[Swampcabbage]

Skip, it seemed like the AMMA was a little easier on the "corners" as I call it (switching back from a descending to an ascending line and vice versa). Would you describe it that way as well?

Also, it sounded as if the Link was a little closer mic'd or is it just much louder than the AMMA?

And finally, how does it respond in altissimo, multiphonics, and overtones?

I liked the playing and think that you are doing a great service here. And understand how consuming it is to set up these recordings and all. Your services are greatly appreciated.

PS - I think someone said there a links of other clips of you playing on some other mouthpieces. I would love to get a hold of those if they're already out there for comparison. Otherewise, if you have a standard STM (Florida, EB, current, NY, Millenium or what have you, metal is fine for me) then I'd love to here it. If not, that's cool.

Thanks again.

 

[skipsax]

I wouldn't bother changing my tone with another reed if I were you Skip; I think you playing a ballad with the same set-up would be interesting though.....to see what the sub-tones sound like and how the piece responds to a less aggressive style as opposed to the straight bop playing of the three current examples. BTW, 'love your tone! Big, fat and in your face......daryl

Daryl,
Alrighty then. This was Theo's personal favorite clip of all I sent to him last week.

http://saxshed.com/bnsammamix.mp3

Skip

 

[skipsax]

Skip, it seemed like the AMMA was a little easier on the "corners" as I call it (switching back from a descending to an ascending line and vice versa). Would you describe it that way as well?

Also, it sounded as if the Link was a little closer mic'd or is it just much louder than the AMMA?

And finally, how does it respond in altissimo, multiphonics, and overtones?

I liked the playing and think that you are doing a great service here. And understand how consuming it is to set up these recordings and all. Your services are greatly appreciated.

PS - I think someone said there a links of other clips of you playing on some other mouthpieces. I would love to get a hold of those if they're already out there for comparison. Otherewise, if you have a standard STM (Florida, EB, current, NY, Millenium or what have you, metal is fine for me) then I'd love to here it. If not, that's cool.

Thanks again.

The Link STM I have (custom by Theo) has a much larger baffle than the Amma. The mic placement was identical and the recordings were all done in 20 minutes. The Link is a bit louder with that big wedge! That's good AND bad, depending on the playing situation.

You can go to "about the author" on SaxShed.com to hear a bunch of clips live. You can buy any of my cds on Dornpublications.com via Saxophone Journal. You can also hear the clip I won with on JodyJazz.com, playing his ESP.

The comparisons here are direct. Custom Link made by Theo to Amma.

I could put anything on the tip of my horn and I will sound like me - or not like me. You can check out my last offering through Saxophone Journal. It was on "Tenor Saxophone Styles". I played on one mouthpiece, reed and mic for the whole thing. The idea was to create the illusion of sounding like Getz, Gato, Jr. Walker and Clarence using the identical setup.

When I play like "me" IMHO I sound like I am heavily influenced by Brecker. When I set my mind to it, I can be a chameleon as demonstrated in the SJ Masterclass mentioned above. Maybe I'll edit down some clips of that.

Skip

 

[CountSpatula]

Guys I really didn't hear anything in the clips that made this come off as the product of a lifetime.

Did I hear $650 worth of tone improvement with the Amma. Not really. I'd just assume stay with a more traditional mouthpiece, those are tried and tested designs that have stood the test of time.

Well, there is no holy grail heath! Besides tone is just one thing of several I know I look for in a mouthpiece...infact it's no big deal cuz like Skip showed you just sound like yourself...

BTW Nice sound clip there again Skip Very nice...what else to expect haha.

 

[skipsax]

I think I have to "redirect" this thread if possible. I just listened to the recordings I made last week with newer reeds and these 3 from last night - back to back.

Maybe the same set of reeds are dying...maybe too much of my brightness is coming out now. The clip bnsamma.mp3 is more the sound I was getting when the reeds were new.

Whatever the case - I'll work on more to share.

TBC..

 

[Swampcabbage]

The Link STM I have (custom by Theo) has a much larger baffle than the Amma. The mic placement was identical and the recordings were all done in 20 minutes. The Link is a bit louder with that big wedge! That's good AND bad, depending on the playing situation.

You can go to "about the author" on SaxShed.com to hear a bunch of clips live. You can buy any of my cds on Dornpublications.com via Saxophone Journal. You can also hear the clip I won with on JodyJazz.com, playing his ESP.

The comparisons here are direct. Custom Link made by Theo to Amma.

I could put anything on the tip of my horn and I will sound like me - or not like me. You can check out my last offering through Saxophone Journal. It was on "Tenor Saxophone Styles". I played on one mouthpiece, reed and mic for the whole thing. The idea was to create the illusion of sounding like Getz, Gato, Jr. Walker and Clarence using the identical setup.

When I play like "me" IMHO I sound like I am heavily influenced by Brecker. When I set my mind to it, I can be a chameleon as demonstrated in the SJ Masterclass mentioned above. Maybe I'll edit down some clips of that.

Skip

Thanks for your time.

Utlimately, it's how the mouthpiece feels to the player that makes all the difference. And I too have had great experience as a chameleon with just a straight STM.

That's why I asked the first 3 questions about response and feel in extremes and extended techniques. I find that the more versatile a mouthpiece is in these areas the better it will respond all over the rest of the horn.

 

[skipsax]

That's why I asked the first 3 questions (altissimo, multiphonics and overtones) about response and feel in extremes and extended techniques. I find that the more versatile a mouthpiece is in these areas the better it will respond all over the rest of the horn.

Yes, I forgot to answer that...sorry.

Here you go:

I play a range of Low Bb (A with my knee over the bell :shock: ) up to high G a 9th off the horn. When I play straight ahead, I don't venture above high C (5th off the horn) very much. I don't play altissimo like an extention of the natural sound as some darker players do. I handle altissimo more like the Brecker school where it is brighter and pops out. That being said, most pieces close up on me up there at some point. Maybe they are good up to altissimo C maybe they are good up to altissimo D. Most pieces with low or medium low baffles are going to close up on me up there. The Amma stays free and open up there.

The only multiphonic I use with any regularity is on high A, admittedly one of the first we learn and among the easiest to produce. The Amma works well for me on this although it's really not a focus of my playing or something I work on whole-heartedly. I have these very cool mutiphonics sheets from Joe Viola when I studied with him. He was writing a book on them and all the sheets are photocopies of his handwritten notes. I've been meaning to investigate them for 25 years!!

Overtones you ask. Just fine, clear and as you would expect from any great piece. Admittedly, it's time for me to revisit them in general. I have students playing "Taps and Revellie" sp? I don't make myself do it enough...

Hope that answers it.

ONE LAST THOUGHT:

Car enthusiasts have the option of purchasing an original Shelby Cobra from the 60s in varying condition and pricing. They also have the option of buying a new, reproduction of a Shelby Cobra from 2007. There are some people who want the original - no matter how good the reproduction or newer models can be - nothing else will do because it is not the ORIGINAL THING. This is no different with these pieces. There are many here who want an old link or old something else. That's cool too.

Skip

 

[SaxMonkey32]

Daryl,
Alrighty then. This was Theo's personal favorite clip of all I sent to him last week.

http://saxshed.com/bnsammamix.mp3

Skip

Nice clip.

CONGRATULATIONS THEO, you just invented the Barone Hollywood (to my ears, at least)

 

[Swampcabbage]

Yes, I forgot to answer that...sorry.

Here you go:

I play a range of Low Bb (A with my knee over the bell :shock: ) up to high G a 9th off the horn. When I play straight ahead, I don't venture above high C (5th off the horn) very much. I don't play altissimo like an extention of the natural sound as some darker players do. I handle altissimo more like the Brecker school where it is brighter and pops out. That being said, most pieces close up on me up there at some point. Maybe they are good up to altissimo C maybe they are good up to altissimo D. Most pieces with low or medium low baffles are going to close up on me up there. The Amma stays free and open up there.

The only multiphonic I use with any regularity is on high A, admittedly one of the first we learn and among the easiest to produce. The Amma works well for me on this although it's really not a focus of my playing or something I work on whole-heartedly. I have these very cool mutiphonics sheets from Joout the Berg a bit.
K
þó
A
JJ Babbitt Bass sax mouthpiece for sale This mouthpiece is in excellent shape. I used it very little; it uses a baritone sax reed. Some prefer this, I don't. That's why I'm selling it. Its a medium tip opening in the originiece. Admittedly, it's time for me to revisit them in general. I have students playing "Taps and Revellie" sp? I don't make myself do it enough...

Hope that answers it.

ONE LAST THOUGHT:

Car enthusiasts have the option of purchasing an original Shelby Cobra from the 60s in varying condition and pricing. They also have the option of buying a new, reproduction of a Shelby Cobra from 2007. There are some people who want the original - no matter how good the reproduction or newer models can be - nothing else will do because it is not the ORIGINAL THING. This is no different with these pieces. There are many here who want an old link or old something else. That's cool too.

Skip

Thanks, that is very helpful. The Body and Soul clip sounds very good. It's got a very warm sound on it.

 

[m3pilot]

ONE LAST THOUGHT:

Car enthusiasts have the option of purchasing an original Shelby Cobra from the 60s in varying condition and pricing. They also have the option of buying a new, reproduction of a Shelby Cobra from 2007. There are some people who want the original - no matter how good the reproduction or newer models can be - nothing else will do because it is not the ORIGINAL THING. This is no different with these pieces. There are many here who want an old link or old something else. That's cool too.

Skip

As a long time car enthusiast I'm not sure that I think your analogy is a sound one. Collectors buy seven-figure orignal Cobras that probably never see the light of day and enthusiast-drivers build replicas that might cost mid-five figures to drive and sometimes race. I'm sure there are exceptions.

More to the point though, is that quote meant to imply that the AMMA is just as good or better than a Link (vintage or otherwise) only cheaper. And that the ONLY reason people play them is because the say "Otto Link" on them or because they are vintage?

 

[wersax]

As a long time car enthusiast I'm not sure that I think your analogy is a sound one. Collectors buy seven-figure orignal Cobras that probably never see the light of day and enthusiast-drivers build replicas that might cost mid-five figures to drive and sometimes race. I'm sure there are exceptions.

More to the point though, is that quote meant to imply that the AMMA is just as good or better than a Link (vintage or otherwise) only cheaper. And that the ONLY reason people play them is because the say "Otto Link" on them or because they are vintage?

I think he's just saying "different strokes for different folks"..........

 

[skipsax]

As a long time car enthusiast I'm not sure that I think your analogy is a sound one. Collectors buy seven-figure orignal Cobras that probably never see the light of day and enthusiast-drivers build replicas that might cost mid-five figures to drive and sometimes race. I'm sure there are exceptions.

More to the point though, is that quote meant to imply that the AMMA is just as good or better than a Link (vintage or otherwise) only cheaper. And that the ONLY reason people play them is because the say "Otto Link" on them or because they are vintage?

Take or leave the analogy. Some people like old stuff, vintage stuff. Nothing new will sway them. That's all. Nothing more meant than that.

 

[skipsax]

I think he's just saying "different strokes for different folks"..........

Wersax,
We've never met but it looks like you've got my back around here. Thanks!

I'm not really digging the interaction here. As you can see by the number of posts I'm a newbie to this forum contribution stuff. SaxShed.com has a forum which I moderate and it really is not well developed or controvercial for that matter.

I got involved here initially because cats were saying all this speculative stuff about the Amma. Being one of a very small group of people who have been priviledged to try several, I thought I could add some helpful thoughts here.

Some out here have been very complimentary and I thank them for that. Others have been critical as well as respectful of other opinions and I appreciate that. There still remains a lot of negativity floating around here. That part I don't enjoy.

I keep coming back here to see what's posted. It's kind of looking at a bad car accident. You know you shouldn't look but you can't stop!

 

[m3pilot]

Wersax,
We've never met but it looks like you've got my back around here. Thanks!

I'm not really digging the interaction here. As you can see by the number of posts I'm a newbie to this forum contribution stuff. SaxShed.com has a forum which I moderate and it really is not well developed or controvercial for that matter.

I got involved here initially because cats were saying all this speculative stuff about the Amma. Being one of a very small group of people who have been priviledged to try several, I thought I could add some helpful thoughts here.

Some out here have been very complimentary and I thank them for that. Others have been critical as well as respectful of other opinions and I appreciate that. There still remains a lot of negativity floating around here. That part I don't enjoy.

I keep coming back here to see what's posted. It's kind of looking at a bad car accident. You know you shouldn't look but you can't stop!

I'm sorry that you feel that you need someone to watch your back around here but I think that this thread has been very respectful and productive. I only questioned your analogy because I wanted to understand what you meant by it.

I think the piece sounds nice in your sound clips. Do I think it's a replacement for a "traditional" large chamber, low baffle design like a Link, California Dukoff, Broadus, etc. for people who can play them? Nope. Yet that seems to be the implication and the source of my disagreement.

So I'm sorry if you think I'm being overly negative because I don't buy the Link comparisons but it doesn't seem that I'm the only one either.

Either way, good luck with the piece.

 

[Rick Adams]

Daryl,
Alrighty then. This was Theo's personal favorite clip of all I sent to him last week.

http://saxshed.com/bnsammamix.mp3

Skip

Oh God I wish I could play like that... if I thought buying an AMMA would make me sound like you I'd be the first in the queue Skip - very nice playing indeed and a lovely tone from your AMMA mouthpiece!

 

[RootyTootoot]

I keep coming back here to see what's posted. It's kind of looking at a bad car accident. You know you shouldn't look but you can't stop!

Skipsax: Thank you very much for your review and knowledgeable comments, particularly so as you are speaking very much as yourself, virtually in your professional capacity. It seems to me that that must feel very different from the virtually anonymous position many of us come from when we make comments here. I'm sure most if not all members of the forum appreciate your input and hope you are able to visit and contribute in the future.

 

[fballatore]

Skip -

I also want to thank you for your time and consideration in posting your thoughts here. I think you've done an great job, and your analysis and the clips you posted were excellent.

Thanks,

Frank

 

[skipsax]

So I'm sorry if you think I'm being overly negative...

Either way, good luck with the piece.

m3pilot,
The thank you to wersax came after your comment, yes. It was not directed at you or any one person in particular. I can see where you might think it was directed at you reading in order.

Skip

 

[Nefertiti]

hey Skip,
I for one appreciate what your trying to do here. Your spending your time and effort to give your opinion. Thanks!

 

[Chicken 'Lil]

hey Skip,
I for one appreciate what your trying to do here. Your spending your time and effort to give your opinion. Thanks!

I second that. It's hard to know how people will react but I think that most folks here are well meaning.