Monster Berg Larsen .170 Tip Opening Tenor Saxophone Mouthpiece Review

Yes,  you read that right!  A .170 tip opening!! That’s a 14 tip opening!  To give you a little bit of a backstory, I received this email the other day from a fan of my site:

“Hi Steve,
I have a favor to ask of you, if you can fit it in to your schedule. I’ve been playing for MANY years  and have been through the mp numbers as my music/bands have changed…… Bergs, etc.. I’m now using a Lawton 10 *B and love it. I purchased a bronze Berg 185/2 a few years ago (for kicks) and got to like it a lot (for what it can do). It’s been worked on a little by a couple of people and I think it’s tip is now closer to a 170. But it’s still a monster and a lung exerciser. My problem is this. My hearing is lost… used aids for years and now have one cochlear implant – have it for 5 months. It has made my life whole again, BUT I don’t recognize my sound anymore. LOTS of “treble”. Once in a while I go through my mp drawer and have a ball – not easy when you also have to get a good matching reed (as you know). I’m mainly using the synthetics and very happy with them. However, ANY reed I use on the big Berg gets bent in and actually plays better/easier. (I play with a LOOSE embouchure).  Back to my request… Can you try out my Berg and tell me where it fits in the sound spectrum? I’m NOT trying to sell it. So far, with my present hearing, it seems to have a thin loud sound in an open area, but solid and full against a wall. Sub tone is easy, as well as up to D5. It fits right in with Gato’s Europa sound (I think).”

At first, I responded that I couldn’t do a review of this saxophone mouthpiece.  I have too much on my plate and besides that,  who the heck plays a .170 tip opening sax mouthpiece?  That is just crazy!   After sending out the email, I gave it some further thought and realized that I was a bit curious what a mouthpiece that open would actually play like so I decided I would like to try it………..

Monster Berg Larsen .170 Tip Opening Tenor Saxophone Mouthpiece

When I received the Bronze Berg Larsen sax mouthpiece, I immediately opened the package to examine the mouthpiece.  I must admit that I didn’t 100% believe the person who sent it knew what they were talking about.  A .170 tip opening mouthpiece?……does that even exist?  Apparently so, I opened the package and looked at the mouthpiece, it was a bronze Berg Larsen tenor saxophone mouthpiece with the numbers 185 over 2 SMS inscribed on the shank.  That means it was a .185 tip opening !  WHAT?  Are you kidding me?  That’s like a 15* tip opening!   If I play a .120 I get winded!  Who the heck plays a .185?  I have never even heard of such a thing!

The owner of the mouthpiece let me know that this mouthpiece was worked on by a few people and now measured around .170.  (I believe Dave Jary put the nice looking baffle in it and Keith Bradbury did some work on it as well)  I was still skeptical of this even though the tip opening looked huge,  I put a few feeler gauges under the tip just to get a ballpark figure.  I put a .125 gauge plus a .024 plus a .014 plus a .010 and it was pretty close to the tip of the mouthpiece.  Add those numbers together and you get .173.  That is close enough for me………


Monster Berg Larsen .170 Tip Opening Tenor Saxophone Mouthpiece

I put a brand new 2 1/2 Vandoren Java reed on this mouthpiece and honestly thought there was no way it would seal and get suction on this tip opening.  As you look at the mouthpiece from the side, the facing curve looks pretty extreme to my eye.   I thought there was no way a reed would conform to that extreme of a curve!  I did the suction test and the reed immediately stuck to the curve of the facing for a second.  Wow!   I was impressed!  I blew on the mouthpiece alone and it blew easily and produced a nice buzz, also surprising to me.

When I first played the mouthpiece, it was during a Skype lesson with a student.  I played a little bit and immediately started to feel a bit dizzy and winded.  The amount of air I usually used to play for about 30 seconds seemed to last for about 8 seconds and was gone.  The student did say he thought it sounded pretty good though……….

Monster Berg Larsen .170 Tip Opening Tenor Saxophone Mouthpiece

After the lesson, I played for another 20 minutes just trying to get used to this mouthpiece.  It took more air than I was used to and I was trying to get used to that.   At first, the tone seemed really spread and kind of lost in the room but as I played it, it seemed like it came into focus more for me.

I also noticed that the intonation was much more flexible that I was used to. As I played with my normal embouchure pressure the sax was in tune but the more I played,  my embouchure got tired and I started to go flat.  I kept trying to fight against this but the more I did the more tired my embouchure got.  I really didn’t feel like I was biting or adding more pressure with my embouchure but in retrospect I think I was subconsciously adding pressure so the reed was  easier to play for me.

Monster Berg Larsen .170 Tip Opening Tenor Saxophone Mouthpiece

I was actually surprised by how easy the .170 Berg Larsen mouthpiece was to play.  I didn’t think it would play with the 2 1/2 reed at all and that I would need a 1 or 1 1/2 size reed to play this monster tip opening.  If nothing else, I was prepared to spend a few minutes tonight sanding down my Java 2 1/2 reed so that I could play it on this clip.  I was surprised when that wasn’t needed…….  The Java 2 1/2 played pretty well on it!

Monster Berg Larsen .170 Tip Opening Tenor Saxophone Mouthpiece

As I listen back to the sound clip, the tone of this mouthpiece has the characteristic hollowness of a big tip opening mouthpiece to my ears.  The tone has an airiness to it and is quite spread to my ears.  None of these are bad things but just descriptions of what I hear in the tone.  I go into a little bit of “Pink Panther” at the :46 mark just because I have heard that Plas Johnson played a .150 tip opening Berg Larsen and he played on Pink Panther so…..

The tone sounds very mid-range to me. That means that the middle part of the range of audible frequencies is boosted more than the lows or highs are.  That’s how I perceive it anyways.

At 1:53,  you can hear how the mouthpiece sounds playing soft.  Although it sounds lush and spread,  you can hear a lot of air in the sound because of the huge tip opening…….I actually say “Wow” afterwards as I feel a bit winded and lightheaded…….

At the 2:17 mark I go into a louder R&B type of sound and the volume really kicks up a notch.  I am in no way playing at 100% either.  I would say I am playing at like 70%.   This mouthpiece has plenty of volume if you have the air to put into it but I will say that I think the larger tip opening makes the tone more spread and hollow to my ears than a more closed tip tenor mouthpiece.

At 2:57,  I am”buzzing” my lips because they feel so tired. At the end of the clip, I actually feel like I have to sit down as I feel so dizzy!   I don’t usually leave these thoughts in the clips but I thought it was important for this review as I am playing a MONSTER tip opening Berg Larsen!

Monster Berg Larsen .170 Tip Opening Tenor Saxophone Mouthpiece

At this point in the review, I usually point you to a maker who makes this mouthpiece,  but I have no idea who makes a .170 tip opening mouthpiece these days.  This mouthpiece actually has “Kenny Long” engraved on the side.   I have no idea who that is but I am wondering if this is a special order mouthpiece that was made for Mr. Long at some point. (I tried doing a google search for “Kenny Long” but doing that search gives you mostly Kenny G long note clips)

You don’t see or hear too many of these mouthpieces so I am happy I could take some pictures and record a sound clip.  I’m still most comfortable with my .105-.115 tip opening tenor mouthpieces but this piece was fun to try that is for sure.  Thanks to Don for letting me borrow this mouthpiece to try. It was quite the workout for me………Let me know what you think in the comments below.    Thanks,   Steve

 

Monster Berg Larsen .170 Tip Opening Tenor Saxophone Mouthpiece

Disclosure: I borrowed the mouthpiece mentioned above from a fan of my site in the hope that I would try it and perhaps review it on my blog. I am returning it immediately after this review. Regardless, I only review mouthpieces that I enjoy playing and believe will be good for other saxophone players to try also. Steve
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Steve About Steve

Steve Neff has been playing and teaching saxophone and jazz improvisation around the New England area for the last 25 years. He is the author of many effective jazz improvisation methods as well as founding the popular jazz video lesson site Neffmusic.com.

Comments

  1. Graham Snell says:

    Sounds great to me Steve, big and fat and not too spread to my ears

  2. Mike Wilkens says:

    Glad you sat down before you had to post photos of the stitches you had to get to close the gash on your forehead from the fall you took (hitting the coffee table in the process) when you passed out cold from playing this beast! Hahaha

    It sounds pretty good, but it should come with a Surgeon Generals warning label!

    Thanks for posting.

  3. Jazz Is All says:

    Great sound Steve, but why kill yourself when you can sound the same on a more commonly sized Berg?

  4. I was curious how it would play at .170………

  5. I think it sounds really good! Lots of frequency spread and lush sounding.

  6. Hi Steve…
    Welcome to the “wide open spaces”… lol.
    I have been playing a Geoff Lawton-made .155 for quite a while… and I think it’s my easiest blowing mouthpiece…
    Was sitting in a drawer (like we all have) gathering dust… Rico continued making me #1 PlastiCovers after they stopped carrying that for Public Sale (but, had to buy a Gross of boxes)… and when they did I stopped playing it…
    Last week, I tried a Legere Signature #2… plays like a dream…
    As far as Colour… anything I want… from Gato to Getz.. and everything between.
    I’m from the “wide open spaces” PLUS soft reed school… don’t think I cudda played THAT Berg (Use same Legere on my 60’s 130/0 offset M).
    If you’d like to hear the .155, listen to Europa, Chelsea Bridge and Poor Butterfly.
    They all are the .155 with a #1 PlastiCover @ https://www.reverbnation.com/patzicari

    Really enjoy your reviews and insight on the different mouthpieces.

    Pat

  7. Almost forgot… opening was measured by Arnie Brilhart at Rico…

  8. Jeffrey D Todd says:

    Dude, sounds fantastic! To think that it might be necessary to play an extreme opening to get the sound you really want… Yikes! Honestly, I think that’s about the best sound I’ve ever heard you get. Sorry…

  9. Joel Frahm says:

    I’ll tell you-

    Physical fatigue aside, that’s a damn good sounding piece. I’m surprised at how natural it sounds. I had to chuckle a bit at the in-between lip buzzing and breath-catching. I’d be in the same boat! Still, super fat!!

  10. David Thomasson says:

    Very classic Berg sound. BTW, Ernie Watts plays on an Otto Link that is a .160 opening and no added baffle!

  11. Thanks Joel! It did play a lot easier than I imagined it would……

  12. David, Ernie Watts playing a .160 Link blows my mind also. I usually think I can hear when players are using a huge tip but I never suspected that from listening to Ernie over the years……..

  13. Wow, thanks Jeff!

  14. Those recordings sound great Pat. Such a huge sound! Wow!

  15. PAT ZICARI says:

    Thanks, Steve…

  16. Egil Furre says:

    It sounds very nice, almost not as a Berg Larsen… But how is it attacking the reed with the tongue? Ain’t you risking harming the tongue?
    ————————-
    (By the way: Ernie Watts got a small wedge in his .160′ Link 13. At first he made it himself and glued it with superglue. Some years ago he had Phil Barone to make a permanent wedge.)

  17. Egil, The tonguing wasn’t as crisp and immediate as a smaller facing like a .105 that is for sure. It wasn’t bad though. I mean I could work with it…….I would want to play a staccato classical etude on it that is for sure!

    That’s interesting to hear about Ernie Watts. I always wondered if he had any kind of baffle or wedge in that Link of his……..People are always pointing at players and saying “Look how bright and loud they can get on a Link!” but we never know what is actually inside that Link. I have a few Links with wedges and baffles and if someone saw me play they would be amazed at how loud and bright I was with a Link also……….

  18. PAUL DION says:

    GREAT SOUND STEVE. BAD LUCK IT TAKES SO MUCH ENERGY. HURCULES WOULD GO FOR THIS ONE I RECKON

  19. In this video Ernie Watts talks about his Link 13 and the wedge inside:
    https://youtu.be/5vYrytqhtic?t=10m10s

    —–
    I have a plan making a Link 13, just have to fine a cheap 8* first that I can use as a blank :-).

  20. Man that sounds great! Gonna have to get an oxygen tank in your room man lol.

  21. Guess you’ll change your name to ‘Broken Jaw Steve’ after this.
    A friend told me who has hearing loss is that he is quite happy with a Swiss make of hearing aid. Hope the fella that has the hearing problem reads this and perhaps follow it up.

    Best,
    Bob

    P.S.
    Quite an amazing Forum you have here.

  22. Bob, If you can find out the make of that hearing aid let us know. I might need it myself someday. I’m already deaf in one ear and have some hearing loss in the other but if it gets worse I will be in trouble that is for sure……..Thanks, Steve

  23. PAT ZICARI says:

    Did someone say HEARING AID???
    In the market for one, myself… always interested in what other musicians have/use…
    Please keep me in THAT loop too…

  24. Don Gutheil says:

    To Pat and the others with hearing problems. This is Don, the owner of that fun Berg, BTW… MOJO says he measured it at .182.
    The problem with hearing aids with musicians is that they all have a “safety” feature that cuts out, or at least severely reduces, any loud hit type sounds. So when I played with regular hearing aids, my sound, and all sounds around me STOPPED…..even hitting a note softly in my studio killed it (even on my flute). I wrote, talked and pleaded with the aid manufacturer – but it seems they have to do it that way. I have a musician friend that takes OUT his aids at a gig.
    Now enter the cochlear implant. No feedback, no cutting out, hearing the high frequencies that I haven’t heard in years, etc. has opened up a new world. Right now I have one side implant and the other with the old regular aid. I’m getting my second implant in 2 weeks. The downside to the implant is that some hearing nerve cells are permanently damaged from the operation. It’s not TOO big a deal because the implanted electrodes make up for it. BUT, 2 batteries a day are required, and if I would ever run out of batteries, I would be totally lost. Still a small price to pay to hear again now.
    Hearing loss can sneak up on you and it’s what you DON”T notice that’s important to your sound…. the frequency spectrum. Lessons for today…. Save your hearing….. if you have loss, be prepared for it to degenerate further. You may have to “graduate” from a simple, lower powered (and cost) set to higher ones later. Hopefully, you won’t ever have to get the implant stage as I did…… BTW…. $10,000 EACH, not including the surgery. Also BTW… my hearing loss was NOT from music (I’m pretty sure), but a time when I was reloading and firing guns WITHOUT hearing protection. Also helped along by using the old dental turbine handpieces in the Navy.
    Back to playing my monster Berg….

  25. Thanks Don. I have been a bit conflicted about playing with loud bands because I am deaf in one ear and have some hearing loss in the other from music. I’m afraid if I keep playing in these loud bands that I will lose what hearing I have left which is my greatest fear. I have an expensive custom ear plug for the hearing ear but it is still a drag to use it. I feel like it takes all the joy out of the gig. I spend hundreds of hours playing mouthpieces and working on my sound and then I play gigs where I wear an ear plug and can’t hear my sound accurately any ways. A bit frustrating! Thanks for sharing your info. Steve

  26. Don Gutheil says:

    Hi Steve,

    I think every sax player in the world (I may be stretching it) has that problem of hearing themselves. It’s the nature of the beast (sax). Compound that with guitar amps next to you that are taking up the saxes “sound room”.

    How many times have you taken a great mp to a gig, only to find out you can’t hear it because it may not project enough to penetrate the guitars/drums to get back to you? It’s not fair to the mp.. I played for many years with my own little Anchor monitor directly behind me so I could hear what I was doing. Guys have used bell reflectors and other devices also. It’s funny, because the guitar players just look at you and think/say “I can hear you perfectly – what’s wrong with you?”.

    I think you need to find out WHY your hearing is bad in one ear. It may not be fair to blame it on music. Music MAY aggravate it further, but it may also be “getting older” – a problem that OTHER people have.. LOL

    If I had/have a choice, I would not have anything block what I hear. I want to hear EVERYTHING. Dare I say, even at the expense of making my hearing worse? Of course, that doesn’t mean throwing all caution to the wind. Stand behind the PA speakers… ask the damn guitar players to get their amps out of your space…. get the drummer to put a sound screen in front of him. OK, alright …. wear some decibel reducing ear plugs. They don’t have to be expensive, but it’s nice to have them only reduce the frequencies that you don’t want to hear.

    BTW… When I play in my home studio, my backing tracks are at a FULL volume. I use a strong PA with big speakers….. not to blow my ears out, but to give me the sound and feel of a REAL band behind me. If not, my sax is louder/overpowering and the band/togetherness is not there. I’ll let you know when I’m 90 (in 10 years) if this made my hearing worse.

    Thanks again for your checking out my monster Berg.

  27. Sounds killer… Way solid…

  28. Giuseppe says:

    Very nice, but … how long can you play? Few minutes? With the risk of having physical damage and recourse to the doctor … Or to a saxophonist specialized in the correct setting to play … you get used to playing …
    I think that if a saxophonist is good he plays well with any opening, without exaggerating!
    Coltrane and Gordon n. 5, 0.80 tip opening! Stan Getz, “The sound”, 0.75 and 0.85!

  29. Giuseppe says:

    Anyway, for those who have problems with guitarists, they invented the microphone!

  30. Don Gutheil says:

    I’m talking about standing next to a guitarist – or rather in front of their amp. There’s something about it’s sound waves that cover the natural sound of a sax. I know I’m loud, but put me between 2 amps and I’m dead. However, I sure do appreciate the advances in today’s PAs, monitors, mics. So I’m back in the picture. You’re right.

    I’m also the one that plays that big Berg 185/2 mp. It’s truly amazing what the different reeds will do to and for it. I use a softer (and it get’s bent in a skosh after a while) synthetic reed and there’s now no problem in playing it for a while (and I’m almost 80). But put on a stiffer reed and THEN it’s a lung exerciser.

    I have no argument with those that use(d) mini (LOL) openings. However, it’s all about the character, pressure, maneuverability and style of the sound that turns us on. Part of my early sax life was Getz and I love his sound too.

  31. PAT ZICARI says:

    Don Guthell…
    Am with you….
    Been player the larger opening mouthpieces since the late 60’s…
    1st real one was a LevelAir 9*… then Berg 130/0 offset M…
    Until a year ago, was playing a Custom Lawton 12*+ (.155) with a RicoPlasticover #1… but, Rico stopped making them for me and decided to “calm down”… lol
    Went to a 9* Merlot with a #2 Legere Signature…
    The users of “mini” openings will NEVER understand us… or the true versatility of the “larger opening-soft reed” setup…

  32. Giuseppe says:

    I would not like to be an unpleasant person who criticizes everything and everyone, excuse me.
    You’re right in saying that you want to hear what you’re playing, for me it’s the most important thing, I agree with you; however, I, to achieve this result, put the volume of my amplifier down and do not play with noisy bands!
    Also, I tried to practice playing with wax plugs in the ears to protect the eardrums, and this also improves the projection and the sound, because, feeling softer, you try to play louder; even when you take them off; and this strengthens the sound. In fact, the sax is filled with condensation! However, doing this, you take the pleasure of playing, because you do not hear your sound well.
    I have a small inguinal hernia, and a small muscle of the eardrum that, even if I listen to my own sound, after playing, starts to vibrate and throb, it has spasms, and I am afraid that my hearing will be damaged … and this would be a shame for a musician, even if not a professional. For now, for my age, audiometric examination is very good.
    So, while as a young man I used larger embouchures, now, as an elder, 69 years, I realized that the narrowest MPCs, if well used, still give a good sound, centered or blown, and perhaps a better projection, with less effort! I have the impression that an improvement has resulted from an initial need. But this applies to me; I realize that a professional has different needs
    At the beginning it was an escape, a need that, then, even if I no longer needed it, it became a discovery and a choice of style of sound.
    I do not make it a question of war between proponents of the narrow or wide tip openings, each one sounds like he prefers and finds it better: what bothers me is that the MPCs producers market is oriented only to satisfy those who use medium wide embouchures; for profit reasons it does not try to make MPCs with lower openings, as few would sell; according to them: maybe, learning to know them, some musicians would choose them!
    Thanks if you have had the patience to read my problems!

  33. Giuseppe says:

    Dear Pat Zicari, you write:
    “… The users of” mini “openings will NEVER understand us … or the true versatility of the” larger opening-soft reed “setup …”.
    I could, if it was a fight, instead of music, write:
    “The users of “big” openings will NEVER understand us … or the true versatility of the “little opening- hard reed setup … “.
    I could write you: “Coltrane 5 opening and 4 and 5 reed; Gordon 0.80 tip opening and 3 Rico reed!”.
    But, fortunately, music is born to unite and not to fight!
    Good music to all, brothers!

  34. Don Gutheil says:

    Hi Giuseppe,

    I understand where you’re coming from and really agree with you. However, we all are different in ages, physical conditions, music types, etc. – and so I/we agree to respectfully agree.

    I recorded about 55+ years ago, using a small tip Brillhart that I still can’t figure out how it came across so “big”. I just drifted into the bigger tips because that’s what I understood the “big boys” (mainly RR) were using. From what I see nowadays, it seems that the mp maker guys are settling in the .115 range. Maybe I’ll settle down to this “small tip” (LOL) when I get into my 90’s.

  35. Don Gutheil says:

    Hi Pat,

    I sent a message to your site. Too bad we’re on opposite sides of the country. As they say out here about the people leaving CA…. “Will the last person out of CA please turn off the light?”

  36. Giuseppe says:

    First of all, I precise that, in my report of 10.35, where, I mistakenly write:
    “… However, doing this, you take the pleasure of playing, because you do not hear the sound well …”
    I wanted to write :
    “… However, by doing this, you lose the pleasure of playing, because you do not hear the sound well”.
    I totally agree with you, in fact my reply was for Pat’s comment, but I am very happy that you answered me and I totally agree with your answer! If I want, I can use my 80s MPCs, Ottolink metal 0.95, Dukoff 100 but, to control the sound, I lose concentration in punctuation.
    On the other hand my saxophone teacher (I am non-professional, I’m advanced level 2, I did another job), which uses Vandoren 8 on the tenor, if he tries to use my MPC 0.81, he can not play that about half the extension of the instrument, because he suffocates the sound for the small tip opening … He rests his teeth, I use the double lip embouchure … The volume of the sound is almost the same.
    As you say, each of us has a different conformation and what’s good for one may not be good for each other …
    Why discuss for this?
    I remember a record where Trane plays with Sonny Rollins (maybe Rollins used Ottolink 9 at the time) and Trane’s sound seems more powerful and wide … but both are important saxophonists!
    Sorry my English, I often do not understand well some comments and I could respond inappropriately!
    An information: what does LOL means? Perhaps: “Little Openings Lovers”?
    My friend, I wish you to settle down to this “small tip” (LOL) when you get into your 150’s!
    A hug from Italy.
    P.S.
    Some of you has met a very good New York saxophonist called Larry Dinwiddie, unfortunately died in the 90s, who, in the 70s, was in Rome (together with Karl Potter, percussionist and Marvin Boogalo Smith, drummer), until the years 80 and who was one of my first teachers as well as a great friend? (I hope not to go out topic!).

  37. PAT ZICARI says:

    Giuseppe…
    Of course, this is not a fight… but just a difference of opinion about tip openings and reed strength… we each can achieve the sound we want… just in a different way…

    We DO, however, agree on the mouthpiece manufacturers…
    Playing an opening greater than .120 also has its problems…
    I’ve had to have some “modern” manufacturers Custom-make my .125 pieces… seems like the .115 (sometimes .120) is what is considered big enough (that’s why I like 10mFan mouthpieces… sizes 6-10*)

    AND they all seem to be on the High-Baffle wagon… which to me, just adds a buzziness to the sound… admittedly, it IS louder but they all sound the same…

    And, FYI… if you were serious (don’t know for sure)… lol=Laugh Out Loud… lol

    I’ll sign this with my full first name…
    Pasquale… 🙂

  38. Giuseppe says:

    Dear Pat(squale),
    What a pleasant surprise!
    Welcome home! 🙂
    Which italian town are you from as a family?
    I see many Italian names among the musicians who write on Steve’s website.
    Even an acquaintance of mine, of the seventies, has moved to NY, Pat(rizia) Scascitelli, pianist … Very good pianist!
    No, I was not joking, I was serious, I thought LoL meant Little Openings Lovers, really! How could I know the idiomatic language, or slang, that is used in America, if I live in Italy? Also to understand that MPC meant mouthpiece, I took a while!
    Best wishes.
    Joseph.
    🙂

  39. PAT ZICARI says:

    Hello again… Joseph/Giuseppe
    My Father was from Catania, Sicily…
    I’m First Generation American on my Father’s Side… My Mother was born in New York State, of White Russian (Lithuanian) Decent…
    SOOOO… and I only say this once (it’s soooo bad)… I one of the only people you will meet, who has Russian Hands and Roman Fingers… mmmmmm
    And lol, and abbreviations like it, have been around since Morse Code… around the world… where it was faster to use abbreviations to convey words…
    But, don’t feel like you are uneducated.. I know because I am a Ham Radio Operator and use the abbreviations…
    Pat

  40. Giuseppe says:

    Ciao Pasquà!
    Exceptional … from Catania dad and mother of Russian origin! From these beautiful fusion of musical cultures of people from all over the world, jazz was born!
    There is a good movie that I saw, “Ragtime”, by Milos Forman, a film director of Czechoslovak origin but then moved to America from which he took the citizenship (the same one he did “One flew over the cuckoo’s nest”, in italian “Qualcuno volò sul nido del cuculo”), which tells these stories of the first ones who moved to America from all over the world and who made the beautiful Nation that is now! There is also the story of a Russian who becomes one of the first film directors of the time … If you have not seen this movie, “Ragtime”, I recommend it, it’s very nice!
    Best wishes to you, dad and mom!
    Giuseppe.
    (I hope that the good Steve do not consider me out topic!).

  41. John Laughter says:

    The 170 sounds real good!

  42. Plas used rico plastic cover 2 baritone sax reeds on his Berg. I would have to look it up , I think .163” .I would have to look it up. I adjusted his pieces a few times.

  43. Thanks John. That’s good to know! Appreciate the tip. I had to send the piece back to the owner but maybe he can try out a baritone sax reed on it. Steve

  44. jeff giacomelli says:

    That’s a monster…surprising it has as much buzz as it does. Could easily go to a 2 reed on that opening. The extra baffle likely compensates quite a bit.

  45. Don Gutheil says:

    To Everybody……

    I’m the owner of that Berg. Mojo measured it at one time to be .182 (as I recall). This mp will NOT play worth a twit with anything 2-1/2 or over. A # 2 (and a responsive one a that) is the maximum. I had enclosed 2 reeds that I thought were perfect for that mp., but I think they were wrapped in the bottom of the box and probably unseen. Both were used. One was a #2 Legere and the other a #2 Plasticover.

    Either one made playing that mp a breeze, but still used a lot of wind. It has power and edge. I was glad to have Steve try it out for me and didn’t want to bug him more by asking him to let me send it back to him just to use those reeds. FYI…. It’s the mp. that I’m using on my you tube version demo. You Tube Don Gutheil, smooth version of Harlem Nocturne. (The “rough” version is with my main squeeze – Lawton 10B*).

  46. Hi Don, I did see those reeds in the box but I’m not a fan of using someone else’s used reeds so I passed on those. I did order some 2 reeds since then in case I ever try a mouthpiece that open again. Thanks again for letting me try it. Steve

  47. PAT ZICARI says:

    Don..
    Funny you should mention Lawton…
    I blow a .155 (Started as a 10 STAR B before Geoff and I experimented with it)…
    Didn’t know the measurement until a few years later, when Arnie Brilhart @ Rico measured it for me…
    Rico USED to make me PlastiCover # 1’s… but, stopped around 5 years ago…
    Have been searching for a reed since then… MAY have found it…
    Repaired the “tooth groove” on the Lawton and a Berg 130/0 offset M…
    Got out a reed that I had NEVER tried… pretty much a match made in heaven… a Forestone Hinoki… XS strength…
    Now we’ll see how long it lasts… our mouthpieces are not very “reed friendly” as far as longevity…
    Legere’s just didn’t resonate for me… and PlactiCovers (1 1/2) were a bit stiff…
    MAY try a PlactiCover Baritone sax reed… a 1 1/2 might do the trick…
    Didn’t know if you’d tried a Hinoki yet… so just another 2 cents from someone… 🙂

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