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Discussion Starter #1
Hey Guys I'm back after a good while from my tenor setup thread and am now working on alto sax and would love for much feedback.

I'm playing on an Buffet Crampon Alto Sax 400 Series Reg Laq.
Mouthpiece: Meyer 6m
Reeds: V16 3---3 1/2

I'm switching my instrument major from Clarinet to Sax. I play Tenor I in the jazz ensemble this year and love it. You can look at my tenor setup if any more suggestions. Anyways since I'm going to be starting Alto and practicing heavy on it as my new Primary Instrument(Jazz and Classical alike) I was curious on Ligature Suggestions for my mouthpiece above; I'm looking for a more Bright/Versatile sound. My sounds I've incorporated into my playing on tenor are Brecker, Coltrane, Sanborn, Dexter , & Mobley. I don't know too much on alto yet but am wanting to learn and looking for a good setup since tone is my biggest importance for the beginning. I do enjoy Charles Bay ligatures for Clarinet but wasn't sure how they would be for an Alto and where they would be sold. I'll leave it there and see what everybody comes up with and I'd love to answer anymore questions. Can also email me since i respond quicker on there at [email protected]

Thanks, SeanZ123.
 

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Discussion Starter #2
Also whats your comments on the alto sax charles bay ligatures? just curious.
 

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My experience with Charles Bay ligatures has been positive. I don't own one but have tried them on alto a few times and like them (and my professor uses one, he mostly plays classical). With the question on setups, trying to get a good tone, and whatnot but my suggestion is to keep working on what you have. To me it looks like a solid setup and with time I'm sure you can get the tone you want out of it. Practice long tones, overtones, and keep trying to emulate certain players you like. I used to do this and it eventually led me to find my own voice on the saxophone.

And you can buy Charles Bay ligs from Musicians Friend. I find them a little pricy so even though I like them, I'm not completely sold on getting one YET.
 

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I'd focus on my reeds rather than trying to find a new ligature to make your sound brighter. Its been discussed millions of times on this forum whether a lig does alter the sound. While I believe it does, i also think that it is very very minimal and really can only be heard and felt by the player. Try out some Vandoren Javas in a 3 and some ZZ's probably in a 3 as well. I also recommend some Rico Jazz Selects, and Alexander Superial. As far as ligatures go, i presonally love my FL Basic ligature and it sure doesn't cost much as the regular FL. That ligature seals the reed perfectly with minimal contact.
 

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Discussion Starter #5
Okay well I ordered Rico Jazz Selects for my Alto and Tenor; So I can thoroughly review and see if I like them. I'm always interested in trying things out. I got Strength 3S for both.
 

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Discussion Starter #6
Well I do enjoy the reeds. I prefer them on tenor and use red box java 3 1/2 on Alto.
For Classical I use a older selmer soloist hr C* with a stock ligature, or a newer S80 C* if I I'm going for more bright in classical.
For Jazz I'm using a Meyer 6m with a old Casper Copy Ligature made by Rob. Scott.
 

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The Bay lig is pretty solid. I happened to try one out today :D My alto lig is a oleg. I felt like they produced the same tone, but the Bay produced a slightly more controlled sound. The difference is just ever so slight. So I'll stick with my oleg since it works.

Back when I used to play on a Meyer 6M, I was using Red Java 3s and a Vandoren Optimum. I forget which plate, but it was the one that allows for easier articulation. Vandoren Optimum is unfortunately, pretty expensive. I got lucky and bought mine before they spiked up to $90. For me, that setup on the Meyer was the best. It was rounded, controlled, but still bright. Although, I'm a bright player by nature.

Tin man is right in saying that ligs don't matter all that much. When I went from a stock lig to that Optimum, it was a HUGE change. And I loved it. But as I change from my oleg and back to Optimum, I really don't feel too much difference.
 

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The Bay lig is pretty solid. I happened to try one out today :D My alto lig is a oleg. I felt like they produced the same tone, but the Bay produced a slightly more controlled sound. The difference is just ever so slight. So I'll stick with my oleg since it works.

Back when I used to play on a Meyer 6M, I was using Red Java 3s and a Vandoren Optimum. I forget which plate, but it was the one that allows for easier articulation. Vandoren Optimum is unfortunately, pretty expensive. I got lucky and bought mine before they spiked up to $90. For me, that setup on the Meyer was the best. It was rounded, controlled, but still bright. Although, I'm a bright player by nature.

Tin man is right in saying that ligs don't matter all that much. When I went from a stock lig to that Optimum, it was a HUGE change. And I loved it. But as I change from my oleg and back to Optimum, I really don't feel too much difference.
Best lig I've ever used was a torn rag when my stock one broke before a concert lol. But it just won't keep my reed in place, so I'm using an Optimum now. But ligs aside, if you're looking for a mouthpiece for classical as well, I recommend trying the Vandoren Optimum AL3 and AL4. The AL3 is a pretty small tip and would help you translate from clarinet more easily, but the AL4 is more open and easier to swap to from tenor. I use an AL4 myself and I feel it has more complexity to it and a smidge brighter. As for Jazz, go for a refaced Meyer 5M or 6M. Meyers can last a career, or start you off on the right foot when you search for the "one" later lol. I recommend a Phil-Tone Meyer!
 

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Discussion Starter #9
What the Difference in my regular 6M meyer and getting it refaced to a phil tone Meyer?
 

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Seanz123. Try a N.Y. Meyer first. I have used a 6M many years & never looked back. Get a new one if no luck on a New York old one. Good Luck
 
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