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Discussion Starter · #1 ·
What's your favorite modern sounding tenor piece that goes for $300 or less and why?

It might be a high baffle piece or maybe not.

Metal or HR?

What tip opening and reed brand/strength?
 

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RPC 115B. Hard rubber, with a 2M, 2H, or 3S.
 

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Saxscape Downtown Studio. Mine is a .112 tip and I usually use Java 3s. I have the old style slim profile piece(acrylic, not acetal), although Ken says the material and outside shape makes no sonic difference.
 

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sound is what you make it, mpcs dont have too much to say in what comes out the end of your horn...

Check out any of the metal links, the above suggestions, etc

But you can sound "modern" on a C* if you want
 

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Buy any modern Otto Link then have it refaced by either Mojo, EZ, Brian Powell, Bob Carpenter, Ted Klum or insert great refacer HERE. You come out below $300 and you get a high quality peice w/o breaking the bank.
 

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I have played on the same Tenor metal Brilhart levelair 5* since 1978.

I have recently tried to stray to Otto Link 5,6,7 and Sugal KWII, Levelair 9*, Silva Shocka from C.E. Winds and I found myself back where I began so many years ago, the 5* Brilhart levelair.

Now if I could settle on an alto and soprano mouthpiece.

B:cool:
 

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for me, it's got to be my Lawton 8*B. There are others, but I have worked with that one long enough that I am familiar with its idiosyncracies and have come to love them.

Or my morgan excalibur 8

(slightly hampered by the fact that both Geoff Lawton and Ralph Morgan are sadly deceased, but their legacy is continued by others loyal to the cause)
 

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The "House Blend" from Mouthpiece Guys. Erik Greiffenhagen's amazing creation.
 
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Discussion Starter · #12 ·
sound is what you make it, mpcs dont have too much to say in what comes out the end of your horn...
Just to clarify, I didn't start this thread because I am need of advice about a mouthpiece. I just thought it would be interesting to see what the SOTW community is using when they want a really modern sound.

But you can sound "modern" on a C* if you want
While I agree that you can make a C* sound brighter than what it is designed for, I don't think a C* is a particularly modern sounding piece in the jazz world. Not that it can't be used for jazz, but it is really designed to be a legit piece. On the other hand, I'm sure one could use certain reed & ligature combos to darken up a Dukoff, but you can't tell me a Dukoff and a C* will create the same or even similar sounds. So yes, in my opinion, mouthpieces matter a lot in the sound that is created. They won't make one a better player, but they can/do have an influence one's sound.

So again, for the budget minded, what is YOUR FAVORITE modern sounding tenor piece for under 300 bucks!
 

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While I agree that you can make a C* sound brighter than what it is designed for, I don't think a C* is a particularly modern sounding piece in the jazz world. Not that it can't be used for jazz, but it is really designed to be a legit piece.
I'm not advocating for a C*, but are you suggesting that bright=modern, and dark=non-modern/classical? Where does that leave a player like Rich Perry, with a dark sound on a Selmer hard-rubber mouthpiece? Not modern? And Links not modern? News to Bergonzi, Potter, Seamus, etc. I'm not sure that the assumptions behind the question make sense. Modern is not about sound, it's about a certain level of sophistication in the player's melodic/harmonic/rhythmic approach, and is bolstered by the compositions that they write or choose to play, and the group situations that they place themselves into.

All of that said, under $300 mouthpieces that I've played and like? Phil-Tone, Brian Powell or Eric Griffenhagen rubber Links, and Morgans.
 

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It seems to me as of late more guys are playing with a less Bright sound. An argument could be made that Guardala, and Guardala sounding pieces (high baffle) are more out of fashion than links...
Agreed--to some degree, when I hear those bright sounds on tenor, it brings me back to the late 1980s/early 90s, when Brecker had such an overpowering influence. Now, it seems that his influence on melody, harmony, and rhythm remain profound, but players are filtering those ideas through sounds that harken back to the 1950s hard-bop players. Postmodernism is an interesting phenomenon.
 

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It seems to me as of late more guys are playing with a less Bright sound. An argument could be made that Guardala, and Guardala sounding pieces (high baffle) are more out of fashion than links...
Agreed--to some degree, when I hear those bright sounds on tenor, it brings me back to the late 1980s/early 90s, when Brecker had such an overpowering influence. Now, it seems that his influence on melody, harmony, and rhythm remain profound, but players are filtering those ideas through sounds that harken back to the 1950s hard-bop players. Postmodernism is an interesting phenomenon.
It is also interesting to note Brecker's sound on Randy Brecker's 34th and Lex.This was recorded (I believe) just before he became ill. His sound was darker then in the past. I don't know what equipment changes he made if any,but if you get a chance check out his sound on this.
 

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Hey fellas

Rather than start another thread, I'll take this one as a place to post some comments about my Philtone Otto Link HR that confirm the opinion above about refaced Links.

I got this piece--Philtone Link 7*--from another member who sold it because it a) it needed some tweaking on the baffle pretty much exactly like the one Drakesaxprof described a while ago and 2) it had gotten a little warped somehow--probably due to the way it had been stored and/or cleaned.

So, when I got it it played pretty well, but, because of the issues I just mentioned, was underperforming in the high registers and would start to lose its seal after 45 mins or so of playing time.

I contacted Phil and, even though I hadn't purchased it from him, he agreed to fix it for a nominal fee and shipping. I believe he removed some excess material from the baffle and leveled the table.

Anyway, now it's in A-one condition and, FWIW, this is by far and away the best hard rubber mouthpiece I have ever played. I don't really have the chops to back this comment up with a real anaylsis--I'll leave that job to guys like Drakesaxprof--but, simply put, I sound so good on this thing that it scares me. It seems, for me, completely perfect. Another thing: the intonation match with my Martin is pretty much as good as I've experienced, slightly better even than the Dick Stabile facing HR that originally came with it.

Yesterday I was practicing long tones and pick-up notes, and it felt so good that over an hour passed away without me even noticing. Tonight I'm supposed to go play at the bar, but I'm fighting the urge just to head to the practice room and make love to my Link (no salacious pun intended).

Seriously, though, if you're into the Link vibe at all, you really should try a Link hard rubber that has been perfected by one of these guys. I can't imagine a better choice for the money, especially for vintage horns that like large round chambered pieces.

Peace,
rory
 

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Just to clarify, I didn't start this thread because I am need of advice about a mouthpiece. I just thought it would be interesting to see what the SOTW community is using when they want a really modern sound.

So again, for the budget minded, what is YOUR FAVORITE modern sounding tenor piece for under 300 bucks!
Well Im glad you did clear that up. Usually when such a post appears on SOTW, its for advice. Your OP was quite bland in what you were actually trying to achieve.
Sorry
 

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I REALLY like my RIA 7* metal. Though it was a piece that took years to grow into, and years to find the perfect reed for it. I also now own a sax that really compliments it ('66 King Zephyr). It's dark when I need it, and bright when I want it. Altissimo pops on it (never used to. Maybe I've gotton better on Tenor as well?), and when the horn isn't leaking (it does have some micro-leaks that I need to get repaired) easy subtones. My sax instructor picked it out for me in 1993 when I asked what I should get for metal mouthiece (I had been using the school's metal Link when he ordered the RIA for me). After I got mine, and he heard the potential (I didn't do it justice at the time, but he could hear past that!), he ordered one for his Alto and Soprano as well! The Tenor piece was $200.
 
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