Looking forward to hearing the clips. I needed to use 3 strength Javas to get screaming altissimo on my Conn 6m/Lakey 7*3.
Certainly a consideration I would think. Good point.rleitch said:This may be stating the obvious (or way off topic), but could it be that the sound you're looking for is as much the product of studio and/or stage miking techniques as it is the horn/mouthpiece set up?
Rory
Yes, but the mouthpiece is where it starts. There is a reason why pure jazzers play Meyers and the contemporary jazz guys play Beechlers.rleitch said:This may be stating the obvious (or way off topic), but could it be that the sound you're looking for is as much the product of studio and/or stage miking techniques as it is the horn/mouthpiece set up?
I can't agree more. I'm using a NY Meyer and can go from classical to bebop to lead alto big band to contemporary jazz. Learn to be versatile w/one mouthpiece and it'll lead you to a better sound overall.trahansax said:The olny way to get that sound is to listen to it, over and over. And try and experimenting with different reed set-ups. Our of my Morgan 6M, I can go from big band to pop with just a slight shift in embouchure. Kepp Shedding!
Can't disagree with this...Andrew said:I can't agree more. I'm using a NY Meyer and can go from classical to bebop to lead alto big band to contemporary jazz. Learn to be versatile w/one mouthpiece and it'll lead you to a better sound overall.
So how did the first person to get that sound come up with then with nothing to listen too?trahansax said:The olny way to get that sound is to listen to it, over and over.