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Discussion Starter #1
I have purchased several mouthpieces, trying to find the right one for me (give me the sound I am looking for). Like I have stated on previous posts that I am looking for a edgy, but not to thin. I guess I could describe it as a edgy, free blowing and full sound somewhat like a cross between Kirk Whalum, Dave Koz, and Gerald Albright. I played on a Yanagisawa 7m, but seems to be quite resistant especially when I put in a new reed (I like going between a 2.5 and 3, preferably would use the 3s, but it sounds to be very stuffy). I have Dukoff D7, Lebayle Studio 8*, Lebayle LRII 9, Beechler Beelite 7, Beechler m7s, Meyer 7 Metal and Vandoren Jumbo Java. No matter what I do it seems like I can't get the sound I want, pretty much still sound like me. There are slight differences, but when I ask people who listen to me I pretty much still sound exactly like me. I want to find a mouthpiece that I can use until it is unplayable then switch again then. I like the Dukoff and Lebayle Studio 8*, but they really squeak at higher notes. The Yanagisawa I am attached to because I played it for years and learned a lot on it such as: I learned altissimo on it. The Lebayle LR2 9 is good with the Vandoren Red Box 2.5 reed it sounds nice when it settles in, but when I put a new reed in it then sounds stuffy again. I just don't know what to do, because I want something that I can play the full range and altissimo no matter the intensity. I am just looking for advice on this.


P.S: If I can also get advice on how to find a soprano and tenor setup, using my alto setup as guide (if that makes sense). Just trying to find the equivalent setups in terms of responsiveness and facing and so forth. For example: If I use my Yanagisawa 7 metal on my alto, would you go a Yanagisawa 7 on tenor and soprano and so on.
 

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I suspect most of us achieve the same results that you achieved . . . regardless of what equipment we use, we sound like us. I know I do. It isn't the horn or the equipment, it is the player.

Any changes we may hear in our own sound are 1) subtle differences (important, though, because being pleased with your own sound is critical to a good performance), and 2) mostly ignored or unrecognized by others, especially non-saxophone players in the audience.

My experience has been that the individual reed we are using on any given day is more critical in the way we sound. I play mostly soprano and have several soprano saxophones as well as several mouthpieces that will get the job done for me. The only critical factor among all of those horns and pieces is the reed. If the listener didn't see the horn and know which mouthpiece I was using, he/she would not be able to guess which soprano and which mouthpiece I was using. Of course, they would probably not know about the reed, either, and wouldn't be able to tell the difference. Oh, I can and that will be MY secret - no one else cares. DAVE
 

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Iceman: I neglected to address your question about similar set-ups for different sized saxophones. Before a week ago, I would have argued that usually you can't take a good set-up on one saxophone and successfully transfer that same set-up (in design, not the actual set-up) to another size saxophone. Yes, there are exceptions . . .

However, I tried it on alto (from soprano) and with the Selmer Concept mouthpieces, it worked perfectly for me. I'm using a Concept on soprano and I tried the alto Concept on my altos and VOILA! It gave me the same playing characteristics on alto that I so much liked on soprano. Still, this is something that only you can determine will work for you. We are all different in the way our embouchure is formed. DAVE
 

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Discussion Starter #4
Thanks Dave!
 

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My Tenor-Alto-Soprano have different playing angles, so for me I had to approach each one with a specific setup for each. I know of some players who use a similar mouthpiece for all their horns.
 
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