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Discussion Starter #1
I play a Yanagisawa A991 looking for a darker tone, will changing my original neck to the bronze neck really help me add that dark tone to my sound. Please help!
 

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It will most likely be the internal geometry of a neck that will change your sound, not the material from which it is made.

I bought a new 880 alto (much like the 991) years ago from a local store owned by a noted swing-era sax man, Zep Meisner. He said that many of his clients were buying a new Selmer MKVII neck when they bought the 880, so I took his advice and had him fit a MKVII neck to my new 880. I liked it a lot better than the stock neck.

But then I passed the horn down to my #1 grandson (who was a wonderful saxophonist) and he preferred the stock 880-neck.

Dark vs. bright? I can't say. I'm betting a different mouthpiece or a reed-change (or combination of both) would be a better (and less expensive) move. DAVE
 

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Thanks Dave, I really been considering trying different reeds. I'm in love with my mouthpiece it's a beechler diamond dot (Earl Bostic) played. I just purchase my MP off eBay like 5 or 6 months ago. The reed I use is vandoran #3 zz jazz I like them to its hard to change but I will, to get the sound I want.
 

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It will most likely be the internal geometry of a neck that will change your sound, not the material from which it is made.

I bought a new 880 alto (much like the 991) years ago from a local store owned by a noted swing-era sax man, Zep Meisner. He said that many of his clients were buying a new Selmer MKVII neck when they bought the 880, so I took his advice and had him fit a MKVII neck to my new 880. I liked it a lot better than the stock neck.

But then I passed the horn down to my #1 grandson (who was a wonderful saxophonist) and he preferred the stock 880-neck.

Dark vs. bright? I can't say. I'm betting a different mouthpiece or a reed-change (or combination of both) would be a better (and less expensive) move. DAVE
I have an A992, which is the bronze body and bell version of the 991 and I can tell you that the bronze does not make it very dark. It can be one of my brightest altos. It is also one of the easiest to darken with mouthpiece and air control.

On a side note.........I haven't heard Zep Meisner mentioned in a long time. He was a great guy and a friend. Always helpful to musicians that dared walk into Zep's and ask questions about anything music related. His name brings back so many good memories.
 

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I've got an A990 and purchased the bronze neck. I don't think it really changed the sound much; maybe ever so slightly darker but its hard to say.

I found I like playing an Early Babbitt Otto Link Tone Edge on the A990. I understand about loving a mouthpiece, too. I've got an Ishimori Woodstone 6M that just sings but can be a little bright on the Yana. The Woodstone is a much better fit for my Mark VI.
 

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Discussion Starter #6
I've got an A990 and purchased the bronze neck. I don't think it really changed the sound much; maybe ever so slightly darker but its hard to say.

I found I like playing an Early Babbitt Otto Link Tone Edge on the A991. I understand about loving a mouthpiece, too. I've got an Ishimori Woodstone 6M that just sings but can be a little bright on the Yana. The Woodstone is a much better fit for my Mark VI.
Thanks for the information I might just have to try some different MP's as well.
 

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Mouthpiece recommendations are usually an iffy thing because we are all different and chances are you won't like what I like, etc. However, several have posted over time about the Selmer Super Sessions for alto. I have one in their F-facing (their most open tip, at least that I know of) and my results with the alto SS-F are what I've heard from others - more spread, less focus than the Soloist and S-80 series. If you want to darken your sound you may want to run down an SS-F and give it a blow.

I use soft reeds, too, which for me tends to warm up and otherwise bright mouthpiece. FWIW, I'm using a Meyer 6S-M right now - not bright, not darkI also had an A992 but never dabbled with its neck. Maybe I should have . . .

I had one of those Beechler diamond-inlay pieces, too. It was a real paint-peeler for me. My #2 grandson loved it on his B&S Medusa alto. No accounting for a player's tonal-tastes. DAVE
 

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I had a Yanni 992 bronze alto and a 9937 (all silver) at the same time. The 9937 had a much more complex tone, and was more even at the octave break. Both were brand new, well set up, and could play to a whisper, indicating good setup. One day I tried the silver neck on the bronze sax. There was just no identifiable change. I tried the bronze neck on the silver sax. Same thing, no identifiable change.

Now, who knows why that 9937 sounded so much better than the 992, but I can tell you for sure that it was not the neck.

Play with reeds and mps. lots of places have good return policies on mps.
 

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Thanks Dave, I really been considering trying different reeds. I'm in love with my mouthpiece it's a beechler diamond dot (Earl Bostic) played. I just purchase my MP off eBay like 5 or 6 months ago. The reed I use is vandoran #3 zz jazz I like them to its hard to change but I will, to get the sound I want.
whaler mentioned the mouthpiece, and I will add to that. Beechlers are very bright, and often chosen by lead alto players who want to compete with the trumpet section. I don't think different reeds would help much...

A Meyer is a good bet, but I would go for one of the boutique makers (like Phil-Tone) who either reface or make a similar piece, since the Meyers can be hit-or-miss (meaning you have to try a lot of them to find a good one).
 

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Paint it black and wear sunglasses.
The 'tone' starts in your head--I've proved that as have many on here. Changing 'this that and the other' is like putting 'go faster stripes' on cars-- you still end up sounding like you. Sorry to sound flippant but it's true.
 

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Discussion Starter #13
whaler mentioned the mouthpiece, and I will add to that. Beechlers are very bright, and often chosen by lead alto players who want to compete with the trumpet section. I don't think different reeds would help much...

A Meyer is a good bet, but I would go for one of the boutique makers (like Phil-Tone) who either reface or make a similar piece, since the Meyers can be hit-or-miss (meaning you have to try a lot of them to find a good one).
Thanks for the information I wanted to get the Meyers New York Bro MP but don't have the money for it. I will take your advice thanks.
 

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Discussion Starter #14
Paint it black and wear sunglasses.
The 'tone' starts in your head--I've proved that as have many on here. Changing 'this that and the other' is like putting 'go faster stripes' on cars-- you still end up sounding like you. Sorry to sound flippant but it's true.
Bopity Funk you make a lot of sense thanks for speaking what's on your mind. I asked a question and you gave me a real answer from your experience and from your heart thanks. I HEAR WHAT YOU ARE SAYING I REALLY DO. THANKS
 
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