yeah i'm kinda after a dark piece. i have a lebayle jazz which is soooo loud on my series 3 i was listening to a big band recording i had a solo in and in the solo i was easily audible above the rest of the band. i also tend to play on the brighter side of a piece, that coupled with my series 3 which is both bright and MASSIVE dynamically and im hoping that ill still have an awesome dark core sound but with omph and edge if needed... all i need to do now is decide on a tip opening and buy...I've owned 3-4 Jazz models and although I loved them I sold all 4 because I couldn't get them to cut through a loud mix. They were plenty loud when pushed but they are darker in tone so you are fighting against all the other mids from the band. If your doing straight ahead gigs I think it will be great. I personally like the NY's I have played. I have played two that I really dug. The Hollywoods I played were brighter for me than the NY's . I think I played 3 Hollywoods over the years.
Was this with your SBA, Steve?I've owned 3-4 Jazz models and although I loved them I sold all 4 because I couldn't get them to cut through a loud mix. They were plenty loud when pushed but they are darker in tone so you are fighting against all the other mids from the band. If your doing straight ahead gigs I think it will be great.
I would not. Phil's jazz piece it a great mouthpiece but for me it's too bright.would you say the jazz is like a STM NY?
GREAT point!You have to decide what you want in sound, or does you playing condition (loud band, pop/rock music, ?) mean more to you than your personal sound desires . . . The three musicians that play with me are pros of course so I don't worry about "not being heard". Even when I go out with larger member "legacy" bands everyone knows how to play together, and I feel lucky to play with those bands and the other individuals that are with them and I get to play with them because of my sound, not because I can play loud or edgy!
No.would you say the jazz is like a STM NY?