The Ralph Morgan Mouthpiece 'Making' Philosophy
There are many differences between Morgan Mouthpieces and other mouthpieces being manufactured today. A return to the principles of construction and acoustical design used for well over 100 years, from 1808 to around 1910 proves that they worked far better than the modern day ideas used today. Here is a list of the 'old' characteristics you will find in a Morgan Mouthpiece.
- The curvature (duck-billing) of the beak surface is attributable to early study by Gustave Langenus, which we continue to use in our production. Removal of a precisely graduated bulk of material in the beak area allows that portion to act as an auxiliary tone generator, enhancing the tone quality and producing much improved response. This allows much greater power and fine delicate control in all registers.
- Tips and side rails are contoured to fit the reed, thus producing maximum airflow over all segments of the tip of the reed simultaneously, resulting in superb response in accuracy of playing.
- Correct baffle configuration generates the required intensity of each harmonic to let you produce a warm rich singing sound without thinning and 'edge' in the altissimo.
- Chamber and throat designed to duplicate the correct cubic volume which allows you to enjoy a perfect smoothness of scale and response in all registers with virtually no manipulation or fixing of embouchures.
- Handcrafting, as was done with 100 years ago with the same kind of tools, enabling all the intricate contours needed in the chamber to be faithfully duplicated. Hand facing, accurate to .0004" assures that each facing is the same, time after time, allowing more reeds to work well for you.
With a Morgan Mouthpiece, you will find that you can relax your embouchure somewhat, take a little more mouthpieces and reed in the mouth and be able to play with a 'warm breath' instead of blowing so hard and feeling winded. Try one and you'll see!
4 comments
Around 1995 I had a 1924 Conn New Wonder silver plate alto restored by Rinaldo Monaco in Columbus, Ohio. The end result was phenomenal and I still use it today for jazz section work. I wanted to invest in the perfect mouthpiece for Monaco’s masterpiece and called Ralph Morgan. I had a very long and animated conversation with Ralph (I now know there was no such thing as a short conversation with Ralph.) He was excited about the 1924 Conn and told me why. He was excited about Rinaldo doing the work and told me why. He was excited about his 6L piece as a match for what I was playing and recommended I get an Excalibur at the same time. This setup is what I still use today thanks, in large part, to my enjoyable and educational conversation with Ralph Morgan.
I came across Morgan Mouthpieces after finding in a garage sale a beautiful Martin Handcraft c-Melody, silver plated with a Wurlitzer stencil in almost new condition (made in 1942), alas with no mouthpiece. The only options were some beaters on the different exchanges, horribly overprized and in questionable condition and Morgan Mouthpieces. I took the plunge and paid way more for the MPC than what I had paid for the entire horn but the c-Melody MPC completely unlocked the horn which plays amazing.
That said, recently I acquired a 1920 Buescher straight c-Soprano including two original Buescher mouthpieces. The horn played somewhat ok (it was completely repadded with the original snap-in pads by Paul Maslin) but I was not happy with the overall sound and lack of true pitch. I lucked out and after talking to Teresa and Dave at Morgan Mouthpieces, they had a custom c-melody MPC with a 3* facing. I had been looking for a bit wider opening but sometimes things happen for a reason. I could not have made any better choice, the “dreaded” c-soprano plays like a dream with a beautiful sound (using D’Addario Jazz Select Unfiled “2” Soprano reeds.
I also bought one of the clearance Vintage Large Chamber soprano mouthpieces for my LA Sax Alto and and I prefer it over my Selmer Super Session, it is not as responsive but it has this incredible sound.
Thanks for continuing Ralph Morgan’s legacy, you guys (and Teresa) make the sax world a better place!
Hello, I am French and a saxophone enthusiast, excuse my English. I play for pleasure and I am very interested in refacing mouthpièces, I practice it a bit.
I always look very carefully at the work that is done by the manufacturers.
I have tried more than a hundred mouthpieces from the most expensive to the cheapest and I have always come back to the Morgan mouthpièce which are for me are the most efficient and the most pleasant.
I play on a Morgan excalibur 8L which is an extraodinarian piece.
Bravo Morgan for incomparable quality !
Hi, îm Sylvain Beuf jazz french saxophonist. Îm also the director of the jazz departement of the Versailles high school of music.
I command yesterdays a Excallibur mouthpiece 9* . i hope this mouthpiece give to me a lot of pleasure with deep sound with a great easy playing.
I think i will be a Morgan ambassador in France in the future.
Tell me if any endorsement is possible in the future.
Regards
Sylvain Beuf