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Discussion Starter #1
Hi Guys

A friend of mine told me that if you put a silver plated neck (like the G1) on your alto sax you can get rid of that thin sound when playing high notes, like high A and above. I have a Yamaha Custom 855 alto sax, and use a Beechler metal mouthpiece, Rico Jazz Select 2M reeds. My sound is OK but I´ve always thought that it´s a little bit thin on those notes, a little bright and thin. I´ve already tried many other reeds and the same happens, the sound is OK but still in need of more warmness. And I can tell (believe me), my embrochure, experience and time playing the sax have nothing to do with this issue. My sound is already mature, it´s just a matter of getting the right equipment. The mouthpiece I use is also great, in fact, refaced by Brian Powell.

So, I need some advice, maybe someone here has already done this. The neck is not too expensive, but I don´t want to buy it if everybody tells me this idea is just crazy. Unfortunately, the guy who has one of this necks and actually told me about it, lives too far away from my hometown, so I can´t try before I buy.

Here is a place where I can buy that particular neck:

http://www.wwbw.com/Yamaha-G1-Neck-for-Alto-Saxophone-471274-i1417677.wwbw

Thanks!
 

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My observation is that you seem to be defending your mouthpiece at great expense to your wallet. The mouthpiece you own could still could be the most immediate problem. Just because it is faced properly does not mean it will give you the sound that you want. A modern high baffle Dukoff can be faced to perfection but most guys would not call the sound thick or warm.

Maybe a neck will help, maybe it wont. I can tell you that its a much bigger investment than a mouthpiece that is designed to play warmer. Beechler metal pieces do not have a reputation of being really warm. They are very contemporary sound with a healthy dose of edge.

No offense is intended here but this is almost like someone posting that they know their Rascher mouthpiece is perfect but it wont play R&B.
 

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Discussion Starter #3
Thank you very much Sigmund, I really apprecciate your time replying on my post. My favorite style of music is actually contemporary smooth jazz, like Michael Lington, Dave Koz, Eric Marienthal.....I´ve heard this guys many many times and I can tell, even when they´re using Beechler metal pieces (Dave Koz and Marienthal do, I´m not sure about Lington) their sound is not too edgy when playing high. I´m also aware of their type of reeds, marienthal uses Vandoren (traditional blue box), and Koz Rico Plasticover.

I´ve tried other mouthpieces, and I do gain warmness on my sound, but I loose the facility of playing altissimo notes compared to my Beechler. I do have a Vandoren V16 and a Meyer 7M, they both sound pretty good, but......not feel as comfortable as my Beechler.

I know I know....everyone has his own sound, I will never sound like Michael Lington or any other guy, but one thing remains among all pros....they don´t have a thin and edgy sound, and I feel I still have a little of that. I think I´m too close to what I´m after, it´s just a matter of a little something. I´m hoping this kind of neck help me on that search.

Thank you!
 

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I don't think it is the silver-plate on a neck that makes a difference. It is the overall interior design of the neck, regardless of the finish. I'll bet you could change what you don't like in your sound now by experimenting with reeds, mouthpieces and yes, even ligatures, even though the ligature-thing has been discussed to death here on SOTW (as has the finish-issues). DAVE
 

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I noticed a change in timbre/fullness when I went from a G1 neck to a G3 neck on my 82Z, I've got an unlacquered G3 and a Gold Plated G3 and after many hours of playing I can say frankly there's no difference in tone/playability between the two necks. I've not tried a Silverplated G1 or G3 but I think the good/bad aspects of each neck would be the same regardless of the plating.
 

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I dont work on Beechlers because stainless steel is evil, but if it had been refaced with a slightly longer facing you may have hit it on the head if you feel you are that close.

Also, the lack of response you got on the other pieces may be due to poor production.

...just a thought.
 

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Few ideas:

- on my Yamaha tenor a Selmer neck (ref 54 in my case) really adds fatness and warmth to the sound
- is your Bellite a #7? You might try an 8 if that would solve your problem
- have you experimented with ligatures? I found that a silver Selmer worked way better than the original Beechler ligature
- and lastly.. try playing those high notes and the same notes just using overtones and try to match the original note to sound like the overtone one (overtone ones sound bigger and fatter)

Good luck!
-TH
 

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Discussion Starter #8
I use Rovner ligature actually to cutoff those excesive high frecuencies. And I´ve noticed out of all the reeds I´ve tried, that La Voz are the only ones that really help decrese those frecuencies. But I need to get a box of Medium Soft ones, because the Medium I just bought are a little hard for me to blow. What I pretend here is to get what I´m after just by changing the neck. Well, that´s what I need to find out.

Thanks
 

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Try adjusting those Medium reeds with a sharp blade and they will most likely come right into playing shape. DAVE
 

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I think you'll find Koz plays silver for the brightness, not the warmth. For the cost of some time, you could get m/p on approval from say WW & BW to try out some darker sounding mouthpieces. I use a Beechler on my Yamaha for just the edge I want; changing the neck may have an effect to you, but not usually to the audience. Medium soft reeds with a small tip usually make a thin sound overall for me plus make altissimo harder to hit.
 

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I've tried out a silver V1 neck and a lacquered G3 on my YAS-62IIS and the consensus by my professor and myself was to stay with the G1 that came with the sax. There wasn't enough evidence to justify the money spent on the new necks. So I returned them.
 

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I noticed a difference between the G1 & G3 on tenor (both were silver plate, but only to match the silver plate of it's corresponding 82z). I liked the G3 better, but it probably would sound nearly identical to listeners. Feel is important too, it may he worth your time to check it out, but at the end of the day it's still going to be your throat, mouth & embouchure affecting your sound the most. Also consider, have you heard your favorite players live without a mic? They use eq and reverbs that affect their sound too. There is a YouTube clip of Koz & Langton doing a duet that seems natural. Do you like their sound on that, and is their tone on it significantly different from yours?
 

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En Eric Marienthal's website, his listed equipment page says he plays a "Yamaha Custom Z Alto Saxophone Silver body, Lacquered neck and Gold Plated right hand thumb rest." Wonder what effect the gold plated thumb rest has on sound and intonation.:faceinpalm: Seriously, though, the necks I purchased and returned were from ProWinds. Maybe you can do the same. They also have a trial period like WWBW.
 

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I think you'll find Koz plays silver for the brightness, not the warmth. For the cost of some time, you could get m/p on approval from say WW & BW to try out some darker sounding mouthpieces. I use a Beechler on my Yamaha for just the edge I want; changing the neck may have an effect to you, but not usually to the audience. Medium soft reeds with a small tip usually make a thin sound overall for me plus make altissimo harder to hit.
Yes, most of the comments that I have read seem to indicate that silver finish, either solid or plated, should make the sound brighter.

It gets a bit confusing when other posts come up that associate silver with a warmer sound...
 

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I just remembered, doesn't Yamaha have another new alto neck out? There is the G1, G3, and now another one (v1?). I don't know about finish affecting sound, but the different designs should give some varied results.
 

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Yes, most of the comments that I have read seem to indicate that silver finish, either solid or plated, should make the sound brighter. It gets a bit confusing when other posts come up that associate silver with a warmer sound...
I'm one who believes ("knows" through experience) that the exterior finish of a sax neck does not affect the sound. BUT, there have been a few folks on the forum, including myself, that believe that they have experienced a significant change in tone after having a neck plated in silver. An possible explanation is that the new finish, or the way the neck was prepared for plating, causes moisture to bead-up differently than before. This changes the internal surfaces of neck after it has been played a few minutes. There are those that claim that simply cleaning the inside of a neck can cause change the way moisture beads up, significantly changing the tone.

Also, I once read on a well-respected sax technician's web site, that he/she offered a special service of polishing the internal tube of the sax to give it a warmer/darker tone.

I really don't know about any of this stuff for sure, but I just thought I'd throw that out there again to ruffle a few feathers :twisted:
 

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Also, I once read on a well-respected sax technician's web site, that he/she offered a special service of polishing the internal tube of the sax to give it a warmer/darker tone.
Could you please provide a link to that site?
 

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Maybe the real reason mk vi's sound so good is the years of gunk build up? The differing qualities is actually whether the player smoked into his horn, blew chilly dog chunks through it, and whether or not that film was galvanized with a nightly wash of Jack Daniels..... ?
 
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