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Guys- The way to get that out is easy....PUSH it out with a toothbrush handle.
I just pushed mine outta my bari mouthpiece, and it took about 2 seconds to do. ( I'm cleaning my Bari mth, and cleaning the neck enh too, YUK@$! )

I notice a diff on bari with it in.Its pretty cool.
Steve also has some reeds out that are pretty darm nice cane etc.
The tenor reeds are solid.

Anyhow-use a toothbrush to PUSH it out. :cheers:
 
Super 20 Player said:
Anything especially different about the cut, Tim?
Sup- for starters- the cane quality is really great. The cut is strong, kinda like a Charpen cut, IMHO.They got that " cut" hole like a ol' Charpen reed did.
I used to study reed making ( single reeds ) with Kal Opperman & these are really well made, in a 3 pack. Very powerful reeds that take your sound where YOU want it. A few of my students use the alto reeds as well, as per some samples Steve was kind enough to share with me & my students.
I used to work with Guardala,as a product specialist, when we designed the reeds. I was the guy who got the CUT for the Brecker premium reed when we'd go to Macafferis reed place in the Bronx. ( around the time, just before Brecker played w/Paul Simon) IN ANY CASE, the main tool is the cane quality and these reeds got it.They are REALLY exact...and sing.

That said, we are lucky cuz we are in a good period with reeds/cane etc.
But-I'm just saying what I noticed via quality etc.

Anyhow~this is just my opinion- YMMV cuz it is mutha-nature. :D
 
Lenny, Ok....this kinda my way fwiw.
The one for tenor fits into my white Lamberson 8DD, bari sax mouthpiece.

With my stuff on tenor, I don't use the NE on my vintage Borgani. They did so much "stuff" to the neck on these newer tenors that its not something I need on that Borgani. NOW-that said- I use a Silver Serie3 tenor with wood neck. ( for years ) On the Selmer, I'm kinda touchy too. I use THAT sax everyday, for a lot of things...and the NE adds a tad to """"much"""" for me on that sax.

Now- where it kicks tail is on my bari- and my straight LA sax tenor.
It makes things easier, projection wise. Adds some real " in your face" stuff WHEN you need it.
I like it outside too, on outdoor concerts.The other week, I had a outdoor gig with a college-student band I got,that was kinda electronic/groove/jam-improv. Sorta- like " Wax Poetic" meets Hancock; but you get the idea the band is kinda loud. I use the straight tenor at times...and DUE TO the size-and horn diumension, stuff can get lost a lil' IF you ain't on top of it. The NE really is an asset there. It boosts the straight tenor more into the mix and the horn projects
( NOT gets edgier but projects!! ) in a better way.

On bari- its just very cool- kinda essential in a _louder_horn section.
I do a lot of gigs where I might " sub" out a trombone players book in certain commercial/rock or latin bands, if they are short on a bone guy.
ETC~( I transpose the clef at sight along with the key change etc- a simple thing- I 've done for decades )

It lets my lows on bari, jump out more and my mid range , like middle D or like in there is perfect. Not to mention when I do play altissimo on bari, during a solo, the NE is on the case.If I'm voiced in with brass- IT'S THERE!
I don't use it on certain big band gigs as with my set up- it could be overkill :shock:

So-hth - its hard to describe sound, but there are times its perfect, and others you need to study where to use it. After all it IS a tool. A tool is for jobs when the tool is needed.
This is just me- I am kinda fussy with things sonically cuz of how I hear it. But check it.
 
Discussion starter · #87 ·
Well I've neglected this thread 'cause I've been busy here in Vegas..A good thing :twisted: ..now back to the NE :? .. Tim Price is not only my pal but also a monstrous monster player, so when he speaks I listen. All jokes aside, we know from reading the thread that the NE didn't float my boat on Tenor..BUT, the Baritone enhancer sounds like something I might dig..I'm using a Jody #12 with the spoiler (w/my beloved plasti's) on my silver Series III Bari so it also could be that I've got my EDGE already..Tim's comments on his experiences on his Bari with the NE sounds so positive that it's got me thinking again... :idea1:
 
Cash, if you get a chance sometime, could you go to Kesslers and check out their tone booster thing for tenor? See if they can work one up for the Super 20 tenor neck? They only want $30 for theirs.

http://www.kesslermusic.com/KesslerCustomSax/tonebooster.htm

Not that I want to get into a discussion of it, but that just seems like a better solution than the Goodson thing to me. Just my opinion. YMMV.
 
Discussion starter · #89 ·
Sure Super..don't have any work for them right now, but it would give me a chance to have a honk on theirs myself. And I'll get to OGLE the gorgeous T9937 they got on the shelf.I played that horn once.. Whatta Mother$%^@#$%^&*er !!!..well,that's another story..
 
In the 60s, Glen Johnston, the mouthpiece man in Los Angeles, would try various brass inserts to try to improve saxophones. He put a thin brass tube in my Selmer cigar cutter alto neck to try to improve the response. After trying it for a while, I removed it and eventually bought a great MKVI, selling the Cigar cutter.
 
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