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I would describe your sound as heavily processed. I would love to hear you and the group without all the heavy effects . Great groove BTW
 

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How would you describe my sound in this recording I did with my fusion band? Thanks guys.
It sounds like what I wish I could sound like. You've got a nice full sound with just enough edge for the style.
 

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Wild, just enough outside to be enjoyable- good job!

I agree with the others,minus some effects would be a good thing, not that you sound bad at all.

Your tone would probably sound meatier, which I would want.

edit- been awhile.
also I think you would kill on a larger chambered mpc, preferably hr, and it would fatten your sound.
Nice tasty band too, the recording is fine,imo
 

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Your overall sound is great. I'll reiterate the question - what about it don't you like and want to change?

Personally, I'm not a fan of the over-blow I started to hear at about the 2:00 mark (thereabouts) but obviously it was intentional. I like it for effect but used sparingly.

You didn't ask, but that's never stopped us before :faceinpalm: - comment for the entire tune, the sax solo set an energy level (especially at the over-blown sections) through those parts that I didn't think the rest of the instrumentals played up to. But, then, I'm not and expert on the style your performing so, take that for what it's worth.
 

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Discussion Starter · #9 ·
Thanks guys. Yeah, the recording is trash. It was recorded live at a University here in London, using very expensive equipment, for a guy doing his masters degree. So we thought we were going to get a wonderful recording for free, but he's really messed it up, so bad that nothing can be done to save it apparently. The other guys in the band want to trash it, but I thought I'd put it to some use here.
Sound wise I'm trying to get a tiny bit darker and fatter. I have always loved Brecker, but now I want something maybe like Chris Potter's brighter sound, like I think he has on the Ultrahang album. Since this recording I have taken of a thin mouthpiece patch and am taking in a bit more mouthpiece, which I think has made a difference.
 

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Thanks guys. Yeah, the recording is trash. It was recorded live at a University here in London, using very expensive equipment, for a guy doing his masters degree. So we thought we were going to get a wonderful recording for free, but he's really messed it up, so bad that nothing can be done to save it apparently. The other guys in the band want to trash it, but I thought I'd put it to some use here.
Sound wise I'm trying to get a tiny bit darker and fatter. I have always loved Brecker, but now I want something maybe like Chris Potter's brighter sound, like I think he has on the Ultrahang album. Since this recording I have taken of a thin mouthpiece patch and am taking in a bit more mouthpiece, which I think has made a difference.
What's your setup?
 

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I personally like it a lot. I love Brecker, and I like the overblown sound as a texture change, and I feel you used it in moderation to add intensity and color. Well done.
 

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Well, Potter is playing a metal Link and so did Brecker in his early days. Totally different sound. It's possible to find some pretty bright and loud ones (but you'll have to try a few). Or you could try a Crescent and a harder reed if you want to stay with the same brand. Those MBII's are bright as s**t if I'm not mistaken.

FWIW, I heard Potter live at a clinic - he was unmiked - and his sound is nothing like what you hear on his records, or even when he's amplified. He had a much fatter and darker tone there, that I actually preferred to his sound on recordings.
 

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Discussion Starter · #14 ·
I personally like it a lot. I love Brecker, and I like the overblown sound as a texture change, and I feel you used it in moderation to add intensity and color. Well done.
Thanks ChuckSax. I wouldn't desribe it as overblowing though, they are just split tones, acheived by minute changes in embouchure and larynx. It has taken me years to be able to split every altissimo note. They produce a similar sound to the singing or humming in the altissimo, that a lot of people, including Chris Potter do,but are a bit harsher sounding, I think.
 

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Thanks ChuckSax. I wouldn't desribe it as overblowing though, they are just split tones, acheived by minute changes in embouchure and larynx. It has taken me years to be able to split every altissimo note. They produce a similar sound to the singing or humming in the altissimo, that a lot of people, including Chris Potter do,but are a bit harsher sounding, I think.
I totally hear you and agree - I just used the term because the other guy did, and I seem to see it lately in place of what I call split tones and multi-phonics. I use them too, and believe me, it is not by over blowing on the horn. The reason I really don't even like sax players to use the term is because Harmonica players actually use the term to overblow to change the pitch on a reed by a half step - sax players mean something entirely different.

But about your split tones - see, you use them in places to enhance and build the feel and intensity and very much in context. I heard Frank Catalano recently on a recording, and I soured on what he did. Although amazing at first, it became so overused in this song that it seemed to be an end in an of itself. Everything is cool-----IN CONTEXT.

Hey, but your TONE is something I really dig given the edge you use. Guys that use edge and split tones sometimes get a very thin hollow kazooish sound, and you have a thick dark core to your sound -so you know, you rock bro. :)
 

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Sorry about missing the effect! On the laptop speakers I was using I had a fifty-chance between split-tones and over-blowing. Got it wrong.

As I said previously, purely personal preference. To expand a bit - was a reasonable, judicial, and well placed use of the effect in this tune. And still just an opinion.
 

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Discussion Starter · #17 ·
ChuckSax, thanks a lot man, very kind of you to say. I know what you mean about Frank Catalano, I had the same reaction to him. When I firt heard him, I thought wow this is cool and after buying a cd and listening to it for a while, it just gets too much. He is very good at all that split tone and screaming stuff though, just does it a bit too much, even for me. He's playing a masterclass here in London at the end of October, I might go and see how he sounds live. As far as the term overblowing goes, I'm not really sure what it means. I'm into all the split tones and harmonics and everything else, but I don't think I'd describe anything I do as overblowing. I suppose in playing harmonics, you have to overblow to get the next/higher harmonic to speak perhaps, I don't know. Can anybody enlighten me?
 

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ChuckSax, thanks a lot man, very kind of you to say. I know what you mean about Frank Catalano, I had the same reaction to him. When I firt heard him, I thought wow this is cool and after buying a cd and listening to it for a while, it just gets too much. He is very good at all that split tone and screaming stuff though, just does it a bit too much, even for me. He's playing a masterclass here in London at the end of October, I might go and see how he sounds live. As far as the term overblowing goes, I'm not really sure what it means. I'm into all the split tones and harmonics and everything else, but I don't think I'd describe anything I do as overblowing. I suppose in playing harmonics, you have to overblow to get the next/higher harmonic to speak perhaps, I don't know. Can anybody enlighten me?
Ok, well you and I can confer and at agree on something about 'overblowing'. When I use multiphonics and split tones, I do not in any way blow harder or blow more on the reed so that it somehow manipulates the way it vibrates. I use my throat in combination with my embouchure, constricting the airflow to make things get this sound. I can now, at this point in my playing spit a tone by just 'thinking' or 'hearing' the tone I want, and I DO NOT in any way blow harder. I add resistance inside my throat, speed up the airflow, etc and whatever else you call it, very hard to describe. Listen to how Joshua Redman makes hit altissimo sound soooooo damn hard at times. But he is doing the same thing...adding resistance for a texture change. That guy can nail any altissimo note at will. He can spit them too.
 

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Discussion Starter · #19 ·
Ok, well you and I can confer and at agree on something about 'overblowing'. When I use multiphonics and split tones, I do not in any way blow harder or blow more on the reed so that it somehow manipulates the way it vibrates. I use my throat in combination with my embouchure, constricting the airflow to make things get this sound. I can now, at this point in my playing spit a tone by just 'thinking' or 'hearing' the tone I want, and I DO NOT in any way blow harder. I add resistance inside my throat, speed up the airflow, etc and whatever else you call it, very hard to describe. Listen to how Joshua Redman makes hit altissimo sound soooooo damn hard at times. But he is doing the same thing...adding resistance for a texture change. That guy can nail any altissimo note at will. He can spit them too.
Yeah, I completely agree with you Chucksax.
 

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That sounds very good to my ears and exactly the right way for this kind of music. There is a little Bob Berg in your sound, and in the solo it's more Brecker. Which horn do you play?
 
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