Looking for that contemporary alto sound

Charles Bay makes some great contemporary and traditional jazz mouthpieces. They are faced very well and are top-notch quality. Definitely worth checking out.

Some of Bay's models for metal:
A-Y: Classic metal mouthpiece in the tradition of Otto Link. Medium-medium large chamber, slight bullet shape on the baffle, and has some rollover baffle at the tip. Has tons of warmth but can project easily.

A1: Very Berg Larsen-ish, but a lot more refined. Has a medium chamber and bigger bullet-shaped baffle than the classic 'Y' series. I would place this as in between the classic Y series and the A3 EJ series. I am using one of these now and it can cut like Eric Marienthal's sound or like Jackie McLean, or play very smooth and round like Peter King's sound. Very nice mouthpiece.

A2: I think the model 2 is still in the prototype phase, but I assume from talking to Bay that this will be much like the Selmer metal design.

A3: Bay takes the EJ line of hard rubber mouthpieces and duplicates them in metal. Has an open chamber and step baffle similar to a dukoff or guardala. They are definitely for rock and fusion playing. Big bright sound without a ton of harshness like the dukoff.

A4: I don't know too much about this model. From what Bay has told me it is more powerful than the A3 and has a smaller chamber and slightly longer step baffle.

A5: This is a small chamber version of the 'Y' classic series. Still has the slight bullet baffle shape.

I hope this is helpful. I will update the info next time I talk to Mr. bay.

I like my alto sound best when it's brighter and edgier than a Meyer but not too Dukoff-y/Sanborn-y. I play a black lacq A990 - and a tweaked Ponzol HR Custom gets me what I want in this regard.

Having said that, I DO wish to have that ultra-contemporary/Sanborn sound at my disposal and it's most readily attainable for me through a Dukoff D or similar styled piece. The one I keep in the case for these purposes is a high baffle brass Ackerman that is, essentially, a brass Dukoff D chamber. Yeah - I did my "thing" to it to get it where I want it - but not on the order of what I'd have to do to a stock Dukoff to get something as cooperative and reed-friendly.

I had the pleasure of seeing Dave Sanborn in concert last Friday (opened for Tower of Power). I was 30 rows back at an outdoor amphitheater, so way too far back to hear his natural sound through the PA sound which was being controlled through a mixing board about 50 yards BEHIND where I was seated - behind the lawn seats. With the sound system set up for anyone hard of hearing (or completely deaf) in the most rearward section of the venue, it was hard to judge how he "really" sounds. I do believe that the concert must have been sponsored by an audiologist looking for new clients.

For the four or five times Dave ventured below D1, his sound was unnatural - completely devoid of any bass-EQ frequencies. This was likely to accomodate the mix and balance with the intense guitar and keys (both were marvelous - his whole band is).

So while I could hear his notes, per se, I could only hear that part of his sound that the mix would allow me to hear. Same is probably safe to say of his studio recordings - you only hear what they want you to hear. I suppose anyone lucky enough to hear him play in a small, moderately amplified venue might have a better idea as to his true sound. The other instruments were mixed with a full, balanced sound - so it was all in the mix and was probably intentional. I have not seen him in concert before, so I can't say if this was any different than any other venue he's played in.

So I guess what I'm getting around to (finally and predictably) is that a certain piece or horn setup might give you the capability to get into that intense contemporary tonal spectrum. But don't bang your head against the wall if you can't shatter any windows without the help of audio processing.

Playing a more open alto piece with a reed like a Fibracell 2 will also help get you over the top. That's my favorite reed to play on pieces that are .085+ when I want a super quick response and that laser-like intensity.

Thanks for your replies!

I was also thinking of the effect of sound processing. That probably plays a big role in how do these modern players sound.

As I said in my first post I can pretty well emulate that _style_ with my current setup (to all those who just suggested more shedding). The missing part is the bright and edgy sound which is related to this style. I can only slightly change my basic sound to become brighter and edgier but not enough. That's why I want to try completely different mpc design. IMO There are limits how much you can change your sound with one mouthpiece. I can't believe that you have a dark and smooth traditional classical sax sound and an aggressive edgy funk sound using the same mouthpiece (ofcourse you can play great classical saxophone music with a Dukoff but the sound what we expect to hear is not there). Correct me if I'm wrong.

In another thread I was asking about how to play split-tones. I tried it hard few days ago. I can only split f#2 and g2. There were some conversation on how different horns and mouthpieces make it easier but the main factor is the player (as always ). I can do it with my clarinet! But not properly with my alto. So I was wondering how much can a more radical mpc (Beechler in this case) help. This effect is much used in contemporary playing.

Thanks,
-TH