Hey Pedro, thanks for the question! First off, you need to separate these into two categories, boutique and mass production. The boutique cost a lot more and are basically meant to come out of the box perfect. The Matt Marantz, Gerber, and Morgan are great examples of this. The mouthpieces under $200 are mass produced and usually need a reface to play as well as the boutique mouthpieces. I am really sad about the Meyer Connoisseur. It is priced boutique but needs refacing. If you search online, this is reported heavily. The mass produced work fine, but the reface makes them perform much better. Nowadays I am playing the D’addario select jazz. That one does everything I want and it is stock out of the box. I have since sold almost every mouthpiece performed on in these videos. I would say to just get a D’addario select jazz. Save yourself the time, money, and heartache and just get that. And get the marbled one, in particular!

@@AcevedoDMA , I heard that the daddario select jazz is very consistent and plays great out of the box!! But I'm afraid they might sound to much on the dark side! If I can ask, why do you think its better to buy the marble finish one? I really wants to try the new Selmer jazz flow mouthpiece! Have you tried? What do you know about this one?

@@pedrodavidrodrigues1959, the marble finish has a little different sound. It is something that I like, and the responsiveness is a little better. Yes, these can be dark pieces, but get very bright when pushed. What it gives me is a lot of control I have been looking for! I have not tried the Jazz Floe yet, sadly, but am really looking forward to it!

I could do that, thanks for the suggestion! I actually thought of re-recording then posting again it in general but I had an accident and sliced my thumb open pretty badly like four days after this was posted. I probably won’t change anything or add *any* write articulations in future etudes. 😂🤷‍♂️🎷

@@AcevedoDMA Thanks! I think that'll clear up a ton of confusion. While I have you -- is beat 4 in measure 12 supposed to be an A#? The courtesy accidental on the tied note makes it a little confusing as to the intent of the one later on (as usually the tied note wouldn't be marked with the accidental, and the subsequent A would be natural unless specifically marked). If I interpret the notes in relation to the literal chord symbol, I would assume A#, but it's another confusion point and might be a good note to make in the official errata for clarification.

@@emiliomesamusic, I didn’t even notice that. It is an edit from TMEA. When I put in courtesy accidentals, I put them in parenthesis. I think the rule is when an accidental is tied over it counts for the note tied, but not later notes in the measure. So I feel like the accidental should be on the A# on beat 4 and not the A# on beat 1. I think I need to contact the editor about this one for a potential errata. Is there anything else you caught that I should inquire about?

@@AcevedoDMA not in your etude :) but if you've got a direct contact with them I did have another catch or two... Etude 2 measure 20, beat 4 -- my ear wants that to be an E natural, but the often-ambiguous-and-confused rule with accidentals carrying across octaves comes into play with that one. Also the measure after it -- in measure 21, third triplet 8th in beat 3 is an Eb according to the key, but doesn't fit the symbol (and doesn't sound correct... 😉)

@@emiliomesamusic, one reason I started writing etudes myself was because there were flagrantly wrong notes in etudes. I used to report them within the first day or two years ago. In the past years, most of the errata changes for saxophone were reported by me. I reported a chord that was wrong in the improv last year as well. As you know, Finale can do dumb things sometimes that don’t get caught. Long story short, anyone can report a mistake that needs an errata.

It is all direct jazz vocabulary. All of the notes are spelled correctly using music composition rules. There are many accidentals because the chord progression is pretty challenging. Like I mentioned elsewhere, it is very hard to write an etude that is very hip and easy enough for students to play. I am happy with it since it is more like a Bossa Nova and not just a swing etude that somebody slapped “samba” onto. Are you a student auditioning or an educator?

You can't just mash up stan Getz's solo, cannonballs, and add your own rhythms that don't make sense with the phrasing. It was hard to play because none of the rhythms make any sense where you placed them or some of the rhythms as a whole don't make sense with the style.

@@JohnDiggle-lz9gu, I will make sure to change it for you! Good luck with your audition!

yeah tha shiz was low key doo doo

@@JohnDiggle-lz9gu He just stole parts of cannonball's solo and made it worse

I am sorry that you feel that way. Do your best at the audition. :-)

@@AcevedoDMA what you doing up so late? its 12:56

@@AcevedoDMA I'm sorry that I you feel that way too

I didn’t record much more! :-( I was running the event that day so I missed a ton!

@@AcevedoDMA Awww man that's too bad. Would have loved to hear the solos, but the head sounded pretty good anyway.

You can do it!

then you'd be surprised to know that this guy wrote it

So my etude last year was mid? 😢

@@AcevedoDMA no it was peak that’s why we still play it sometimes 🙏🏻

dele did the best but unfortunately, it's no Gigue by Jacques Aubert

@@daxdenman the best solo ever composed

His name actually rhymes with yours!

Thanks Clifton!

Thanks for the comments! I tend to go between the sterling neck, the WO1 neck, and the 66 neck. Recently I have been sticking to the WO1 neck and been very happy. I think I want to try using a WO10 neck consistently but do not own one. I agree with you about not changing mouthpieces and instead changing necks. However, I can’t fit more than two necks in a case and I can fit like five mouthpieces! :-D I tend to carry around two classical and two jazz mouthpieces!

I was lucky to find my holy grail mouthpiece on tenor and soprano that allows me to play any style except classical... Theo's Gaia 4 mouthpiece. I also use Gaia 4 on alto, but Theo made the alto and soprano Gaia 4 models more mellow than the tenor Gaia 4. It's easy to use a mellow soprano mouthpiece in any style, but the alto needs more edge in some styles. I can make the alto mouthpiece work with Rigotti Gold and Francois Louis reeds because those reeds get more edgy. I really love the alto Gaia 4 for jazz (using any reed). I sometimes use Theo's Durga 5 on alto when I know I need a screaming sound. The tenor Gaia 4 is the 2nd most versatile mouthpiece I've ever played. I can play beautiful mellow jazz and screaming rock with the same mouthpiece. I stupidly traded away my bari bronze Lawton plain chamber mouthpiece. l could actually play all styles with that mouthpiece including classical. I was in the United States Army Europe Band and we played classical music with the big concert band and I used that same mouthpiece for Big Band and Rock Band and the Concert Band. @@AcevedoDMA

That Yani is my personal horn. I love them! But yeah, that Supreme was fantastic! Thanks for checking out my video!! I hope it was helpful. 🙂

This was the school’s audio engineer. It turned out much better than mine even though the saxophones were faced away. Condenser microphones are amazing for wind instruments! And thanks!

Hey Mark! Thanks for the comment! I use to have a very specifie regiment of reed soaking for gigs, rehearsals, lessons, practice, etc. I would usually change reeds during breaks. It was extremely good for cane reed longevity and consistency! It just took a VERY long time and a lot of time outside of all of those things! I feel like I would do like an hour or two of reed work every few weeks to keep them in top shape! I also used reed storage cases with humidipak and made sure they were always filled with liquid. It took a lot to keep the consistency I felt that I needed for all of the performing I did! Then...i tried these Venn reeds... I have tried cane reeds a few times and also tried Legere and Silverstein Alta. NOTHING comes close to these Venn reeds for sound, feel of cane, and response! NOTHING! Yes, they are a little brighter than cane and lack a little bit of the complexity. Honestly, it feels like Iose 5% tonal complexity. So I make up for it by playing a warmer mouthpiece. I am playing Selmer S90 180 on both alto and tenor...and it just works. I am extremely happy with my classical sound and consistency, even more than I did with cane. For Jazz, the Venn is just straight up winner! I play a reed a half strength softer then I normally do and the response and sound is just perfect for me! I haven't tried it for a musical as I don't really do those anymore as there are not much in my area. For marching band, I have dozens of students who is it now and swear by them! I even have one student who had a big solo with lots of fast runs and a line up to altissimo B! The Venn was super consistent and helped him hit it every time! So yeah, definitely try them out! I think Venn needs to come out with quarter sizes, I am surprised that has not happened yet! I honestly think it is by far the best synthetic reed. The technology can onlly get better! Thanks again for the comment!

That and a Johannes Gerber are what I am using now.

@@AcevedoDMA solo hablo español. Uso 2 diferentes ., una de goma., otra de metal. Ambas son réplicas 😔