L (tenor only)
This is my traditional jazz mouthpiece. The bore and baffle are a copy
of a 1950's metal Link that Pharoh Sanders gave me. It has evolved
somewhat over the years, but is still as close as I get to the old Link
J (tenor only)
This is an L modified to have almost no baffle, it is my darkest piece.
It has an almost imperceptible amount of baffle, but I have heard from many players that say the sound is so huge that they don't need a baffle.
Fmaj7 (alto, soprano and baritone)
The Fmaj7 has no baffle, it is straight down the bore from the tip into the chamber which allows for an unrestricted free blowing piece rich with harmonic overtones. A baffle protrudes into the bore and constricts the airflow creating an artificially bright sound. The lack of a baffle releases a lot of back pressure and allows the sound to flow unimpeded. It can then play freely and open in the throat while projecting well despite the lack of an edgy baffle.
DD (alto, tenor and baritone)
This is a full baffle, it's loud, bright and cuts through a rythym section while still maintaining a wide range of dynamics. Rock players favor this kind of baffle for it's bright edge that can compete with electronics and be heard by the player. Works especially nice on bari in a big band, lots of bottom in the section.
SB (alto, tenor and bari)
This piece has a short baffle, a cross between the small traditional
baffle and the DD ... best of both worlds, works well for big band lead
alto or funk and great in a club, too.
| baffles and chambers