close to the sound I’m hearing when I play into a wall. I think it’s due to the squeezed chamber really focusing and centering the sound. It can’t be too much more focused by playing into a wall it already is. Also, I notice that these mouthpieces usually sound great in a mic. I remember listening to recording of myself and always being happy with the sound from the V16 metal piece. It would just cut right through and be so clear in the monitors.
Listen………
Can you explain to me what ‘focused’ sound exactly is? I have read it many times… and I am still wondering about it…
A “focused” sound is one that is more compact and concentrated. Certain pieces have fatter more spread sounds and some have a more focused sound. As a comparison my JVW link has a very compact focused sound. My NY link has a bigger more fat sound. T o me it’s comparable to a flashlight with a concentrated focused beam as compared to a flashlight with a broad spread beam. I hope this helps. It’s hard to put into word until you experience it yourself. One isn’t better than the other but it has to do with what you like……..
This almost has Coltrane in the sound (at least on the recording). It’s just a little more… modern?. It doesn’t have that HUGE fatness in the sound, but it has the focus and brightness.
I actually find that coltrane’s sound wasn’t that fat. Kind of down the middle, but very warm.
I think the sound of this V16 is beautiful and rich, I have been looking at a nice jazz session mouthpiece since i started playing – I do have a question that i have noticed that no one ever demonstrates the low end. I always found that getting a rich sound from the bass indicated the tonal qualities of the upper register. If you know of a link with some low end recording please post…
I’m not sure what you mean by the low end. I think I do go down low in most of my clips. At least I try to. Steve
I’m so glad I listened to this clip.
The words I would use for this is that it has just the right amount of edge and character.
What surprises me is that I just got one two days ago and it felt just so-so. I had been playing very different types, so maybe I didn’t give it a chance. –Will work at it more tomorrow.
Your comment about the “wall” is right on. It’s also the basis for that little plastic bell reflector that some sax players (with bad monitors) use to hear themselves.
Hi
I would like to ask what kind of ligature you use with this piece? I use a Francois Louis and wonder whether other ligature provides better results.
I used a Vandoren Optima ligature on it. Ligatures make a slight difference but the FL is a great ligature. Steve
I was looking at Theo Wanne’s mps., and noticed that he also sells a choice of/or all 3 reed holders (I forgot what they call them) that fit under the ligature screw. All are made of different materials and I think contact the reed differently. His testamonials swear that there’s a difference, but I find that hard to believe (or more accurately-hear).
BUT when I got my Vandoren, guess what? It also came with
3 different reed contact/whatevers (although not made from exotic materials-oh well). I’ve only tried one of them so far. I’ve got to get used to the basic mp first.
Nice playing Steve! I’ve been thinking about one of these and now I’d like to try one. The bit you said about playing to a wall and playing to the room rings true.
Thanks for this clip and review, Jef
Kinda surprised too. You sound terrific on all of these pieces you review, this one just grabs my attention the most. Sounds really even and fun to play. Lovely man, lovely!
Here’s a crazy question. I have a T95 and it doesnt seem as bright as the T75. Have you tried the T95 in comparison to the T75? If so did you notice the same?
Yes Bill. I noticed the same. The T95 has a bigger tip opening which makes the baffle seem a little lower in comparison to the T75 I think. The T95 had a bigger more hollow sound to it. The T75 was brighter and more focused sounding for me.
I just purchased a V16 T75 and I am very happy with this mouthpiece. When test playing a bunch of different mouthpieces I found they do play like Otto Links but with a bit more overtone presence. I have a taste for focused, modern sounds with lots of overtone so this is a great mouthpiece for me. Also, it responds wonderfully through-out the full range, and all the various tounguing techniques are easy to do on this mouthpiece. Love it.
That’s great. I played a T75 for a number of years on different gigs. The straight sidewalls give it a very focused sound that projects well and sounded great when played through a mic.
Hi everybody,
I got my T75 years ago in the late 1990ies – and it was sitting on a shelf for a while. Partly because in these years I used a Rovner Ligature (which tends to deaden the sound) and Vandoren V16 reeds (which are on the bright side…). A few years ago a Francois Louis ligature (I still play a wonderful silver handmade soprano mpc of his) and Gonzalez reeds (2 3/4) really totally changed the picture! I now love this mouthpiece becauce of its total control over the whole register (almost 4 octaves). A very thoughtful and smart construction. And yes: it always sounds great when recorded… –
And Steve: thanks for posting your soundclips and reviews! There is so much out there that it’s good to have someone taking care of business…;-)
I noticed that also about the T75. It always sounded great through a mic. Some mouthpiece are really spread sounding and sound best when I play them into a wall because the sound bounces back to my ears and is more focused. The T75 sounded focused and centered when I played it into a room and when I played it into a wall it sounded almost the same to me. Not a big difference. I think the straight side walls and smaller chamber really sharpen and focus the airstream.
Hi Steve. Good to read your comments (and others) and listen to your sound clip! It’s convinced me to experiment more with my own T75. Keep up the good work and valuable input!
Hi Steve!
I want to know what reed do you use with this mpc.
Thanks.
I can’t remember it was usually a Vandoren Java 2 1/2 or 3. I switch back and forth all the time. Lately I have been using Ishimori Woodstone and Rigotti Gold reeds that play great!
I keep coming back to my T75. I think because I want a certain kind of singing brightness without any hardness in the tone. Having been playing the Warburton LA for some time, I have returned to the Vandoren because it plays even more easily and is focused and balanced even when one’s chops are suffering from lack of practice time. This is a mouthpiece which seems to balance all the factors very well, and I find it more tonally flexible and colourful than Steve seems to. One or two tracks on (check the info):
http://soundcloud.com/andy-bowie
I have that mpc for some time now. I stored it away when I came across a Ponzol M1 (and not M2 – I realized that I made some remarks re the Ponzol M2 on this website, and when I got home I found out I was playing M1 and not M2…). The Ponzol was my prime mps for the last two years. I recently purchased a Guardala MBII, and when it arrived two days ago, I pulled out all my metal mps and had a comparizon test to evaluate the sounds of these mpcs. Here is my list of mpcs (all were played on my Selmer Reference 54 tenor, with a #3 Vandoren Java reed:
1. Vandoren V16 T75 – the loudest of them all and nicely centered with good sound (not screeching). Very good for playing with a big-band or in other instances when a loud sound is required.
2. Guardala MBII – loud, clear and nicely centered, yet possessing a fatter sound than the T75 – my favorite mpc for now.
3. Ponzol M1 – Loud but not edgy, sounds too muffled for my taste.
I hope this information is helpful.
Steve, I’ve come back to the T75 again recently. What’s the nearest other piece you have found to it? I like the focus and the brightness (which is not hard), which is down to the narrower chamber, but it still has a Linkish quality. I just have the feeling I could get something even better. Is the Sakshama Florida in the same ballpark? Thanks.