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Discussion Starter #1
so i've decided on either a barone jazz or hollywood to be paired with my series 3 tenor. if people with experience with either of these piece wish to chime in i'd really appreciate it.
 

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Discussion Starter #2
i fear that the jazz model won't cut enough but that the hollywood might be a little to bright paired with my series 3.... oh my dilema :S
 

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The Jazz will cut through. Don't worry.

The Baffle is not that low. It is a dark piece overall, but can cut when needed.

I used mine the other night unmiked and I was heard throughout the club over the rest of the band when soloing.

I have played both & I say go with the Jazz.
 

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Discussion Starter #4
yeah, thats what im after :)
i'm accostomed to playing unmiked all the time vitually and don't wanna have to start relying on mikes. That said ill keep my lebayle for blues and rock gigs where i want a brighter sound
 

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Discussion Starter #5
also what ligatures have people found that work well with phils pieces? im thinking marc jean ligature...
 

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Selmer 404 filed a bit to fit by Phil and then gold plated. I got mine from him for $68.

Then, turn that bad boy upside down (screws facing to the left - recommended to me by Frank Tiberi) and you have a killer ligature which holds the reed exceptionally well & stays put once you tighten the screws, even through mpc tuning adjustments.

Best ligature I've ever owned, hands down.
 

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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.
 

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Discussion Starter #10
poor wording on my behalf i guess. more so i will stop wondering about what i should buy and buy something

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.
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...

just so i know what do you mean by "straight ahead" and "loud mix", i could have a guess but i'd rather know for certain
 

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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.
Was this with your SBA, Steve?

I have not played an SBA, but I have played a Super and 2 Mark VIs (1 early, 1 late) and they are definitely much darker horns than the modern Selmers, of which I have played SA80, SA80IIs, Ref 54, & Serie III.

I have no problem cutting through a loud mix unmiked with my 7* on my Barone Vintage. Experiences may vary... :)
 

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Discussion Starter #12
yeah and your vintage is basically the opposite of my bright selmer, being more spread and darker... basically i'm looking to darken up my bright horn...

you may ask then "if you wanted a dark sound why buy a bright horn?" basically because in terms of feel, response, flexibility and being just downright fun to play this horn smoked everything else i tried. after playing it the first time we sat it on a bench as one of the horns i liked and i just kept coming back to. so naturally it was "the one".

it's just way to bright and cutting at the moment for any small group. last gig i played was in a loud room and i had to play at about 20% all night.
 

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would you say the jazz is like a STM NY?
I would not. Phil's jazz piece it a great mouthpiece but for me it's too bright.

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. I play jazz, what most would call traditional old school sound compositions, I also play a little of what some call smooth jazz. 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!
 

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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!
GREAT point!
 
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