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Discussion Starter · #1 ·
I've been using a Jody Jazz DV NY for the past ten years. I got it in high school (10 years ago) when I was playing mostly jazz. More recently I've been playing more rock and blues. But still jazz sometimes. And I've recently been able to get the rock and roll growl working, and hit some altissimo notes. I really like the jody piece, but went to a local music store to try something a bit different. I was looking for something maybe a bit brighter, and something that was louder and could cut through better at jams. I wasn't expecting to get something. The jody mouthpiece was about $600 when I got it, and I couldn't justify that kind of money on another piece. I tried a few pieces, including a Warburton, that was marked down to $150CND because they said it had been there forever. It seemed to do exactly what I was looking for. It didn't play overly different from the jody (as opposed to the metal link, which played very differently), but it had the differences I was looking for.

After getting home, I was reading on this site about the Warburton, and I found the older ones were hand finished by Eric Falcon. In another thread, he said he signed his initials on all mouthpieces he finished. I couldn't find those initials. But I talked to another sax player I know who worked at the store I got more than 5 years ago. He said he would have ordered the piece for them when Eric was working at Warburton so it should be finished by him.

I need to reconsider what reeds I use now. I was using a rico royal 3.5 on the jody. But they were feeling stuffy on the Warburton. I dug up a La Voz MH reed and it played a lot better. I used the la voz when I played on an HR Link, before I had the jody. But they sounded very gritty and coarse with the jody. But they feel about right with the Warburton.

The Warburton is supposed to come with a Rovner light ligature. It was missing that. I've been using the Rovner EVO that I was using with the jody. It is a bit small, the threaded bar touches the top of the mouthpiece. But I tried a rovner light and it seems to be too big, I have to tighen it all the way, and it still isn't quite as tight,

Both mouthpieces have a 7* opening. My horn is a Yamaha YTS-62.
 

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That's a really nice mouthpiece. I use one on my 62. Eric's initials are faint and blurry and you could easily miss them if you didn't know what you were looking for. I like using a Selmer 404 ligature. I use Legeres almost exclusively, #3 Studio Cut and #2½ Signature, but I've found #3 Java Green and #3 Rico Royals which blow pretty cleanly.
 

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Discussion Starter · #3 ·
That's a really nice mouthpiece. I use one on my 62. Eric's initials are faint and blurry and you could easily miss them if you didn't know what you were looking for. I like using a Selmer 404 ligature. I use Legeres almost exclusively, #3 Studio Cut and #2½ Signature, but I've found #3 Java Green and #3 Rico Royals which blow pretty cleanly.
Where are his initials on yours? I looked quite hard and can't find them.
 

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I bought mine direct from Eric last year, and it's not initialed. I love the mpc. I mean REALLY love it.

Rovner light is a pretty good fit. I splurged on a Marc Jean, though, and that's turned out to be very nice once you get used to not being able to hold the ligature when tuning.

It's not like any other mpc I've ever played. I'd been refactoring my tenor sound concept after many years and had gotten VERY frustrated. Whatever it is I was looking for, I found it, and I think the sound is so complex it will continue to evolve with me, and I with it. I couldn't be happier.
 

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Discussion Starter · #7 ·
I bought mine direct from Eric last year, and it's not initialed. I love the mpc. I mean REALLY love it.

Rovner light is a pretty good fit. I splurged on a Marc Jean, though, and that's turned out to be very nice once you get used to not being able to hold the ligature when tuning.

It's not like any other mpc I've ever played. I'd been refactoring my tenor sound concept after many years and had gotten VERY frustrated. Whatever it is I was looking for, I found it, and I think the sound is so complex it will continue to evolve with me, and I with it. I couldn't be happier.
It definitely should be one of Eric's. Would be nice if I could prove it though.

I'm really liking mine so far. I liked the jody, and wasn't planning on buying a new mouthpiece that day, I just wanted to try a few. But it felt like the change I was looking for. It can sound dark, but it can get a nice screaming rock sound too.

What reeds are you using? I'm trying some Vandoren V16 at the moment.
 

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Vandoren Java Reds 2 1/2. Not sure it's quite right. Rigotti 3Ms are a bit too stiff on this MPC (which was my former go-to reed pre-Warburton). I may flip to the Rigotti 3L or 2 1/2H and see.
 

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I'm finding this mouthpiece is a bit prone to squeaking, any tips to prevent this?
I haven't noticed that at all — might be a reed or a voicing issue.
 

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My Warburton is also an older one but there is no markings in the shank. I stopped telling people that he faced it (despite the fact that it plays soooo darn well) because I have no way of verifying that is true. He did however design them. So that still counts for something.
 

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Discussion Starter · #13 ·
I often find squeeking issues can be solved by using slightly softer reeds, if the facing is even and your embouchure is correct.
I'm still experimenting a bit with reeds, I have both Vandoren V16 3, and La Voz MH. The Vandoren seem better made and less rough around the edges, and more consistent than the la voz.
My Warburton is also an older one but there is no markings in the shank. I stopped telling people that he faced it (despite the fact that it plays soooo darn well) because I have no way of verifying that is true. He did however design them. So that still counts for something.
I also can't prove it but it sounds reasonably certain he worked on this one. I know the person who ordered it for the store, he says he ordered it when Eric was at Warburton.
I saw post by Eric in another thread saying he didn't disclose the facing curves when he left.
 

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The store local to me has a bunch of NOS Warburton stuff. I tried a few of the tenor mouthpieces. They all played super well (although too closed tip for me). So if they didn't have that info they probably got someone who knows how to copy the measurements from some already existing pieces onto the ones they produced after he left. It would make sense to do it that way instead of blindly shooting in the dark without any Idea of what he was doing.
 

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Discussion Starter · #16 ·
After getting home, I was reading on this site about the Warburton, and I found the older ones were hand finished by Eric Falcon. In another thread, he said he signed his initials on all mouthpieces he finished. I couldn't find those initials. But I talked to another sax player I know who worked at the store I got more than 5 years ago. He said he would have ordered the piece for them when Eric was working at Warburton so it should be finished by him.
I just took a lesson with the player I mentioned who ordered this piece for the music store. It is apparently one of Eric's first Warburton pieces, my contact ordered a bunch of them for the store when they came out. So Eric must not have started initialing them yet.
 

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I just took a lesson with the player I mentioned who ordered this piece for the music store. It is apparently one of Eric's first Warburton pieces, my contact ordered a bunch of them for the store when they came out. So Eric must not have started initialing them yet.
Yeah, just like mine he did a whole bunch right when they got started that never had the initials. I've now seen a few that are definitely not his pieces so the difference is pretty glaring.

Great pieces.

Now with the new reeds we gotta hear some sound clips bud!
 

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Discussion Starter · #18 ·
Yeah, just like mine he did a whole bunch right when they got started that never had the initials. I've now seen a few that are definitely not his pieces so the difference is pretty glaring.

Great pieces.

Now with the new reeds we gotta hear some sound clips bud!
Check out this broadcast, one of my bands was on a local university radio station back in December. (They didn't mix us very well though, I'm too loud for one)
https://cod.ckcufm.com/programs/ondemand-player.html?id=40656&token=.M5EgT]aa1Poe#

I'm playing the Warburton with the Yamaha YTS-62 and the V16 reeds there. I don't have anything with me playing the SML horn I got a couple months ago yet, but I can always record something.
I'll be changing reeds again soon I think, the teacher says I should use something a bit softer. I'm about to post about that in my thread about reeds.

Here's the band page. We are trying to get the stars to align so we can record an album. We just need to get everyone together when and were we can record.
https://www.facebook.com/lloydsmileyband/
 

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I got my Warburton LA from Saxquest about a year ago. I love it. It's incredibly versatile and does whatever I need it to. It's very responsive to changes in air stream and articulation. The size I liked best was an 8* which surprised me because I usually only play a 7 or 8. I also found that the huge window on the piece is conducive to using harder reeds.

As far as the squeaking goes, I haven't noticed that at all.

For reeds, I'm using Rico Plasticover 3's, but transitioning to 3.5's since they break in more nicely than the 3's. Try and find a Selmer 404 lig if you can, it fits perfectly.
 
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