[Dr G]

Fred's site says that his Fmaj7 model is now available for tenor and is slightly darker than the J.

Has anyone had the opportunity to play the tenor Fmaj7?

 

[magical pig]

Anyone?

 

[tjontheroad]

Darn!!! I clicked the thread thinking you had posted a review for me to dwell on G. From what I've been told, it's not that much different than the J. Nothing wrong with that. I have not tried one myself. Maybe next time I'm up to NYC. Heck I'm still waiting on my alto Fmaj7 from Fred.

 

[Dr G]

Darn!!! I clicked the thread thinking you had posted a review for me to dwell on G.

Try again, Tim.

Well, I have MINE! Even though I still have the cough that's been plaguing my last 5 weeks, Neff goaded me into playing it. Wonderful. Fred must like me or something 'cause the stuff he sends just keeps getting better. As much as I loved my J8, this 'piece is IT. Does material matter? I dunno. This Fmaj7 7 (and the L7 he sent with it) is acetal. Wonderfully crafted - it's amazing how well he defines the rails and tip in this material that I can hardly see. What really gets my attention is the knife edge between the chamber and table - that, and the chamber work. The sidewalls are very concave and there is NO apparent baffle. Fred definitely put some hours into this 'piece.

Response is great - I love the clean articulation. If you are looking for DARK (as in incipient tubbiness), move on. It's not happening here. That's got to be one of Fred's failings, he cannot make a tubby 'piece. Sorry. He keeps going to larger chambers, more concave sidewalls, less baffle and he STILL cannot get tubby or stuffy. Must be frustrating, eh?

Dynamic response is excellent too. Nicely balanced resistance, solid lows - Hmm, make that BIG FAT lows - naturally sweet, but then downright aggressive when I switch reeds from Alexander DCs to Rico Select Jazz (unfiled) and push it.

Where I find the greatest contrast to the J8 is in flexibility. On my Borgani Jubilee I find that this 'piece has an apparent greater flexibility of pitch - not to my embouchure, as I tend to keep that relatively fixed, but to changes in my mouth and throat. I know I keep telling people that they need to spend time with their Lamberson Js to eak out all the potential nuances. This mouthpiece is going to take me further still. Thanks, Fred. You've done it again.

 

[Rackety Sax]

...Fred must like me or something 'cause the stuff he sends just keeps getting better. ...

So that's why none of the rest of us can get mouthpieces. :evil:

 

[Dr G]

Aw, man, now you're making me feel bad.

I'm gonna have to go play my NEW LAMBERSON Fmaj7 to feel better again.

 

[tjontheroad]

Try again, Tim.

Thanks for that. I'll be sticking with my L7 'cause I've grown very use to it and don't want to make any changes for that reason. I agree most his pieces need some time to find how they work.

 

[TJS]

George,

Which of the Lamberson's would you say is closer to a Morgan 6C?

 

[Dr G]

Wow, that caught me out of left field...

You know, I've never really paused to compare them - they are oranges and ducks to me. I always play the Lambersons in .110 - .120 tip openings and the Morgan is .090. I play them with entirely different concepts. All my Lambersons (L, J, Fmaj7) are darker than all of my previous Barones (NY, Hollywood, Jazz) - how's that?

Of the Lambersons that I've owned, the J is the closest to the Morgan but that's like saying that, of the family pets, my cat is most like my dog ('cause they each have four legs).

 

[TJS]

Wow, that caught me out of left field...

You know, I've never really paused to compare them - they are oranges and ducks to me. I always play the Lambersons in .110 - .120 tip openings and the Morgan is .090. I play them with entirely different concepts. All my Lambersons (L, J, Fmaj7) are darker than all of my previous Barones (NY, Hollywood, Jazz) - how's that?

Of the Lambersons that I've owned, the J is the closest to the Morgan but that's like saying that, of the family pets, my cat is most like my dog ('cause they each have four legs).

Thanks. I always assumed they would be similar because of the baffle. I have never played any of them but are very intrigued by all of them.

 

[Dr G]

You're right there, TJS, they are similar in that regard. The chambers, however, are where they diverge - Fred hogs out the chambers of the J and Fmaj7 especially. You need to see them - and play them.

FWIW, I believe is was Roger Aldridge that had several custom Cs made by Ralph Morgan. Ralph, apparently - perhaps explicitely - refuses to make a C in a tip opening greater than .090". I don't think that Fred makes anything less than .100" in a tenor.

If the Lambersons and Morgan Cs were indeed similar, I might not have FOUR Morgan C with .090" tips and two Lambersons.

I do intend to downsize the Morgan "collection" soon. Contact me if you are interested.

 

[trinitron]

i'm gonna place an order for one. i've gotta play on one of his acetyl pieces

 

[TJS]

You're right there, TJS, they are similar in that regard. The chambers, however, are where they diverge - Fred hogs out the chambers of the J and Fmaj7 especially. You need to see them - and play them.

FWIW, I believe is was Roger Aldridge that had several custom Cs made by Ralph Morgan. Ralph, apparently - perhaps explicitely - refuses to make a C in a tip opening greater than .090". I don't think that Fred makes anything less than .100" in a tenor.

If the Lambersons and Morgan Cs were indeed similar, I might not have FOUR Morgan C with .090" tips and two Lambersons.

I do intend to downsize the Morgan "collection" soon. Contact me if you are interested.

George,

Check your PM.