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Discussion Starter #1
Hello,

I am just added a Soprano to my instruments and I am a little bit surprised that the three kinds of Bb flat are so different on the Soprano.
You can really hear the differences which I ahve never noticed in this way on an alto or tenor.

Have you made the same observations and how do you deal with it?

Many thanks

BR
Juergen
 

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Grafton alto | Martin Comm III tenor
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Depends how different they are. Have you had it checked out by a tech? key heights may have some effect on the tone.

Also bear in mind you may be hearing the tone differently to what’s going out to the audience
 

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Discussion Starter #3
Hello,

I can hear the difference when I switch between the notes and yes, the sax has been checked by a tech last week, everything is fine with the instrument
Is this a typical observation on sopranos and I just need to work on my embrouchure?
 

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Hello,

I can hear the difference when I switch between the notes and yes, the sax has been checked by a tech last week, everything is fine with the instrument
Is this a typical observation on sopranos and I just need to work on my embrouchure?
Differences in tone, or differences in pitch? Many horns have differences in tone. If it is pitch, then I agree with Pete to check hey heights - or the tone hole placement could just be wrong.

What model is it? What is your reed/mouthpiece?
 

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Differences in tone, or differences in pitch? Many horns have differences in tone. If it is pitch, then I agree with Pete to check hey heights - or the tone hole placement could just be wrong.

What model is it? What is your reed/mouthpiece?
Yes - and if it's a difference with tone, use it to your advantage.
 

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Yep, tonally, they all sound slightly different from each other. To my ear, bis sounds the best, followed by 1+1, followed by side. So I tend to use bis the most, especially for a note held for any amount of time... I use the other two as alternates when Bb is used as a passing note for speed purposes.
 

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He posted the model in another thread:

"and just purchased a nice [Yanagisawa] S-991 which I am using with the Yani 5 mpc and Vandoren 2,5 reeds"
 

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Grafton alto | Martin Comm III tenor
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I can hear the difference when I switch between the notes and yes, the sax has been checked by a tech last week, everything is fine with the instrument
Is this a typical observation on sopranos and I just need to work on my embrouchure?
AWe don't actually knowm how different theyn are, ie whether it is the inevitable slight difference that buddy lee mentions, or if it is impossible to work with. If it's the latter, then I think there is definitelyn something wrong with the horn.

I'm not aware that anybody should need to adapt their embouchure for individual Bb notes.

You say you can hear the difference, what I was trying to get at in my post was whether anyone listening can hear the difference?
 

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Discussion Starter #9
I will use a tuner during the next session and check out if they are all in tune and iif it is only a noticeable difference in sound
Just asking because I haven't seen this in this way on alto or tenor before - yes, theys are a little bit different but not as on my Yani S991
 

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Grafton alto | Martin Comm III tenor
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I will use a tuner during the next session and check out if they are all in tune
I wouldn't bother, if any tuning discpenacies are not noticeble by ear and you need a tuner to tell, then the difference is not significant enough to worry about. I'm sure there are slight differences in tuning with my different Bb.

If you hearv thew differences and it is a problem, then there is an issue that can hopefully be fixed by a good technician (not the one who checked it last week!)
 

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The timbre of each alternate fingering on the saxophone has a slightly different timbre from the regular fingering. It has to do with which overtones are favored by where the note is vented. I'm not sure where I read it, but the xoo|oxo fingering for Bb actually has a better sound than xoo|xoo. I tried it and it is true, at least on my saxophone.
 

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I don't recall any saxophone I've owned NOT having different sounds from all the various Bb fingerings. DAVE
Nor me, however the side Bb tonehole should be more or less the same size as the Bis Bb tonehole (which is actually the A key). It should be in the same position (ie same distance from mouthpiece) but to the side. So theoretically this should make the tone the same or very very similar

Obviously when playing your ear is very close so will pickup any small differences due to the slightly different tone hole postion, whereas an audience several/many feet away will not bhear such subtle differences. On soprano, as these notes are closer than on alto or tenor, then the differences may ber more pronounced to the player (or to a close microphone for that matter).

The long Bb (either with first or second RH finger) is a different kettle of fish, and usually sounds more different then the side and Bis.
 

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Discussion Starter #15
So, her is an update
The problem is not the sax, it was more or less my fault.
I hadn't placed the mpc far enough on the cork which caused the tonal difference between the Bb-flat notes.
After a check with a tuner i changed mpc position and - voila - the Bb sound still a little bit different, this is equal to the delta I see on alto and tenor, but are all in tune

Many thanks for your help

BR
Juergen
 

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Grafton alto | Martin Comm III tenor
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So, her is an update
The problem is not the sax, it was more or less my fault.
I hadn't placed the mpc far enough on the cork which caused the tonal difference between the Bb-flat notes.
Well that would explain tuning issues between Bb bis or Sidekey and long (forked) Bb but it doesn't really explain significant tone differences. Nor would itb explain tuning issues between the Bb Bis and sidekewy Bb - as I mentioned both of those toneholes should be the same size and distance from the mouthpiece so essentially the same (or as similar as to make no significant difference) re: acoustics.
 

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For Long B flat (x00|x00 or x00|0x0 or even x00|00x) the bis key is closed. That leaves the difference in venting (all open tone holes venting vs mostly open toneholes) as the only explanation for a timbre or pitch difference.
 
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