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What setup with a NEW alto can give you a sound that resembles Johnny Hodges?
 

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Open tip, hard reed, open chamber, no baffle. Think almost a "Classical" setup, but more open. Otherwise, the easiest way is with a True Tone or pre-war Aristocrat, and a much milder setup.
 

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Theo Wanne's site says he played a hard rubber Berg (surprising):

http://www.theowanne.com/mouthpieces101/playerSetUps.php?pid=54#SetUp

(I'm going to disagree with Nissan about a "classical" type setup, no offense.) Hartt -- I would have expected Tonalin also, based on the fat brightness without much edge in the sound. I guess I can imagine that sound from a Berg, probably a medium-tip, medium baffle, and a medium-hard reed.

Edit: as I look again at the pics on Wanne's site, he's obviously playing a tonalin in the first and a berg in the second picture. Interesting...
 

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Looking in Google images, there are pictures of him playing both Tonalin and Berg moutpieces.
 

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Theo Wanne's site says he played a hard rubber Berg (surprising):

http://www.theowanne.com/mouthpieces101/playerSetUps.php?pid=54#SetUp

(I'm going to disagree with Nissan about a "classical" type setup, no offense.) Hartt -- I would have expected Tonalin also, based on the fat brightness without much edge in the sound. I guess I can imagine that sound from a Berg, probably a medium-tip, medium baffle, and a medium-hard reed.

Edit: as I look again at the pics on Wanne's site, he's obviously playing a tonalin in the first and a berg in the second picture. Interesting...
No offense taken. But, I think it's much harder to go about getting that sound on a modern sax. Go vintage and be done with it :) .
 

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Nissan, I don't think you can get all the Hodges bends and nuances with any chamber if you use a open tip PLUS a hard reed. Reed has to be on the soft side of the facing relativeness to be able to bend and jump over the articulations like the rabbit.

I agree with you 100% about the setup, if you exagerate you can say "keep any MPC and swap your mdoern horn for any aristocrat" (even selmer era aristocrats!)
 

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1. The horn doesn't matter.

2. The mouthpiece/reed combo matters somewhat. High baffle metal pieces aren't the best choice. Something middle of the road, with an appropriate reed will do fine.

3. The musician's aural concept and familiarity REALLY matter! Sounding like Hodges isn't just about tone, it's about inflection and pitch flexibility and taste.
 

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Best way to get the Hodges sound is to go back in time and let Johnny play the horn.

Why do players want to copy others sound?

Create your own sound and be yourself.

Choose the tools that work for you and practice.

B:cool:
 

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Grafton + TH & C alto || Naked Lady 10M || TT soprano || Martin Comm III
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What setup with a NEW alto can give you a sound that resembles Johnny Hodges?
When you say "YOU" presumably you mean "you", ie you not "me" or "us".

I'm not trying to be funny, but you, me or us playing the same set up would not sound like him.

What might make sound (a bit) like him is not the same as what might make you or someone else sound (a bit) like him.

I have been asked in the past on film recording sessions to sound like Johnny Hodges, and I managed to get away with it. (well I got paid, Mr Coppola like it and they used the cue in the movie!)

My horn was an Adolphe Sax, the mouthpiece was a Vandoren Java A45 (only because I was endorsing them at the time).

I think that if I'd used the same horn and mouthpiece/reed as Johnny Hodges, I may not have pulled it off.
 

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1. The horn doesn't matter.

2. The mouthpiece/reed combo matters somewhat. High baffle metal pieces aren't the best choice. Something middle of the road, with an appropriate reed will do fine.

3. The musician's aural concept and familiarity REALLY matter! Sounding like Hodges isn't just about tone, it's about inflection and pitch flexibility and taste.
Winner. More than anything, air support, inflection, vibrato... at one time, this was just how the instrument was played. Hodges just did it better.
 

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1. The horn doesn't matter.

2. The mouthpiece/reed combo matters somewhat. High baffle metal pieces aren't the best choice. Something middle of the road, with an appropriate reed will do fine.

3. The musician's aural concept and familiarity REALLY matter! Sounding like Hodges isn't just about tone, it's about inflection and pitch flexibility and taste.
Winner. More than anything, air support, inflection, vibrato... at one time, this was just how the instrument was played. Hodges just did it better.
Yep! Hodges would have sounded like Hodges on ANY set-up!
 

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1. The horn doesn't matter.

2. The mouthpiece/reed combo matters somewhat. High baffle metal pieces aren't the best choice. Something middle of the road, with an appropriate reed will do fine.

3. The musician's aural concept and familiarity REALLY matter! Sounding like Hodges isn't just about tone, it's about inflection and pitch flexibility and taste.
Yeeeeeap :) I'm with this guy
 

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Wow! Three votes of confidence in a row.

I'm usually a threadkiller when I post stuff like this.
 

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Yup, I definately agree with pete. I was doing a performance this summer, and I got to play the lead in "The Star-Crossed Lovers". Easy song to play like it's written, not as much to play it like Rabbit. Or even CLOSE.

My solution was downloading every Johnny Hodges song I could find, every lick, putting them onto a playlist on my itouch and listening, listening, listening. And you know what? I didn't suck, and know Johnny's one of my favorite players!

John
 

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From what I know, Hodges changed set ups frequently like Charlie Parker, so there really is nothing specific.
 
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