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So....Got a old '26 CHU and a '23 New Wonder on the way. I'm gonna keep the best one and flip the other I guess. What MPC would you vintage horn players reccomend. I'm currently using a Link 7*. I'll be playing mostly blues and rock with this horn....
 

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Ya know, I just don't think there's a "best" 'piece to play with horns that age/vintage. I have an old 1933 Selmer Super and a 1952 10M. I play a Sakshama "Shorty" (.105) on both horns and the mouthpiece sounds basically the same on each one. The two horns have some differences in how they sound/respond in the palm key area, but in my opinion, it's not the 'piece that makes the horns sound ever so slightly different in some areas......it's the horns that make the horns sound different! I'd advise slappin' that Link 7* you have on them and gauge which horn you like the best based on the 'piece YOU are used to. Personally, I think your current 'piece would more than just fit the bill playing the kind of stuff you do. Doesn't matter what the age is of the horn you play. If you don't like your sound, or want something with more edge/brightness or power, you'll switch 'pieces.....regardless how new or old the horn is!

Just my opinion!

Good luck!
John
 

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The Link 7* (I presume it is a STM) will be fine.
It is the never ending quest. My favorites on the Conns are the same type of Link 7*, several Brilharts,
a Berg 105-0 and Woodwind Co. NY hard rubber.
My advise: if you are used to the Link stay with it. You can not go wrong.
 

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Link 7* will be fine. I play a 1927 Conn for years now . It has worked great with HR Link, Brillhart Tonalin and now with my Saxscape which has been great on it for years now.

Avoid the higher baffle mps due to potential intonation issues.
 

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hello mike,I´m from argentina.I have an old 1922 conn in great condition.
now I´m playing whit a tone edge 7, but what about the francois louis sphere mouthpiece in 285 tip opening?
when I saw joe lovano playing portrait of jenny on youtube I got in love with that sound, It´s awesome!
 

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Honestly, a Link is a great piece for that sax. My preference for an early Conn tenor is either a vintage Berg, or a Link (STM or Tone Edge...both can work well).

I also shy away from high baffle pieces when it comes to horns this old. Not always because of intonation issues, but in my experience high baffle mouthpieces just don't mesh well with these earlier saxes.
 

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Would you say it's...
- response? Uneven blowing, sometimes too free, sometimes too resistant?
- tone harshness? Whistling, whooshing, buzzing, etc?
- something else specific?

"Don't mesh well" is a little too close to "angers the gods of sax." Sorry ;)
 

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Discussion Starter #11
The STM 7* I'm using has turned out to be great. Spent some time at my techs shop working out the intonation issues with both horns. Then spent a couple of days playing them. One mote trip back for some very minor issues and I'll be more than pleased. Played my SA80ii on today's gig and found myself wishing I'd had either Conn instead.
 

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The STM 7* I'm using has turned out to be great. Spent some time at my techs shop working out the intonation issues with both horns. Then spent a couple of days playing them. One mote trip back for some very minor issues and I'll be more than pleased. Played my SA80ii on today's gig and found myself wishing I'd had either Conn instead.
Told ya!!! :whistle:

Glad things are working out for you!!!

John
 

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Never played a II, but whenever I played my SA80 I, I felt like I was wearing clear-lacquered, yellow brass underwear. That was slightly leaky on the bottom. :lol:
 

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Would you say it's...
- response? Uneven blowing, sometimes too free, sometimes too resistant?
- tone harshness? Whistling, whooshing, buzzing, etc?
- something else specific?

"Don't mesh well" is a little too close to "angers the gods of sax." Sorry ;)
Oh come on now, surely saying something doesn't mesh well is specific enough to draw a clear conclusion from :TGNCHK:.

Ok, so seriously...IMO by using a high baffle piece (really, I'm thinking mostly of step baffle pieces like a Guardala or something similar to it), you have the potential to gain some added projection, but at the expense of losing some of the complexity of timbre (some might say color) that could/would otherwise have a greater presence when paired with a less aggressive mouthpiece (one that doesn't require pull-starting :TGNCHK:).

So I guess, from those choices...tone harshness might be the most comparable. Though I like 'angers the gods of sax' much better :bluewink:.

But this is just my opinion based on my own experiences, and coming from my own personal concept of how I like to sound on tenor (which can really be difficult to describe in terms that translate well to any other player!). So I suppose it's more accurate to say that, to me, it isn't very desirable...but someone else might think a paint peeling piece sounds perfect on a NW (assuming there aren't any intonation gremlins associated with the combo of the sax and mouthpiece).
 

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The STM 7* I'm using has turned out to be great. Spent some time at my techs shop working out the intonation issues with both horns. Then spent a couple of days playing them. One mote trip back for some very minor issues and I'll be more than pleased. Played my SA80ii on today's gig and found myself wishing I'd had either Conn instead.
Once you go old school you never go back!
 
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