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Discussion Starter #1
Hey guys,

Has anyone played a Pomarico Ebony Wood mouthpiece? I've searched around a bit, but can't find much information. What are they like? What kind of chamber? How much baffle? If any of you could tell me your experiences I would be very grateful.

Cheers,
Ben
 

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ZenBen said:
Hey guys,

Has anyone played a Pomarico Ebony Wood mouthpiece? I've searched around a bit, but can't find much information. What are they like? What kind of chamber? How much baffle? If any of you could tell me your experiences I would be very grateful.

Cheers,
Ben
I have one (Alto) and I like it. It's at my training room, so I can't check, but if I remember correctly the facing is somewhere around 5. All my other pieces are 7-7*, so I have to use harder reeds with it. No problems with that, set up works fine. There is not a noticeable baffle inside, but I haven't compared the chamber size to my other pieces. I try to remember to peek inside and get back to you. The most important thing, the tone, is in my opinion very sophisticated, beautiful and clean. It lures me to play quite differently than I normally would in a dreamy long, kind of garbarekian way. :) It's not my weapon of choise for my normal dish of funk oriented playing, but very fun to play nevertheless and refreshingly different compared to say my Links etc. Although pushing hard and growling gives an interesting results.:O Anyway, If I'd really try to pass as a dignified classical player I'd pick this one from all the pieces I've played. At least it is a great fit on my Shadow for classical sound.

I've tried also Pomarico's cristal piece and although the core sound and feeling was very similar to the wooden one there seems to be a slight difference. I'm not a big believer on different sound of different materials, but the wooden sound just, well, more woody somehow. Especially on lower basic register between A and E it's easy to get almost oboe(ish?) sound.

The workmanship looks good and I haven't had any problems with the piece cracking or something like that. I hope I could tell something significant to you...
 

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Discussion Starter #3
Thanks for that Tomasi.

Anyone got any experiences with the pomarico tenor pieces?
 

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I've been using a Pomarico tenor 7* regularly this fall, and I have got to say that I like it a lot. My approach is a kind of subtoneish one, but I've also used it in really loud ensembles with good results. If you are planning on getting one, you will need to try it before you buy it (unless you really really trust whoever's selling it to you), as the finish could be a bit rough. Mine was actually a bit uneven at the tip, but I had it adjusted and now it plays like nothing else.

I would probably go for something a bit more piercing to facilitate soloing and minimize fatigue in long and loud gigs (as a matter of fact, I'm planning on getting a metal one as a combined backup and power piece). But I do adore the velvety, effortless tone the Pomarico's giving me.
 
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