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Discussion Starter #1
Have just obtained a very high baffle piece and tried it out at a rehearsal. Found that it plays beautifully in a mellow context. Not quite used to it, and certainly wasn't used to what the guitarist was throwing at me. Mostly unstructured free playing and improvising. Comments welcome, especially if you think I'm not hearing this as appropriate to a soft/mellow context.

Can be heard at:

http://www.soundclick.com/bands/page_songInfo.cfm?bandID=1100295&songID=10356923

Anyone else find that they have a similar experience or use with a high baffle piece?
 

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Doesn't sound too bright to me. It's hard to hear the sax because the guitar is so loud. I've played high baffle pieces that aren't bright when the tip opening is bigger.
I also find my Dukoff D8 is brighter than my D10.
That song is great, Wade.
I enjoy it very much.
 

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A good high baffle mouthpiece is very versatile. Can be mellow or bright, depending on your airstream and embechure.
 

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Discussion Starter #5
Right you are Nef. When I set up the recorder at the beginning of a practice I try to get them to play as loud as they are ever going to so I can set the level. Never works. Haven't measured the tip but think it's around 110.

Glad you like the improv/tune "soprano".

Also thanks to clwomack. Am finding that what all of you are saying seems right. I'd always wanted a mellow sound and thought that baffles were too bright. I got this piece for work in a club where it’s very loud and I don't have/want amplification but needed some volume and cut. The surprise was finding that I could still get the sound I wanted.

What's the backlash about that I hear regarding mouthpiece makers promoting that they don't have/use baffles? At this point I can't see the disadvantage.

Please enlighten me!
 

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That's certainly a beautiful tone and a beautiful piece, beautifully played. Thanks for posting it.

I've also thought I'd avoid baffles unless/until I wanted a cutting sound e.g. for some hardedged fusion type stuff, so it's cool to hear they're more versatile than that, although I have plenty on my plate for the moment developing my tone with my current hard rubber baffleless piece (pretty happy with how that's going though there's quite a ways to go).

Have you ever played a version of this piece where you gradually build up the intensity in the improv and then let it gradually relax again to end it? I think it would work great and would love to hear it. I realize you say this is mostly unstructured and free but there seems to me to be a definite theme that unifies the performance and it's a keeper, and seems particularly suited to that kind of arch-like mounting and subsiding intensity over the course of a performance.

Cheers,

Howard
 

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Absolutely. I have a Jumbo Java T97 that is very versitile. They get a bad rep on here for being one dimentional, but I have found just the opposite to be true.
 

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Wade - thanks for sharing. Tone sounded good to me, it actually reminded me of Sonny Rollins a bit I hope you don't mind the comparison.

Nice piece, the intro and modal feel reminded me a bit of some of the Grateful Dead's jazzy period (e.g. summer 1973). It could have been the mode the guitartist was sugggesting making me think of Dark Star (the beginning section). I'm a big fan of the Dead, so the comparison is intended as a compliment.

shawn
 

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i have to tell you guys that I've heard some players playing Ponzol M2 pieces with beautiful dark sounds. It happened twice to me. I heard a player with a great sound and asked him what he was playing.........M2. Blew my mind. When I play a M2 it is pretty bright. But these guys it was like they were playing a link.
 

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Discussion Starter #10
Thanks Howard for your kind words. That was the first time I'd played the new mouthpiece and had played it for only an hour or so. It's all new to me so am still finding out how it can be used.

The tune/improv was simple in that it used the same chordal structure and I imposed a melodic line. It actually started probably 60 second earlier and I edited it to make a "beginning". The timing changed somewhat, which also changed the feel. I've played with this guitarist for some years, so know how he thinks (which helps). I'm generally following whatever and wherever the guitarist goes as he plays some interesting stuff. It's just as well that I like what he plays as he's not versatile enough to follow anywhere I'd lead, so I'm stuck listening, responding and trying to make melodic lines over his structures.

It's not too hard as he tends to be modal and uses few changes. More sort of setting a feel and digging in to mine the possibilities.

Have added another tune from the same rehearsal called "Slow Charo". It's one that we have played before that comes from South America, but I have no idea what the original sounds like. I just make up a tune/improv that fits over the chord structure. Comes out differently each time.
http://www.soundclick.com/bands/page_songInfo.cfm?bandID=1100295&songID=10359948
 
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