[A Greene]

You know I've always had a good tone and it's caught the attention of listeners even from the very beginning back in high school. The notes are a different story but I'm still working on that at 50+. We started recording rehearsals with my quartet a couple weeks ago and I'm noticing that HARDNESS developing in my sound. It's transitioning - not sure I like where it's going but am interested to see what happens as I enter a new chapter of sound.

 

[1saxman]

It tells me that 'the sound in your head' is changing, which is very common as we mature and learn. Whatever sound you hold as ideal, you subconsciously find ways to get it. You can change mouthpieces, horns, reeds or anything else and you will always strive for the same results without realizing it. This is very like our voice, in that it can be recognized by those who know you, regardless of the gear you're using or the kind of music you're playing. The other half of it is your 'style', which is most always hand-in-hand with your sound. A core style has a core sound. Its hard to change one without changing the other.

 

[Keith Ridenhour]

I've had many tones over the years from a Desmond, to Grover To sanborn to at times Kenny Garret influenced. But as I get older I notice the same thing you do . My sound is the voice I want to sing with. Not like someone else. Ive gone back to longer long tones 20 secs soft to loud to soft and that has opened more options for me. You have to watch recordings though. Mic and mic placement can dramatically change what is recorded and it sometimes isn't what you thought it was. I have a ribbon mic which does my sax well but I use a condenser mic for my flute and that helps the tone. Go by what you like. I used to play "good tone" with some bands and I blended so well I couldn't hear myself the entire gig. Not my idea of a good time K

 

[saxoclese]

If you are playing in a "classical" saxophone quartet, I'm not sure that a "hardness" in your tone is what you want. Of course it depends upon the tone of the other three members and the style of music you are playing. In my playing and teaching I have found that putting the top teeth slightly farther on the top of the mouthpiece moves the tone away from a well controlled sound to one that has more of an edge or harshness to it. The whole purpose of the lower lip in a saxophone embouchure is to "dampen" the natural vibrations of the reed. To hear the reed's natural vibrations without this dampening place the mouthpiece in your mouth up to the ligature and blow. That is one extreme. The other extreme is to place your top teeth near the tip of the mouthpiece so that there is very little reed inside the mouth. Most player try to find the spot in between that matches their "concept of sound" they are trying to achieve within the parameters of their set-up. Adjusting the amount of lip rolled over the teeth is another way to "fine tune" the harshness or warmness of the sound produced.