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This may sound weird, but using a soft, jazz-cut reed with a Sigurd Rascher piece has a great jazz sound (on alto). It really sounds like a big edgy tenor down low, but still has plenty of cut in the high register. IMO, it would be perfect for a big band. The only problem I have is that once you get to around forte-fortissimo loud, it's impossible to blow any harder. What do you guys think?
 

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How loud do you need to be?--FF should be plenty.

It's not always about loudness, it's also about projection. That's why many jazz players use pieces with an edge (what I define as the 9th through ~the 13th harmonic) to the sound.

Kind of hard to do that on a Rascher.

That said, if you like the sound, just do it.
 

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zxcvbnm said:
This may sound weird, but using a soft, jazz-cut reed with a Sigurd Rascher piece has a great jazz sound (on alto). It really sounds like a big edgy tenor down low, but still has plenty of cut in the high register. IMO, it would be perfect for a big band. The only problem I have is that once you get to around forte-fortissimo loud, it's impossible to blow any harder. What do you guys think?
Yep, it does sound weird to me, but if it works for you, that's all that counts.
 

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Okee Dokee. Whatever floats your boat.

But Mr. Rascher would be aghast.
 

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I, for one, don't care what S. Rascher, Marcel Mule, Larry Teal or anyone else thinks. They played their way, other folks play theirs. We're all adults.

Did Picasso worry about what Rembrandt thought?
Did Bird care what Coleman Hawkins thought?
Did Mozart care what Haydn thought?

Sax players are so narrow....
 

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I was joking...I actually agree with Hakukani on all counts here. You'll have a tough time getting enough air through the horn with that set-up, and the bit about who cares what so and so thinks.
 

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I've been the happiest using a thicker-cut (classical type) reed with large chamber mouthpieces. I discovered that this gives me a stronger tonal core and a fatter sound. I can dig deep into my sound and it takes whatever I can throw at it. I found that "jazz cut" reeds don't give me as strong of a tonal core. Anyway, this is my personal experience. Others may have different results.

In addition, I discovered that large chamber tenor mouthpieces with a tip opening below .090 did not give me the level of power I wanted for big band playing. I found a perfect point of balance between power and control in my Morgan 6C (.090). I'm much happier with it than the 3C I used to play on.

One more thought..... I've been finding how important the facing curve and side rails are to the performance of a mouthpiece. It might be possible for a good mouthpiece refacer to take a Rascher mouthpiece and "optimize" it -- especially, tweaking the facing curve and side rails -- for the particular reed cut you want to use. It's been my experience that just working on those parts of the mouthpiece (ie, not doing anything to the tip opening or baffle) can turn a mouthpiece into a more powerful one. Simply put, it allows the reed to work more optimally on the mouthpiece's facing.

Roger
 

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J.Max said:
I was joking...I actually agree with Hakukani on all counts here. You'll have a tough time getting enough air through the horn with that set-up, and the bit about who cares what so and so thinks.
You're right. Mr. Rascher would be agast. But from what I've read, he would be agast at a lot of things.;)
 

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hakukani said:
You're right. Mr. Rascher would be agast. But from what I've read, he would be agast at a lot of things.;)
Yeah...considering his stance that the brighter French sound was incorrect to Adolphe Sax's intentions, I've always wondered what he thought of guys like David Sanborn...
 

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J.Max said:
Yeah...considering his stance that the brighter French sound was incorrect to Adolphe Sax's intentions, I've always wondered what he thought of guys like David Sanborn...

He probably thought Sanborn played electric guitar.
 

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J.Max said:
Yeah...considering his stance that the brighter French sound was incorrect to Adolphe Sax's intentions, I've always wondered what he thought of guys like David Sanborn...
That's like wondering if Stradivarius would approve of the mods to his instruments over the years.

Did he have a direct conduit into the mind of Sax?---I doubt it. Doesn't matter anyway...Anyone who has ever invented anything knows that the invention takes on a life of its own, and any tool is used in a novel ways eventually.

It's part of evolution.
 

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hakukani said:
That's like wondering if Stradivarius would approve of the mods to his instruments over the years.

Did he have a direct conduit into the mind of Sax?---I doubt it. Doesn't matter anyway...Anyone who has ever invented anything knows that the invention takes on a life of its own, and any tool is used in a novel ways eventually.

It's part of evolution.
Hey, I agree with you again! The Rascher school players might disagree though...I don't want to start down this road again, though...
 

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It's too bad when folks don't understand that things evolve.

But, it's not really that important. I just smile and nod my head. <yeah, uh-huh, yeah>;)
 

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TJS,

Besides Vandoren Traditional reeds, I'd suggest Alexander Classique and Gonzales as being high quality cane reeds that have a thicker cut (more "wood" in the heart).

The Legere reeds I use are based on the profile of Vandoren Traditional.

Roger
 
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