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Martin C 3 195 2bari & 56 Tenor 1966 MARK VI TENOR 58 Buffet Alto, 28 Martin sop, bassclar Leblanc
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Discussion Starter · #1 ·
I've bought this mouthpiece last year and have played it mostly in piano/sax duet alternating with my others mouthpieces : Old HR Ponzol controlled by Nicolas Trefeil and STM 7*.

The GS reso really offers a good intonation and homogeneity.
It is reed friendly and get fine with D'Addario SJ 3 M and Rigotti 3M blue.
All frequencies are at good level and sound quality is really lush and fat.
Only problem : it's not the most powerfull mouthpiece in loud playing. i can't play as loud as necessary sometimes.
 

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Tenors Mark VI, SBA, T990, T880, YTS 62 stamped logo silver, SML Gold Medal, Bari: Yani B6
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I also have the Reso and the Slant (in 7* and 8). I feel similar about loudness - I guess one needs to buy the GS mouthpieces with a higher number/ more open tip to fulfil this need.
 

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Feel the same about the loudness. But choosing a "bright" reed can also make the GS sing really bright. Recently I tried Legere American Cut on my GS Slant and it is really powerful.
 

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I also have the GS Reso FG 7* and my initial reaction was same. But I find that if I stick with it and play it (and only it - don't go back to my loud/bright pieces) for several days, I start to really get used to it and feel like I can bring more power out of it.

But then all it takes is to switch back to a metal Berg or Guardala for a few minutes and then it's almost impossible for me to go back to the GS Reso and get any power from it without spending some time getting used to it again.

I haven't been playing out with a live band recently though ... so it's very possible that even though I think I'm getting plenty of power from the FG 7* here at home, I might find I can't hear myself at all in a loud stage situation. In fact I have that exact problem with my Yani Tenor - at home I prefer the Yani to my Yamaha but when I'm on stage with a loud band I can't hear myself at all with the Yani and with the Yamaha it's no problem. Kind of mystifies me actually since the difference between them practicing/recording at home is much more subtle.
 

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The upcoming GS Supersonic is brighter and punchier than the Reso. The Reso is a pretty dark mouthpiece. You can project on it if you are the kind of player who moves a lot of air. Seamus Blake told me his Reso was only a 7 tip. He just put a lot of air through it. Anyway, in order dark to bright the GS pieces are: FG 7* Reso, GS RESO (any tip), GS Slant, GS Mark II, GS Supersonic. The Supersonic is a copy of a vintage Dukoff hard rubber Supersonic which was made along with the type of Dukoff Hollywood that Dexter Gordon played. Still fat sounding, large chamber, and sort of like a Link Early Babbitt, but the Supersonic sounds better than any EB I’ve played.
 

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The Supersonic is a copy of a vintage Dukoff hard rubber Supersonic which was made along with the type of Dukoff Hollywood that Dexter Gordon played.
You're killing me with all these great pieces! Is the Supersonic a hard rubber (or in this case resin) version of the metal Hollywood, or are the internals completely different?
 

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You're killing me with all these great pieces! Is the Supersonic a hard rubber (or in this case resin) version of the metal Hollywood, or are the internals completely different?
‘The Supersonic is a copy of a vintage Dukoff hard rubber Supersonic which was made along with the type of Dukoff Hollywood that Dexter Gordon played’
 

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‘The Supersonic is a copy of a vintage Dukoff hard rubber Supersonic which was made along with the type of Dukoff Hollywood that Dexter Gordon played’
I get that, but sometimes makers use the same internal dimensions with different materials, and sometimes they're completely different.
 

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For clarity, I'm wondering if the Dukoff Hollywood and the Dukoff Supersonic have the same internal dimensions, or if they're completely different designs. I'm not asking if the GS Supersonic is a Dukoff Hollywood copy.
 

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We haven’t scanned a similar vintage metal Hollywood to compare yet, but visual inspection says Bobby Dukoff was going for the same kind of tone in both mouthpieces. It’s definitely not identical though. I’d say the Supersonic sounds as close to my favorite metal Hollywood (two piece with higher baffle shape) as anything does.
 
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