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Discussion Starter #1 (Edited)
Hi everybody,

I rarely start new threads, except on Marketplace :), but this is an exception.

Question for you all tenor players:

I come from alto, so I'm more comfortable with small tips on tenor (no more than .101) ...

I like my sound, it's ok, Cannonball Vintage with an EARLY New Vintage 7, sometimes a Supreme Slant which is .105, a bit more difficult to control, it takes air...

I'm struggling a bit with projection in louder settings. I know, Alto is easy to cut through the band and you can hear yourself better...

I'd like to have a piece like a Guardala, but that sounds like a HR Otto :mrgreen:

My sound concept, I guess, is around Garzone, Getz, Cheek, Turner, Lovano too, etc... all different and very personal, but I guess you get the picture when it comes to "just sound" (if such a thing can be separated from everything else).

I need more volume!! hehe ... Actually, I'd like (first of all) hear MYSELF better... coz, maybe it's projecting, I'll have to put my Zoom when playing with the band on the other end of the room and then check the recording...

The other mpcs I tried and sound louder, I don't like the sound... baffled pieces.

It seems that the projection with the HR Link-like pieces just come from the player... :cry: Most of these guys play with hard reeds in relation to the tip opening.

Also, I have a V16 HR, .98 perfect craftmanship by Erik G, but it sounds a bit bright to me... so, go figure...

The CBV plays with some excess of treble EQ to my ears, so to speak... I had a Mk VI M105xxx that I sold (don't ask!) and that was a different story... but still no too much projection.

So, something that sounds like a smoky, meaty HR Link, with the volume of a Guardala? Or just keep doing what I'm doing, and it'll get better.

Any thoughtful advice is welcome :)

Have a nice one,
D
 

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How long do you play tenor with that mpc?
That mpc seems enough to sound over a Metal concert...is just a question of getting used to..
 

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TK Versitone...I play the Acoustimer on alto and it is semi-dark with lots of volume. I would think the tenor piece would be similar?
 

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I play a Saxscape Xtra Dark Prototype .102 on my Cannonball SS for a nice full and dark sound with plenty of projection to cut through with a Hammond driven funk quartet.
 

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Discussion Starter #5
Thank you guys, that was quick! :)

I always used HR pieces, I guess that I might be ready for metal now, I dunno...

I know that HR tenor pieces (except the slim profile ones) force you to open your mouth significantly, and if you take enough mpc (as I do), that tends to take you towards the tubby zone :)

I'm considering the Saxscape Xtra Dark .102, I was about to grab one of those Prototypes... the finishing of that pieces never seduced me enough, but what do I know, never tried one. They are CNCed, right? The close up pictures show like someone use some kind of knife ... I mean it's definitevely not smooth... in my experience, everything counts at the end. But it's the first one in the list ;) I should ask Mike Cesati about projection, he played a Supreme Slant (mine was his) and he is sold to the Xtra Dark but I think .110 if memory serves.

Ted Klum is out of my budget now.
 

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Thank you guys, that was quick! :)

I always used HR pieces, I guess that I might be ready for metal now, I dunno...

I know that HR tenor pieces (except the slim profile ones) force you to open your mouth significantly, and if you take enough mpc (as I do), that tends to take you towards the tubby zone :)

I'm considering the Saxscape Xtra Dark .102, I was about to grab one of those Prototypes... the finishing of that pieces never seduced me enough, but what do I know, never tried one. They are CNCed, right? The close up pictures show like someone use some kind of knife ... I mean it's definitevely not smooth... in my experience, everything counts at the end. But it's the first one in the list ;) I should ask Mike Cesati about projection, he played a Supreme Slant (mine was his) and he is sold to the Xtra Dark but I think .110 if memory serves.

Ted Klum is out of my budget now.
Yeah, they aren't pretty and polished, but they play. I think the retail ones available at saxcessories are .110. They are finished to a nice polish from the looks of it...They are also $250.
 

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Sounds like it might not be an equipment issue, considering you've tried out so many different options and don't get the projection you want. Could be a factor in your sound production. Something sucking out some of the sound that should be otherwise screaming out of your sax!
 

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Hey Cantoni, I saw your posts . How's things? I do remember the Bergonzi Slant. I think I found that too bright for my tastes
I'm going through the same mpc issue myself. The Saxscape .110 has served me very well for many years now but I just got a Ted Klum Resotone. It's dark with a great sound but I sure could use some more volume out of it . Looking into reeds for it .
The Saxscape I have cuts perfectly fine in electric blues settings etc BUT the resotone has it beat for a jazz sound like I like .
So now I'm on the Klum . I would like to try the Acoustimer also but these pcs are expensive. I got a great price on the resotone or I wouldn't have bought it.

The funny thing is when I put the saxscape back on I can't see me playing that mp over the klum. I feel a little stuck . The sound is right but I need more of it ?? The Klum really makes me play loose to get the fullest sound so it's keeping me in check with my embouchure.
 

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You mentioned budget so this may not work, but my Barone Hollywood plays very loud and is dark. It is like a link in that there is no visible baffle, but Phil has done something special to get it to project better than any of the links I have played.
 

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Discussion Starter #10
Thank you guys... I appreciate all your comments.

Long tones on tenor everyday, and play as much as I can is the cure for the moment (isn't it always?). I'd love to try all these pieces, but that's no possible, let's see how this tenor thing evolves. I posted since I have some serious gigs tome come, around some really great musicians...and tenor for me was always a place to have fun with. That's all... we call it zogaca which means that I'm a bit insecure.

I'm realizing it was a childish post, and I wanted a quick solution, for something that it's not problem aactually. I played with another drummer this morning and it's ok... I need more confidence, play with more authority, that's all. Being worried about volume, is like being worried if your ***** is big enough, :), kinda thing.

@MikeCesati: how r u? Using the search I just found a post of yours, 2007 IIRC, saying that the Xtra Dark is nice but it doesn't project that much... Btw, the Slant Supreme is really nice, a bit bright for me too, with the right reed is great (I'm discovering the reeds for tenor too)... using Rigotti, sometimes JAVA, and a few Rico Royal... all different beasts. I'm learning...

Thanks again, see you next time.
 

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Have you tried a Jody Jazz CHI, or DV, or a Drake Studio? I found exactly what I was looking for in my Drake Studio (.110) piece. I use a BARI* Soft reed with it, and it's a perfect match. A friend of mine test played it w/a #4 Alexander Superial, and found it almost as fun as his DV (I lean dark he leans bright, I play '76 H. Couf Superba II, he plays a '56 Selmer Mark VI).

I prefer my Drake, cause it has just a hint of "resistance" I can push against, making it, for me, more flexible, so I can darken it for ballads, w/out getting "buzzy" like a lot of high baffle pieces can get.

The Drake Studio is a very slim profile resin piece, that feels very light in weight, but has the same profile as a metal Tenor piece.
 

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Cantoni, your Slant Supreme is all you need regarding a mouthpiece. Commit to it, find it some good reeds and lig and spend some time on it.

I have had a couple of these pieces and they will do everything you say you need.

Regarding projecting on tenor: I find that practicing outdoors (woods, parking garages, parks, etc.) really helps develop a sense of blowing THROUGH the horn rather than into it (as many alto players tend to do).

Stop reading mouthpiece threads at SotW - you've got more than you need already.

Enjoy!
 

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Cantoni, your Slant Supreme is all you need regarding a mouthpiece. Commit to it, find it some good reeds and lig and spend some time on it.

I have had a couple of these pieces and they will do everything you say you need.

Regarding projecting on tenor: I find that practicing outdoors (woods, parking garages, parks, etc.) really helps develop a sense of blowing THROUGH the horn rather than into it (as many alto players tend to do).

Stop reading mouthpiece threads at SotW - you've got more than you need already.

Enjoy!
Wise words from Dr G! If you're not fighting the mouthpiece itself (which I have been in the past), then why change up?
 

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Yes Cantoni, I finally made the Saxscape work well and the Klum will be the same. It does boil down to reed choice sometimes . Dark and projecting is tough to get but it can come through you taking a lot of mp in and moving lots of air.

You need to give a mp quite a while to get the most out of it. Good luck . Funny analogy in your post . I just caught that.
 

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Yeah...
I Agree totally with Dr. G.
Tenor does take much more air than an alto will, sheerly because of its size. Same thing if you go soprano to alto, or tenor to bari, ect.
Uhm,...
I've been reading stuff around, and apparently the resonators that are on the pads of the saxophone affect the volume of the sound.
I guess you could look into that perhaps.
I forget which is louder, metal or plastic. Probably metal, but you definetely wanna check.
 

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Uhm,...
I've been reading stuff around, and apparently the resonators that are on the pads of the saxophone affect the volume of the sound.
I guess you could look into that perhaps.
I forget which is louder, metal or plastic. Probably metal, but you definetely wanna check.
Read on - you'll get more out of a change of reeds that a change of resonator material.

Want your horn to project? Play it!
 

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I have a barone hollywood and jazz. They are both great pieces. The jazz is dark and loud. I can get it brighter if I really work. The hollywood can get really loud to. My trumpet player comments on how loud I can play every practice. The thing is that when I first started playing the hollywoood I could not get nearly as much volume out of it as I can now. It took me a while to build my chops and air stream up to get the most out of the large chamber design. tenor does not cut like alto especially if u play with a dark tone. Start doing long tones outside with ur large chamber piece and things will start getting better. Use a mic on ur gigs too.
 

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Discussion Starter #18
Thank you guys... I'm playing and trying to do my best with what I have. I'll keep an eye open in the marketplace though.

I recently moved to a new flat... I built some sort of practice room, phone-booth like... very dry, it's not fun, but I can play loud.
 

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For me, just get a mic. It's very hard to compete with electric instruments when you're playing acoustic. Even with a high baffle paint peeler. There's a certain point where you just need a mic, no matter what setup you have. And anyways, TONE is the key. Just play whatever piece you feel makes you sound the best, and you can play comfortably. Then play that piece through a mic; you'll have all the volume you'll ever need and you'll sound great.
 
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