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Wondering what peoples thoughts were on these two pieces. I want a good all around mouthpiece that is suitable for traditional jazz, funk, rock, everything.

Thanks!
 

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I found the Acoustimax to be brighter and have a clearer tone than the Acoustimer. The Acoustimer was darker and had a little graininess to the ton. Both were great but I went with the Acoustimax because I liked that brightness.
This is an excellent summary of the two models, Steve, thanks! Keep in mind that each model has a different internal shape so they behave differently. BUT they both have the same great curves, and beautifully detailed corners.
 

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Thank you. This is pretty helpful. My sound concept is closer to: Will Vinson, Kenny Garrett, Steve Wilson. Nefertiti, when you say bright, you don't mean thin bright or Sanborn bright do you? :) Thanks....
 

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Thank you. This is pretty helpful. My sound concept is closer to: Will Vinson, Kenny Garrett, Steve Wilson. Nefertiti, when you say bright, you don't mean thin bright or Sanborn bright do you? :) Thanks....
No not that bright.It is like a great Meyer type bright to me. I think Will Vinson's tone is like that a bit. Kenny Garrett is a whole different ball park I think. I never really listened to Steve Wilson. Hope this helps.
 

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I'm debating these two mpcs as well. I have only heard Will Vinson live and on YouTube on the Acoustimer, sounds fantastic with a huge sound. I have heard a few of the Acoustimax as well. Any SOTW members have any clips besides Nefertiti?
 

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Just ordered the Acoustimer...to be continued...
 

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What are the chamber differences? And Nefertiti, do you like your TK more than a V16?
I don't remember what the chambers differences were. I only played the Acoustimer for a little bit. I do like the Acoustimax much more than a stock V16 although I have a V16 that was altered to have a super long facing curve that I really love. I can't say I like the Acoustimax better than that one as they both play great for me but are totally different. The Acoustimer played like the chamber was bigger than the acoustimax but I'm just judging from how it sounded and played for me.
 

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i'd love to get some follow ups on this thread. seems the acoustimer is no longer in ted's lineup.? i'm really close to getting an acoustimax. but since i can't try one first, i'll have to ask around here!

anyone have some good recordings they've done (or links to something else) with the acoustimax?

how versatile is it? i wan't a nice big, sweet alto sound with some depth and darkness in the core, but crisp and grainy upper-mids. BUT, i play a lot of lead alto so cut and power is necessary. I play an RPC .80 baffle currently, and i love it, but i have to use very dark reeds to tame it when i am not playing lead.

any thoughts on the acoustimax?
 

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i'd love to get some follow ups on this thread. seems the acoustimer is no longer in ted's lineup.? i'm really close to getting an acoustimax. but since i can't try one first, i'll have to ask around here!

anyone have some good recordings they've done (or links to something else) with the acoustimax?

how versatile is it? i wan't a nice big, sweet alto sound with some depth and darkness in the core, but crisp and grainy upper-mids. BUT, i play a lot of lead alto so cut and power is necessary. I play an RPC .80 baffle currently, and i love it, but i have to use very dark reeds to tame it when i am not playing lead.

any thoughts on the acoustimax?
You should be able to get enough cut and power from the Acoustimax for lead. I find Hemkes (which is what Vinson uses AFAIK) give a balanced sound, but RSJ give it some extra cut and buzz. Marshall MacDonald from the Basie Orchestra uses an Acoustimax too. Depends just how much cut you need I guess.
 
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