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Discussion Starter #1
Fellow owners and technicians, have you noticed any tuning idiosyncracies with these altos? If you can tell me what mouthpiece(s) you have used, that would be important info regarding this question.
My horn (Osby Signature) is basically new, has been set up very well, and is free of leaks.
With every mouthpiece I've put on the horn, I came to the inescapable conclusion that I had to open up all of the bell key bumpers to their maximum height, to include shaving felt off of them! This started because of a VERY flat Eb1, Eb2, D1, and D2. The bumper screws are backed out with the bare minimum needed thread engagement.

The mouthpiece I really like on the horn is a Kessler Custom HR piece marked "N" and "NY". I think the tip is about 0.076". I think it is made to be Meyer-like. The chamber is round, it has a moderate rollover baffle, and I would call the chamber Medium in size. It tunes well (with the bell keys jacked way up as mentioned) at a normal place on the cork (1/2 to 2/3 covered).

The other two that I like, and which also will play fairly well in tune, are a Woodwind Co. B5 (pretty close, maybe 0.070", and a quite large, round chamber) and a Link Florida STM #4 opened to 0.072" (also quite large, round chamber). However, I need to push the Woodwind in until only 1/16" of cork is showing, and I need to push the Link in ALL THE WAY until it bottoms out, which is about 1/4" or more past the cork! (It has a longer shank and overall length than the Woodwind.)

I use reed strengths of Rico (or RJS equivalent) #3 on the Kessler and #3 1/2 on the Woodwind and Link pieces. Those blow really well for me.

With each of these three mouthpieces, I can get a fairly even scale, but still with the following exceptions (pitch in cents):
E1/E2: +15/+20
Eb1/Eb2: -5/-20
D1/D2: -15/-5
C#1/C#2: -5/+10
C1/C2: -10/+10
B1/B2: -5/+10
Bb1/Bb2: 0/0
I can voice these "problem" pitches into tune, but some of them are a bit more difficult (e.g. D1).
It just seems something's wrong when you have to open up the bell keys like this.
The flatness of D and Eb was the reason I started jacking up the bell keys, and I think I now have found the best compromise I can get.

PS: My 6M alto, closet queen, good original pads, plays VERY well in tune, top to bottom, with the Kessler and Woodwind mouthpieces (I can’t push the Link on far enough because of the micro-tuner).

Thanks in advance for any insight into this!
 

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Are you sure that it is completely leak-free?

I just had (and recently posted about) a problem similar to this (wide octaves) on a horn that I had overhauled myself, so that I was pretty sure that there were no leaks.

Well, it turns out that I had a very minor leak in a pad near the neck of the horn (the top pad in the left-hand stack). When I fixed this one tiny leak, the problem disappeared.
 

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Discussion Starter #3
Are you sure that it is completely leak-free?

I just had (and recently posted about) a problem similar to this (wide octaves) on a horn that I had overhauled myself, so that I was pretty sure that there were no leaks.

Well, it turns out that I had a very minor leak in a pad near the neck of the horn (the top pad in the left-hand stack). When I fixed this one tiny leak, the problem disappeared.
Hey thank you, sir. Indeed I had read what you said the other day about solving your problem before I wrote this. And well let's say I'm 97% confident of no leaks because I had Rick at Detroit Sax Center going over the horn thoroughly, before I started playing with key heights, and again during that process, just to make sure.
That said, I have now (yesterday) seen several posts on SOTW stating that people don't care for these Mauriats because of lower octave and bell tone intonation issues, so maybe mine is indicative of that, and maybe even one of the ones that is out toward the end of the wonkiness bell curve - no pun intended, just acknowledging that there are standard deviations, etc. with the tolerances on any manufactured product.
It just seems odd that this blingy flagship model would have what I find to be pretty wonky intonation, compared to a 70 year old Conn...
But then I also wonder if it's maybe that I just have Conn chops... or the non-optimal type of mouthpiece for this very "modern" horn with the very brilliant modern alto sound... or... what?
 

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I've now got my Osby alto back from being professionally set up and have been playing it extensively. I'm using Selmer Super Session and metal Jazz C* mouthpieces, with D'Addario Select Jazz 3S reeds.

First impressions are very positive, with no intonation issues, *except* for a rather sharp high d. I've played a few classical pieces as well, and the scale is even and true to my ears. I find I'm not having to push my mouthpieces along the cork too much, with 3-4cm of cork showing.

One tonal characteristic I've found is the wider range of tones available, from a bright commercial sound to a smokier vintage sound - it does the lot.
 
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