Jean-Yves Auchere

Lyon, France
I played yesterday the Metropolitain for 2 or 3 hours, with a soft reed like you told me. As you know, with a new mouthpiece, the first 30 seconds are crucial: yes or no.  And after that of course some time to do better knowledge. Given that I had to change my way of blowing, I took time to try various techniques, different ways.So the 30 seconds turned to… 30 minutes to completely fall in love with this piece.
It is just the one I needed !! It plays with no effort, and it is already easy to control the variations in tone. It responds instantly, and with the 82Z’s agility, the result is impressive. The tune is perfect with the horn, I just have to play and it sings.
The sound is sumptuous, and my horn ashine with rare elegance. You were right: warm, sultry and evocative.
Let me say the truth: I didn’t work.  I just played on 2 or 3 Chet Baker’s albums, calm and focused, and after a few tunes I just forgot the mouthpiece and the horn… After that, I was with my students, and it was difficult for me, because I couldn’t stop playing !
But the most amazing thing is the ease for me to switch to another way to play. I thought for sure it’d take much time and work, but it seems to be very natural for me.
Joe, it is a total success, and I thank you so much. It was so important for me, because despite I love the tenor, I know that soprano is my voice.
Last thing:
Making soprano sax mouthpieces is your job. But I know you are a soprano lover, and I am convinced that in your mind your job is also a kind of « mission »: to provide access to the soprano sax witch is so frequently considered as difficult, capricious and even sometimes insane because of a trashy mouthpiece. Mission accomplished. Many thanks, Joe