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Is anybody playing the Drake SG Legend? Which size and what reeds do you use?

I play on a 6* now with LaVoz MH and like it very much!
 

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I'm using one. I have a 6* with a Rico jazz select unfiled 3H.
 

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played a 7* at the musikmesse... AMAZING
 

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I just got one off ebay "for a song" and it plays real good!
There is no marking on it to say what model, except 4 numbers which look like serial numbers. Anybody know about this?
 

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..you must have a prototype...good going!!
 

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I just got one off ebay "for a song" and it plays real good!
There is no marking on it to say what model, except 4 numbers which look like serial numbers. Anybody know about this?
The numbers have to do with the cast that was used for the piece.
 

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What kind of ligature are you guys using with yours? I'm using a stock hr link lig but it doesn't fit very well, neither does my selmer soloist lig. I need to be extra careful not to squeak which is kinda annoying
 

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i tried both my theo wanne enlightened as well as a vintage brilhart 1 -screw and the the drake lig with ceramic reed plate....no problems
 

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TENOR, soprano, alto, baritone
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True - the squeak becomes part of the player's signature after awhile. Its funny - when playing Jr. Walker's 'Shotgun', I will usually squeak at the same place he did when switching to flutter-tongue on the palm key Eb or D, depending on whether the band wants to sing it in G or Ab (Ab is the record key and my favorite for this song). But anyway, I always kind of smile when that happens, and wonder if anybody heard that and thought 'Just like the record'. The thing is, have you ever noticed how all of the 'greats' just played through squeaks, bad notes, missed high notes, etc., etc. apparently without letting it bother them, and how these flubs just seem to give 'warmth' to what they're doing? Example: Dexter Gordon's 'Lady Bird' that you can play on You Tube and which is considered to be one the best things he ever did and is an inspiration to us all; he clams all over the high tones in a little section of the 'ride', but it just doesn't matter! The reason I brought this up is I have finally learned after fifty years behind the horn not to be so damned uptight and afraid to make a mistake - just play. What you do right means ever so much more than what little you do wrong.
 

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..its more than just a little section..!! but it is amazing how composed he stays through it
 

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just got mine....plays as great on my horn as on the Mauriat i play tested one on at the Musilmesse....what made me have to get one is still true..the notes just JUMP out...ive NEVER played any OTHER mouthpiece that does this.... when I put on a HR mouthpiece(including all my favorites...link slant,zimmeroff house of note,or brillhart HR)there is always an initial adjustment period before i can get the piece to speak..... this Getz just jumps!!!!! i put the lig(wanne enlightened)up high at first,great response...quite bright though..... moved it down as low as possible....great response still and the sound i like(still a bit on the bright side).....i dont find that range of response in lig placement in other mouthpieces...everything I wanted!!!!!! I'm playing a 7*

my numbers are P1 07 is that prototype 1 2007??? there is no bite mark in the piece...i thought they all had that...which further makes me suspect i have a prototype....
 

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According to their website: Details like Stan's faint teeth impressions can be found on the 5* and 6* models only
 

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...ahh okay!! we still gotta get together and do a McMouthpiece hang!!!
 
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