Sax on the Web Forum banner
1 - 16 of 16 Posts

·
Registered
1926 Buescher TT Alto, 1936 Holton Revelation Tenor, 1954 Holton 271 Bari
Joined
·
297 Posts
Discussion Starter · #1 ·
I have a Selmer S-80 C* for my alto, and was wondering what kind of reeds you guys would recommend for that mouthpiece. I play tenor as well, so maybe that opens me up to harder reeds, but at any rate, what do you guys suggest? I've tried the original blue box Vandorens, but I've gotten tired of them and want to try and find another brand.

So...fire away. Suggest a reed and why that one. Classical styling really.
 

·
Registered
Joined
·
1,381 Posts
It depends on what sound you're after, darker, brighter, etc?

If you want darker, try a V12. They have great response but play about 1/3 harder than a Traditional of equivalent strength.

Gonzalez are also good.

What are your Traditionals not delivering? Nice to know that...

EDIT - Have you ever considered that your S80 C* may not be faced so hot? I've never had problems with the Traditionals...
 

·
Registered
1926 Buescher TT Alto, 1936 Holton Revelation Tenor, 1954 Holton 271 Bari
Joined
·
297 Posts
Discussion Starter · #3 ·
I would want a darker tone if I can get it.

I haven't tried a V12 yet, so maybe that's worth looking into. The traditionals just...they don't make me enjoy hearing my music. It's one of those things I'm not big on explaining well, but it's one of those sound things you KNOW. I'm aware of my limits, and I know some of it is me. But...it sounds less full than what I want.

@ The edit: I haven't really considered it, but I'd like to go under the assumption it's okay. Otherwise costs just start building up for me. xP Reeds I can afford (for a while) a mouthpiece refacing? That's a bit more.
 

·
Registered
Joined
·
1,381 Posts
It would be worthwhile sending a PM to Angel about your concerns. Even if not just to discuss your issues, the man is what I'd call the de-facto classical guru on this forum; you'll always have a good conversation. This may be more than reeds, it could be down to a simple problem in your playing technique. What horn is your S80 on?
 

·
Banned
Joined
·
3,043 Posts
I would stay with the Vandoren Blue Box in a 2.5. I have a Classical Diploma and whilst I was performing and studying that repertoire that was my set up on tenor and Soprano with the S80 C* Mouthpieces.
 

·
Registered
1926 Buescher TT Alto, 1936 Holton Revelation Tenor, 1954 Holton 271 Bari
Joined
·
297 Posts
Discussion Starter · #6 ·
My alto is a Buescher TT Series 3. I know it needs some fixing up, but it's not so bad that I think it changed my mind about my reeds. Since I play tenor as well, not sure it's a technique thing. As far as staying with the traditional...I just think I've tried them enough. I want to try and expand. What about the Rico Reserves?
 

·
Distinguished SOTW Member
Joined
·
13,610 Posts
Im sorry but this post really begs the question: How does one get tired of a type of reed?

It sounds like this change is somewhat arbitrary. I would suggest that there is no point in changing your setup unless you know where you are heading.
 

·
Registered
Joined
·
259 Posts
I recently starting using Rico Grand Concert Select 3's on my S80 C* when needing a legit sound. The 1st alto in my community wind ensemble is using RGCS 2.5's on a Meyer 5M which is an interesting combination.
 

·
Banned
Joined
·
3,043 Posts
Im sorry but this post really begs the question: How does one get tired of a type of reed?

It sounds like this change is somewhat arbitrary. I would suggest that there is no point in changing your setup unless you know where you are heading.
Agreed. If it aint broken, dont fix it.
 

·
Registered
Joined
·
1,381 Posts
Find a goal first. Buy some music instead of reeds or other crap. Or listening to us for that matter.

I suggest listening to Claude Delangle's "Saxophone for a Lady", Rascher Quartet's "Music for Saxophones", and Aurelia Quartet's "French Saxophones". It's an excellent variety plus it'll encourage concentrating on the alto's tone in a wide variety of situations and repertoires. It'll help you find something that you like.

Once you have the goal, enlighten us as to what you want and how what you have differs. It'll be much easier for us to give suggestions. Trust us, we're not trying to rag you or anything. We just don't know everything!

OK back to the OP; I think the C* is a the problem, they don't play with Bueschers in my opinion. I'd try a Caravan large-chambered model sometime, they play with much more harmonic richness and seem to "click" with these horns. As a plus, they are very affordable. As for reeds, I found the Rico Grand Concerts (3 strength) to be some of the stiffest, coldest sounding, and disappointing reeds I've ever played. I'd avoid them.

P.S. - A good tenor player does not a good alto player make. Not saying you're bad by any stretch, but I've learned this first hand and have been humbled before other players, especially with the soprano. Each requires a great deal of individual study to master their nuances; excellency at both alto and tenor isn't an easy feat.
 

·
Registered
1926 Buescher TT Alto, 1936 Holton Revelation Tenor, 1954 Holton 271 Bari
Joined
·
297 Posts
Discussion Starter · #11 ·
True. On tenor I know what I like. But alto..maybe more "soul searching" is required.

As to how I got tired of the Vandoren traditionals...it seemed that each box I opened up just didn't make a favorable sound for me. (The same is true for tenor) When you're in high school, the obligatory reed nowadays for saxophones are the Vandoren traditionals. I tried them a long time, but they just don't give me the response and sound I'm looking for. I know I'm not sure what my dream sound is, but I know the Vandorens aren't helping.

What about the Hemke reeds from RICO?

And the idea about the C* being the issue... it's interesting. It's not impossible that with my Buescher, they don't agree well. I honestly wouldn't know because the C* is the only "quality" alto piece I own. The only other alto piece is an old graftonite rico royal that's even worse.

I'm sure that good tenor =/= good alto. But at the same time I figure I oughta try my best for both. if it's not in the cards, so be it, but for now I might as well try my hand at them both and see how far I get with them together.
 

·
Registered
Joined
·
1,381 Posts
True. On tenor I know what I like. But alto..maybe more "soul searching" is required.

The word you're looking for is listening. I never could love the sound of an alto until I discovered the aforementioned albums. Give them a listen, I implore you.

As to how I got tired of the Vandoren traditionals...it seemed that each box I opened up just didn't make a favorable sound for me. (The same is true for tenor)

You described your sound as dead, perhaps you don't need to go darker or harder strength reeds.

When you're in high school, the obligatory reed nowadays for saxophones are the Vandoren traditionals. I tried them a long time, but they just don't give me the response and sound I'm looking for. I know I'm not sure what my dream sound is, but I know the Vandorens aren't helping.

Says who? I'd say the obligatory reed is the one that oscillates and sounds good, unless you are in one of those communist-manifesto programs. I only joke, of course, but I'm glad to see you want to keep your options open and think for yourself.

What about the Hemke reeds from RICO?

They're brighter, softer, and have a thinner sound than the Traditionals for me. I'd go half a strength harder on Hemkes for an equivalent Vandoren. Beware, they die fast.

And the idea about the C* being the issue... it's interesting. It's not impossible that with my Buescher, they don't agree well. I honestly wouldn't know because the C* is the only "quality" alto piece I own. The only other alto piece is an old graftonite rico royal that's even worse.

I never liked the Graftonites, they sound gross to my ears. You know my sentiments on what your sax would likely sound good with, but then again, it's only a guess.

I'm sure that good tenor =/= good alto. But at the same time I figure I oughta try my best for both. if it's not in the cards, so be it, but for now I might as well try my hand at them both and see how far I get with them together.

Practice makes perfect ;)
Responses embedded in the quote above. Hopefully I'm not beating a dead horse on this thread, I tend to like to elaborate to an unhealthy point.
 

·
Registered
1926 Buescher TT Alto, 1936 Holton Revelation Tenor, 1954 Holton 271 Bari
Joined
·
297 Posts
Discussion Starter · #13 ·
By all means, I'm endlessly glad for elaborations. Any small bit more of information works well for me. Thank you very much for your opinions.
 

·
Forum Contributor 2015-17
Joined
·
831 Posts
I play La Voz Mediums on my S-80 C* m/p. I've tried a lot of different reeds and these are my favorite.
 

·
Forum Contributor 2011, SOTW's pedantic pet rodent
Joined
·
8,322 Posts
Have you tried one of the old Buescher mps on your TT? They can be picked up pretty cheaply, I think. Could work. I believe that's what Rascher used on a Buescher.

(BTW, I have no clue about classical playing really, but i do believe the above info is correct)
 

·
Distinguished SOTW Member, Forum Contributor 2013
Joined
·
631 Posts
keep the blue box and maybe experiment with different strengths for reeds or even ligatures.
I just got my new "paraschos" ligature for my selmer soloist and she "just" started to sing!
enjoy the journey!
 
1 - 16 of 16 Posts
This is an older thread, you may not receive a response, and could be reviving an old thread. Please consider creating a new thread.
Top