No No 1. Never choose quantity of sound over quality of sound. When you slap on a mouthpiece and reed combination for your soprano that's comparable to what you play on one of your other horns, you're pretty amazed at how loud you can play. Unfortunately, when this happens, players often get away from the true soprano sound, and venture into the area of LOUD HORN! Just remember that a car horn during rush hour is loud, too!
No No 3. Never buy something that's too big or too hard to control. Stay within your comfort zone. Your main focus when choosing a mouthpiece should be the core of the sound--the SOUND of the soprano, actually, and not the alto or tenor. Think of the soprano sound as a small seed that should be nurtured. Nurture that seed for a few years and it will blossom into something fruitful and abundant.
No No 4. Never by a mouthpiece without first using a chromatic tuner to test the pitch in the instrument's low, middle, and high registers. As I've said in earlier blogs, it can be difficult to differentiate between bright and sharp, and dark and flat, without having first developed an ear for the soprano's delicate nature. Take the subjectivity out of it and know for sure.
If you want to project over a loud rhythm section for three sets, in tune, and without a microphone, the way you're able to with the other saxophones, it takes time. It was a good four to five years of playing it exclusively before I was able to to that. Even then, I still preferred a mic. The range of dynamics I was able to work with was much more rewarding than proving my Sonic Manhood!