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Discussion Starter · #1 ·
Hi there,
I have a YTS-61 which is probably like YTS-62. Since there are lots of YTS-62ers out there, I'm looking for some advice from you to see what mouthpiece / reed combination you use to get a rich deep fat warm .... sound that has good projection and presence as well.
Thanks.
 

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Step 1: Buy a medium or medium open Link.
Step 2: Practice every day and don't use other mouthpieces.
Step 3: ???
Step 4: Profit.




In all seriousness, though, on my yts-62 I'm using a link 8 with Rico royal 2.5 reeds and I think I sound ok these days. Not great, but ok. It's not the equipment holding me back, though!
 

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I've used a old YTS62 as my main tenor for 2~3 years. For a fat and warm sound i found a lot of mouthpieces work very well, from cheaper ones like Vandoren V16 T7, Ottolink tone-edge vintage model to higher-end ones like Mouthpiece Cafe Bergonzi Slant, Espresso, Saxscape FatCat and TW Gaia hard rubber. The best pick would be TW Gaia HR. Always with RJS 3s or Hemke #3 reeds.
 

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I have an old YTS-61 Tenor and also find that many mouthpieces work fine with it. I use a JodyJazz DVNY, after I dropped my link STM. Both are/were fine. I also tried some Lawtons, and depending on your taste, the plain (no B or BB model) Lawton might also fit.

Regards,

Thomas
 

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Step 1: Buy a medium or medium open Link.
Step 2: Practice every day and don't use other mouthpieces.
Step 3: ???
Step 4: Profit.

In all seriousness, though, on my yts-62 I'm using a link 8 with Rico royal 2.5 reeds and I think I sound ok these days. Not great, but ok. It's not the equipment holding me back, though!
Hmm I use my link as a paper weight.
 

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Discussion Starter · #6 ·
Thanks for the options. I would love to have a TW Gaia if it was not so expensive. Bergonzi Slant and Espresso have the same price. Which one has a better world of both low end fatness and high frequency / definition / punch (for solo with background accompaniment primarily). I have done the enquiry to get the pricing for the Saxscape FatCat. Not much data and no sound clip I've found so far. I have a Vandoren TL3 / TL4 for trial primarily for experimenting. I didn't find either of them have enough low frequencies at least not more than my Link STM. Since they have less high mid frequencies, it perceives as if they have more low mid frequencies but I don't think they do. I like to find a mouthpiece that gives combination of very low frequencies and high frequencies. I guess that would be some sort of large chamber with some baffle to give that high frequency edge and long enough facing and rolled baffle to give a good control. Would you be able to compare V16 with TL series?
Thanks for your help :)
 

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Discussion Starter · #7 ·
How does JJ DVNY compares to Link STM? Did you find it was a good move? What did you gain in switching to JJ DVNY? Thanks.
 

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Discussion Starter · #8 ·
For the second night, I tried Link STM NY 6 versus Link STM 6 and found out although NY has a bit darker sound which is interesting but it lacks some of the high frequency magnifications (I don't know what the right term is in the sax techniques) when moving the lower jaw outward. Basically the texture is a good texture (more jazz suited character) but not very versatile. I use the exact same reed on both for this test. Also I found that the lowest level of the sound in STM NY is not as low as Link STM. Basically it has less dynamic range. I wish I could get that extra warmth without sacrificing the dynamic range or the texture versatility.
 

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Have you ever tried the standard Selmer s80 c*?

What about a Rousseau NC4?

Also, what kind of music do you play and in what kind of ensemble?
 

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How does JJ DVNY compares to Link STM? Did you find it was a good move? What did you gain in switching to JJ DVNY? Thanks.
On my MkVII, I found the DVNY rather dull and dead, lacking both high harmonics and solid low core. The 2 STMs I use (1 stock and 1 refaced) are better in any way. But that is me on my horn, with synthetic reeds.
 

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I've always found the NY STM's to be better than the standard STM. If you play one for a while you'll eventually get the higher overtones to come out. I found I could make one bright or dark just by opening and closing my throat. Also, trialing at least 4 at a time is the way to go. They all play different and some are brighter than others.
 

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Discussion Starter · #13 ·
I've always found the NY STM's to be better than the standard STM. If you play one for a while you'll eventually get the higher overtones to come out. I found I could make one bright or dark just by opening and closing my throat. Also, trialing at least 4 at a time is the way to go. They all play different and some are brighter than others.
What reed do you use?
 

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Discussion Starter · #14 ·
Have you ever tried the standard Selmer s80 c*?

What about a Rousseau NC4?

Also, what kind of music do you play and in what kind of ensemble?
I play new-agish sort of stuff. Some of the phrases that I play need to be dark and warm and some (mostly) I shift from dark to bright. I control it by my jaw / throat opening but overall I like to shift the whole thing to one step warmer sound.
I'll try those two recommended mouthpieces. Thanks.
 

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How does JJ DVNY compares to Link STM? Did you find it was a good move? What did you gain in switching to JJ DVNY? Thanks.
Well, the link sounds more "balanced" from my point of view, it was more flexible, but the JJ plays somehow easier. It clearly outplays the link in the low end, but gets harder (and a bit dead) in the top register (from C to the palm keys and above. I took me weeks to even play those notes and I still can't do altissimo. The JJ projects slightly better, but I would still use the link if I didn't drop it (I virtually dropped it on the floor, it became unusable). It was an old one from the 70s or earlier, and I didn't find a contemporary one that I like).
 

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Discussion Starter · #16 ·
Hi guys, thanks for the feedback regarding the mouthpiece. How about reed? Can I warm up the sound by using a different reed than Rico Royal 2.5?
 

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Discussion Starter · #18 ·
Hi guys, just wanted to send you a wrap up note. I tried the Rovner ligature. Apparently it pushes the reed sides down enough to seal the new reeds with more hardness. I tried the Link NY with 2.5 Vandoren ZZ and Rovner Light ligature and I didn't have any leakage issue, the sound was warm with nice low end, and higher harmonics are consistently controllable by amount of the air pushing through the mouthpiece so I can have brighter phrases or darker phrases depending on the lower jaw position and amount of the air through the mouthpiece. The sound was more flattering than Link and easier and nicer on the ears. Also it sounds nicer on the low B flat and high F#. Also my YTS-62 sounds better on the middle D and overall is not too canny. It sounds fuller and more spread. However I can control the focus of the tone by my lips position and amount of pushing the air, etc. Thanks everyone for helping me to improve my tone. Cheers.
 

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Lots of good advice here regarding Otto Links, I agree. However, to get a certain sound i.e. Selmer; buy a Selmer.... vintage sound, buy a vintage sax.....
 

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I "feel" like I can get a fatter tone on my '62 using a larger chamber mouthpiece like a metal or rubber Link (or some facsimilie)...but that's pretty much what I think on any horn.

I think there have been some players who got a great (big, rich) sound on mouthpieces with high baffle and/or smaller chamber. I think the most flexibility comes with the more "traditional" setup...but I did play a medium chamber piece for a long time (metal Yani #9) and was hapy with it.

shawn
 
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