Sax on the Web Forum banner

1 - 20 of 24 Posts

·
Registered
Joined
·
39 Posts
Discussion Starter · #1 ·
Hey guys,

What would be a good mpc choice for a Buescher True Tone Alto? I'm looking for a dark, warm sound that is compact and projectable, somewhat like how a Meyer 5M sounded on my YAS-23 back then, but darker. Would another Meyer 5M be a good choice? A Meyer G 7? Or something along the lines of a Hite Artist or Morgan Vintage, or even their Jazz M or EL models?

I'll be using a Vandoren Masters lig with this, though suggestions are welcome on ligs too, and I also have a Rovner Mk III.

Thanks for your suggestions!
 

·
Distinguished SOTW Member, Forum Contributor 2015
Joined
·
3,383 Posts
I'd say a Meyer 5M is a good place to start... If you like the tone with it on your Yamaha, you'll find that on the True-tone it'll sound a bit more pure, and a little darker. If that doesn't float your boat, you can go from there...
 

·
Registered
Joined
·
39 Posts
Discussion Starter · #3 ·
SactoPete said:
I'd say a Meyer 5M is a good place to start... If you like the tone with it on your Yamaha, you'll find that on the True-tone it'll sound a bit more pure, and a little darker. If that doesn't float your boat, you can go from there...
Awesome! Thanks! =)

A question though: I've heard that one is supposed to use larger chamber pieces on Bueschers though. Is there any truth to that?

And also, how are Bari HRs?
 

·
Registered
Joined
·
218 Posts
People talk a lot about what you're 'supposed' to do. I'm pretty certain there are no rules, just a bit of loose guidance, and that there's no substitute for trying different combinations. i play a yani metal mouthpiece on my True Tone alto, and it works great. That's got quite a small, square chamber. I doubt it will give the sound you want, but it makes the point that you don't need to be constrained to a large chamber.

Jon
 

·
Distinguished SOTW Member
Joined
·
14,348 Posts
I use several modern (meaning current production, not design, although they well could be modern in design, I don't follow those issues) mouthpieces on my TT alto and sopranos.

TT alto . . . Meyer 6S-M, Meyer 7M-S, Selmer Super Session F, Soloist F, Morgan-Bilger 6, Don Sinta w/soft Fibracell reed. All play well and provide good intonation.

I use these same mouthpieces on all of my altos, though - various Bueschers, Selmers, and a B&S Medusa. The horn's age doesn't matter to me.

If you like Meyers, go up in tip-size and softer reeds for warmer sound. DAVE
 

·
Registered
Joined
·
39 Posts
Discussion Starter · #7 ·
Dave Dolson said:
I use several modern (meaning current production, not design, although they well could be modern in design, I don't follow those issues) mouthpieces on my TT alto and sopranos.

TT alto . . . Meyer 6S-M, Meyer 7M-S, Selmer Super Session F, Soloist F, Morgan-Bilger 6, Don Sinta w/soft Fibracell reed. All play well and provide good intonation.

I use these same mouthpieces on all of my altos, though - various Bueschers, Selmers, and a B&S Medusa. The horn's age doesn't matter to me.

If you like Meyers, go up in tip-size and softer reeds for warmer sound. DAVE
Really? :shock: I've always thought that when you go up in tip size and have softer reeds, you get a brasher and more edgy sound, compared to a more focused and warmer sound when you have a closed tip with a harder reed. I know you guys have way more experience than I do though, so can you explain to me a bit why that is? :?
 

·
Distinguished SOTW Member
Joined
·
14,348 Posts
I have no idea why it works that way for me (open mouthpiece with soft reed = warmer, fuller tone). Could it be that I don't have to push so much air and tighten my embouchure so much to begin and sustain a tone?

I usually experience easier sound production when I increase a piece's tip-opening (not physically - change mouthpieces is how I increase the opening). My sound is strong enough that I do not play into microphones or seek electronic enhancements.

I just spent an afternoon with my altos, using my Meyer 6S-M and Selmer SS-F. The Meyer gave me more projection and more focus while the SS-F gave me more warmth and more spread. I use both mouthpieces, depending on the room's acoustics. Dead room? Meyer. Live room? SS-F.

I use shaved down #2 Java reeds. DAVE
 

·
Distinguished SOTW Member/Technician
Joined
·
21,147 Posts
I assume we are talking about TTs from the 20s. I find almost anyuthing will work IF the horn is sealing well. The only problem I would see involves the horns that have the dreaded gurggle down low. Unless a baffle is installed, a large chamber mpc MAY help. I can use any Selmer or Meyer without problems.
 

·
Registered
Joined
·
39 Posts
Discussion Starter · #10 ·
bruce bailey said:
I assume we are talking about TTs from the 20s. I find almost anyuthing will work IF the horn is sealing well. The only problem I would see involves the horns that have the dreaded gurggle down low. Unless a baffle is installed, a large chamber mpc MAY help. I can use any Selmer or Meyer without problems.
Can you describe this 'dreaded gurgle down low' and what can you do to fix it?
 

·
Seeker Of A Clever Title.
Joined
·
3,752 Posts
This is kinda weird, but using a java 2.5 on a Sigurd Rascher piece has a really great jazz sound. Very big and tenor like down low, with some edge, but doesn't get weak up high. Sigurd Raschers are pretty much one of the best pieces for vintage bueschers, and if you want a classical sound, just switch to a harder vandoren blue box.
 

·
Distinguished SOTW Member/Technician
Joined
·
21,147 Posts
Gurggle is a stiuation where notes from low C down get a "motorboat" sound. This happens on some 20s horns and tends to be on one horn but not the next. My only cure short of tubby mouthpieces is to glue a small wooden "egg" from a crafts store in the bow. I take off the low C key, shoot some hot glue in the bow and drop the egg down the bell and position it befor the glue cools. Easy to remove and allows a better choice of mouthpieces. This tends to be on Altos and sopranos mostly. I find that mouthpieces with scooped out sidewalls can eliminate this.
 

·
Distinguished SOTW Member, Forum Contributor 2015
Joined
·
3,383 Posts
FWIW my '27 True-tone alto plays ppp down to Bb, and I am not a great alto player nor are the horn's pads in recent adjustment.

I just can't believe these horns are as cheap as they are considering how darn good they are.

Pete
 

·
Distinguished SOTW Member
Joined
·
4,147 Posts
Grumps said:
... and Selmer altos of various generations.

Not mine!:twisted:

Mine is 100% gurgle free.
 
1 - 20 of 24 Posts
Top