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Discussion Starter #1
Hello

I play on a link STM 7 with my tenor, wich is very good for playing "classical" jazz to my sense: the sound is round, warm. But when I try to play more funky (I'm in a funk band :) ), the sound is not as crunchy, loud (even if I blow a lot), as I'd liked.

I know it's not so easy to give advice to people to get a specific mouthpiece.
It depends a lot, not only on the brand (dukoff? guardala? jody jazz? ...) , on the material (metal? hr?...), but too on the way YOU blow / breathe, and finally the experience. It's not said or written in a bible that you have to buy a guardala to play jazz rock / fusion ala brecker, a dukoff to play like sanborn. These are metal pieces.
I discovered recently a guy, Matt Corey, who plays on a jody jazz hard rubber, and he is a killer.

I guess it's a never ending discussion, and of course that's a good thing :)
But otto link stm, to me again, is really difficult to get to a funky sound. So, what's your experience, and maybe, your advices?

Thanks a lots, I hope I was clear ;)

saxjay
 

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Softer reed? What are you using now? (You can definitely play funk on an STM)
 

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But otto link stm, to me again, is really difficult to get to a funky sound. So, what's your experience, and maybe, your advices?
I was going to suggest that you try a V16 reed with your STM, but it looks like you're already using one. Assuming you're finding the groove and playing it funky, then we must have a different funk sound concept, because an STM with a 2.5 V16 is the epitome of a funky sound for me. The type of horn you're playing might be a factor (e.g., bigger bore vs. smaller bore, etc.), but I would suggest trying something like a Wanne Kali or Durga if the STM with the V16 reeds aren't giving you the type of funky tone you want on your current horn.
 

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Funk is not a tonal sound it's a delivery. If you listen to 10 or more players i.e. Karl Denson, "Mimi" Castillo, St. Clair Pinckney, Ron Holloway, of funk you'll hear all different "tones" from them but they all lay down the funk.
 

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Discussion Starter #6
Ok thank you for your answers. So, as reading what you're sayning, maybe a make confusion between produce a sound (crunshy, loud) and produce a style (or way of playing).

So what I want is my sound to get lots of harmonics in every note (a rich sound). To describe and to be more clear, I think the (my...) sound with the link STM, connected to my selmer super action 80, is warm, round, but closed. I want my sound to be more opened, I mean you could "see" lots of things inside :)
 

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Synthetic reeds (f.i. Fibracell) can make your sound brighter (if that's what you expect). Also putting a lot of air through your Link could work IMO.
 

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Nothing wrong with an STM - you may get more "buzz" with a larger tip opening and a softer reed.
 

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Maybe you could try a La Voz Medium Hard or a Legere if you go synthetic... they do give a brighter note on my STM plugged to a 10M. Could do the trick on a Selmer.
Demat ;)
 

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If you like the mouthpiece otherwise, you could have someone create a baffle in it. I have a STM (a CC (Corky Corcoran?) opened to .120") with a baffle I made of some dental molding material. It is a screamer. I don't play it anymore, as I don't have to play all that commercial music, but it was a good all round piece.

Otherwise, your assumptions about the type of mouthpieces are correct. A high baffle piece will help you get the sound you are looking for. I actually like the approach of putting a baffle in a Link because the STM has curved sidewalls, whereas most high-baffle pieces (Berg, Guardala, Dukoff) have straight side walls. I think the curved side walls keep a solid core in the tone and help produce a more balanced sound.
 

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If you like the STM except for the darker color, you could add (or have someone add) a wedge or baffle to it. I have a STM like that, and it's very good. I actually think that's the best combination because the Link has curved sidewalls, and I think that helps keep a solid core to the tone. Most high baffle pieces (Berg, Guardala, Dukoff, etc.) have straight side walls.
 

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If you like the STM except for the darker color, you could add (or have someone add) a wedge or baffle to it. I have a STM like that, and it's very good. I actually think that's the best combination because the Link has curved sidewalls, and I think that helps keep a solid core to the tone. Most high baffle pieces (Berg, Guardala, Dukoff, etc.) have straight side walls.
i was under the impression that almost every guardala had curved walls... but its like Buck said, funk is more about the phrasing than it is tone... that said when i play a brighter mouthpiece it tends to steer me towards that funk style phrasing. never the less, the tone your asking for can definitely be gotten from a stm

and to the OP, i personally find rico royals to be really bright.
 

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I use my stm for everything (except classical). Give rico royals and javas a whirl. Links definitely aren't for everyone, and I find that mine plays pretty dead with most modern horns. I could be wrong, but I was under the impression that berg larson pieces are the industry standard for funk and soul, much like links are the standard for straight ahead. It's worth trying jody jazz, vandoren v16, morgan, berg larson, but a simple change of reeds could be the answer. Reface plus a slight baffle could also give your current piece that extra bit of sparkle.
 

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Ive generally thought of Links as being fairly open. Is yours stuffy? That may be the case. A link is not a compact/compressed presentation IMHO.

If not, as mentioned, consider synthetic reeds in the mix as well.
 

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I use a vintage Link tonemaster for everything - classic jazz, r&b, soul. I've always had better luck with Links than anything else, but you have to get a good one. You might try making your own baffle with silly putty or whatever. I've done that too, though not so much anymore.
 

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Funk is not a tonal sound it's a delivery. If you listen to 10 or more players i.e. Karl Denson, "Mimi" Castillo, St. Clair Pinckney, Ron Holloway, of funk you'll hear all different "tones" from them but they all lay down the funk.
and MAY-CEE-OHHH
 
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