[BobD]

Picked up a Saxscape xtra dark .104 from Les Arbuckle. I've been neurotically thru a bunch of pieces lately, Links,HR Links,Link V/SP,Vandoren HR V16's,Java's, Jumbo Java's, Guardala MBII. The Links were probably the ones I liked the most but they didn't play all that well. Even refaced by some of the best and they still didn't play or sound all that good.

This Saxscape is one of the best pieces I've ever played. It's got a ton of sound. I feel like I just scratched the surface of what it has to offer. Can't wait to get serious about practicing again.

Also, for a piece that is called xtra dark it really has a lot of clarity and buzz in the sound. Actually not a piece that I would consider as really dark. I think HR Links are darker.

Everyone should try one of these Saxscape pieces.

 

[Nefertiti]

Bob, man........why do you have to do this to me! I'm so tired. So so tired. I've tried so many mouthpieces. Almost all of them but there is one I haven't tried................Saxscape Extra Dark! I actually tried a Saxscape model a few weeks ago but I'm not sure what model it was. It much brighter than something I would like. You have me curious now.

 

[Reedsplinter]

Bob, man........why do you have to do this to me! I'm so tired. So so tired. I've tried so many mouthpieces. Almost all of them but there is one I haven't tried................Saxscape Extra Dark! I actually tried a Saxscape model a few weeks ago but I'm not sure what model it was. It much brighter than something I would like. You have me curious now.

Neff:

Don't go there, man. You have tried mouthpieces aplenty in your time. Save your energy. Run like the wind!

 

[Frequency]

I have a Wilton model and I must agree, there is something in the sound that keeps me coming back. Yet, I feel like I have only scratched the surface. The possibilities seem absolutely unlimited! Nefertiti, you gotta try it... just one blow... one blow...:twisted:

 

[rini]

A humble wish from here far-out-in-the-middle-of-nowhere place: Please try and soundclip Saxscape Xtra Dark AND Mouthpiece Cafe Bergonzi Slant.
They are in the same price category and would make an interesting compare.

 

[LampLight]

The Mouthpiece Cafe Soloist Espresso might make a better comparison with the Xtra Dark. The Bergonzi is on the bright side and the Expresso is dark. (I asked Brian.) The Uptown Slant and Bergonzi Slant might be a more meaningful comparison.

 

[rini]

Well well. This shows we NEED a comparison done by someone to get rid of wrong assumptions.

Volunteers?
(Steve where are you hiding?)

 

[Nefertiti]

I have a Bergonzi Slant on order. I'll let you know when I get it. The Saxscape Extra Dark is on my To-do list.

 

[Swingtone]

I hope you guys realize that the Saxscape "hard rubber" MP's are not actually made of traditional hard rubber but of a synthetic hard rubber that is a type of polymer resin. Actually, though, this is not a big deal as making pieces out of true hard rubber is fairly laborious and cost prohibitive anymore, as Brian Powell recently explained on a recent thread. And the folks that are doing it the old way are getting to be fewer and fewer (I know Morgan still uses the traditional stuff but I don't know about Lamberson--he might be using the synthetic stuff now, too).

But the important thing to remember is that hard rubber itself (i.e. ebonite) is not as "natural" as some people would like to believe, for though the starting material may come from a tree, it is also a man-made polymer resin that is the end-product of a chemical manufacturing process.

I am currently working with Dr. Ed Pillinger on the reproduction of an Otto Link Slant Signature copy, and he has been enlightening me with much of the info I have shared with you above. With luck--and with his permission--I may be publishing the contents of some rather technical and substantial emails he has sent me describing his materials, processes and the rationale for their use. Very interesting stuff.

But in short, true hard rubber is overrated according to Pillinger, and its sonic properties can be mimicked (or even improved) using the right combination of synthetic materials available today.

But in every email he made it clear that he refuses to share his formula!

 

[saxobari]

Saxscape Ext Dark

Allo Bob
Also owned a Saxscape Ext.Dark for a while,,thought also that it was the best HR mpc I ever played,,,but was`nt as dark as I expected! The negative thing,I thought that it was so huge,,that i had a tough time getting used too! Though also in the bottom,,I had not as much good sound in the low register,as I do with my main tenor mpc! I traded it,but sometimes regret that I did,,cause it was indeed a fantastic and good HR mpc,one of the greatest HR piece I owned!
All the best,
Saxobari

 

[LampLight]

I hope you guys realize that the Saxscape "hard rubber" MP's are not actually made of traditional hard rubber but of a synthetic hard rubber that is a type of polymer resin. Actually, though, this is not a big deal as making pieces out of true hard rubber is fairly laborious and cost prohibitive anymore, as Brian Powell recently explained on a recent thread. . . .

I'm not sure what thread you had in mind, but Brian explained in the Mouthpiece Cafe thread (#1, #23) why they too are using resin and not hard rubber. I've played two Saxscape pieces, both great, whatever they are made of.

 

[rini]

I have a Bergonzi Slant on order. I'll let you know when I get it. The Saxscape Extra Dark is on my To-do list.

This will be really interesting. Two of my 'next-mouthpiece' cadidates, and maybe someone else's too.

I feel a bit guilty for just sitting here and letting someone else do the work and find results for me to enjoy. But the idea of doing it by myself and ordering mouthpieces just for trial from the other side of the world and returning them back and all this hassle with customs and tax duties, well, it's just a bit too impractical. And I've done it too much already, years ago.
So let's wait until Steve gets his 'two-of-the-most-interesting-mouthpieces-show' ready.:toothy7:

 

[HonkBopSax]

Bob,

When last we talked, you had a lesson with Les and he gave you the Lester Young transcription of 'I Cover the Waterfront' to work on. Have you done that yet? I know you probably hate to hear me say this, but you keep talking about pieces getting you more excited to practice. The excitement to practice shouldn't come from a piece...it's gotta come from you. I'm glad you found something easier to work with, but the desire to practice should be coming from you, and the fuel for that fire should be listening and transcribing, not buying and selling.

I'm sure I'll get flamed for this, but I hope people know that I'm seriously trying to help.

 

[Dr G]

Bob, man........why do you have to do this to me! I'm so tired. So so tired. I've tried so many mouthpieces. Almost all of them but there is one I haven't tried................Saxscape Extra Dark! I actually tried a Saxscape model a few weeks ago but I'm not sure what model it was. It much brighter than something I would like. You have me curious now.

That was an Uptown .098 - now known as an Uptown Classic (aka Uptown "Slant" in the current lineup) . I thought it was pretty bright too.

 

[Dr G]

So let's wait until Steve gets his 'two-of-the-most-interesting-mouthpieces-show' ready.:toothy7:

I want to hear how the Lamberson L7 fits in the mix.

 

[Nefertiti]

George,
I actually recorded your L7 when I had it and was going to put it up but for the life of me I can't find the recording I made. I think I might have deleted it by accident. That L7 was really nice!

 

[Tryptykon]

Bob,

When last we talked, you had a lesson with Les and he gave you the Lester Young transcription of 'I Cover the Waterfront' to work on. Have you done that yet? I know you probably hate to hear me say this, but you keep talking about pieces getting you more excited to practice. The excitement to practice shouldn't come from a piece...it's gotta come from you. I'm glad you found something easier to work with, but the desire to practice should be coming from you, and the fuel for that fire should be listening and transcribing, not buying and selling.

I'm sure I'll get flamed for this, but I hope people know that I'm seriously trying to help.

Here's another one -
http://forum.saxontheweb.net/showpost.php?p=364497&postcount=11

 

[Mike Cesati]

Bob,

When last we talked, you had a lesson with Les and he gave you the Lester Young transcription of 'I Cover the Waterfront' to work on. Have you done that yet? I know you probably hate to hear me say this, but you keep talking about pieces getting you more excited to practice. The excitement to practice shouldn't come from a piece...it's gotta come from you. I'm glad you found something easier to work with, but the desire to practice should be coming from you, and the fuel for that fire should be listening and transcribing, not buying and selling.

I'm sure I'll get flamed for this, but I hope people know that I'm seriously trying to help.

We Know Honk.

Bob, what did I say in the PM I sent you???? Please hear what we are trying to say. Play that mpc ONLY at LEAST 1 year and let us know how you are doing . All the best.

 

[StittsIt]

I thought I'd throw something in here just for discussion sake. I read through the above posts and the link posted by Tryptykon and completely and totally disagree. There are PLENTY and PLENTY of guys who can run though the Omnibook or Coletrane's Matrix or all the Lester and Illinois transcriptions around, but many of them SOUND ABSOLUTELY TERRIBLE while doing it. Way too much focus these days on how many ii-V-Is someone can play, how many notes and substitutions can we fit into a measure, all that, without focusing on tone and phrasing. Outside of bebop jazz world, people remember your SOUND and your stylistic ATTITUDE. When's the last time any of you really got paid to run through Cherokee in all twelve keys, much less one?! I understand how useful that may be to one's playing facility, but certainly wouldn't let something like that be the defining characteristic of how good or mature a player is. I've never met or listened to Bob, but regardless, IMO, the tired advice of "Don't, you know, FOCUS ON YOUR SOUND, until you can play ii-V-Is and Giant Steps in all twelve keys" is irresponsible. I would never tell my students something like this. But, different strokes etc.

 

[dirty]

I've never met or listened to Bob, but regardless, IMO, the tired advice of "Don't, you know, FOCUS ON YOUR SOUND, until you can play ii-V-Is and Giant Steps in all twelve keys" is irresponsible. I would never tell my students something like this. But, different strokes etc.

Nobody's saying not to focus on his sound, they're just recommending that he stop buying mouthpieces. I don't think I'm the only one here who has discovered the advantages of playing one mouthpiece exclusively for awhile, especially while in the developmental stages of playing. It makes it easier to learn HOW to produce good tone with your embouchure, airstream, throat and tongue position, etc. if you keep as many variables as constant as possible (within reason, of course).