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Discussion Starter #1
Well here we go, I had my Mark VI tenor ('68 silverplate) overhauled and my Guardala super king mpc refaced, then everything changed, my sound was gone. I played this horn almost daily since I bought it in '81..my LT DG had been with me over 15 yrs and needed work badly.

So after the complete overhaul my VI was a new and different horn, and I needed new mpcs..
 

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Discussion Starter #2
I wanted a new concept on tenor from my Guardala, over time I bought sold traded and tried many production and custom mpcs, but a players feel for a mouthpiece is not easy to replace, long story short I got 4 new mpcs to replace my Super King, now I have a full range of tips from a small .085 Brilhart Ebolin to a NYSV Vigilante at .113


This works good for me, depending on the gig I got, I know I have the right set-up, I usually keep 3 set-ups ready to go..these days I never know, I play from a tiny room to the big stage.
 

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Discussion Starter #3
I just picked up a Brian Powell STM NY Link 7* perfected to .110... incredible response and super creamy tone, for certain gigs I wanted the "Link" sound, I think I found it..

Also I recently got a very versatile SS Berg 110/2/M duckbill that looks hand finished by somebody (no arcs no denim), sculpted walls, tiny perfect rails and tip..it actually measures at a very comfortable .105

Oh well, who cares, how it plays right ?.. a typical Berg..but this is a great playing well rounded mpc, velvety to edgy sound.
 

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Discussion Starter #4
I should say I am replacing the Super King I played for many yrs. I had it refaced (twice) and it sucked after, both times.

My Jen Price DG Vigilante is a worthy replacement. I got so lucky and scored this masterpiece for a sweetheart deal..I had this one a year already..It plays every bit as much as the Super King and getting better. power plus OMG …….well the Vig is not for the Brunch gig, now the Link is sublime, and the little Ebolin Special I picked up for peanuts just flat surprised me what a colorful and rich sound, not to mention this thing plays wonderfully on my "too hard" reeds..:mrgreen:

FWIW My Bar Tenor is a road warrior '49 Big B and the STM NY Link is a match made in heaven..but I find my VI likes the other 3 better.:whistle:
 

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Discussion Starter #5
Oh yeah if all this don't work out I got a brand new un-played LT Super King stashed away..
 

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TENOR, soprano, alto, baritone
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I hear what you're saying about the overhaul. I have my fingers crossed over mine which should be done by the end of the month. I would not have done the overhaul but it needed a lot of key-tightening. In the meanwhile I'm enjoying my back-up Selmer USA but I do miss the VI. At least I backed off of sending it to a guy who was going to take it all apart and re-shape the upper body tube 'because all of them in this series are pinched up top'. I don't care if they are - I like it as it is.
I'm sure you'll get your sound back but honestly, I don't know how you can cope with the sax being different plus several new mouthpieces at the same time - not something I'd try, but hopefully it'll work for you. To me, the mouthpiece is the 'constant' around which can revolve various horns. I have found that after an overhaul or with a different sax, it takes about a month of heavy playing before you 'auto-adjust' to the differences and return to your sound and/or adapt to the differences.
 

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At least I backed off of sending it to a guy who was going to take it all apart and re-shape the upper body tube 'because all of them in this series are pinched up top'. I don't care if they are - I like it as it is.
Who does that?
 

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TENOR, soprano, alto, baritone
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I ain't sayin'. When you give somebody a call concerning an overhaul its up to you to judge the sanity/feasibility of what they are saying. Maybe to someone else what he said would be okay but it was not okay with me. Everyone has to judge for himself. The guy I gave the job to I interviewed in person at the shop where he works and we got along great. He's semi-local (driving distance) and has a good rep on the high-end horns.
 

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Discussion Starter #9
I hear what you're saying about the overhaul. I have my fingers crossed over mine which should be done by the end of the month. I would not have done the overhaul but it needed a lot of key-tightening. In the meanwhile I'm enjoying my back-up Selmer USA but I do miss the VI. At least I backed off of sending it to a guy who was going to take it all apart and re-shape the upper body tube 'because all of them in this series are pinched up top'. I don't care if they are - I like it as it is.
I'm sure you'll get your sound back but honestly, I don't know how you can cope with the sax being different plus several new mouthpieces at the same time - not something I'd try, but hopefully it'll work for you. To me, the mouthpiece is the 'constant' around which can revolve various horns. I have found that after an overhaul or with a different sax, it takes about a month of heavy playing before you 'auto-adjust' to the differences and return to your sound and/or adapt to the differences.
Took a few mos..my VI is feeling like mine again, the mpcs have been a longer evolution to what I have now. I have a sound on the Link I never had on my SK..like I said the Vig is a bomb. The other two I'm playing are great all around mpcs too.

I am finally getting the sound(s) I want, and also a big plus, I really don't have very many reeds that don't play on one of 'em..:mrgreen: For my reeds here in dry Vegas I use synths mainly Legegre
 
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