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Hello saxontheweb,

Just recently bought myself a used Keilwerth tenor, and discovered a few goodies in the case, some really high end reeds.
These are what I found:

Vandoren 3
Vandoren V16
Legere 3 (Synthetic, clear)

On my regular Rico reed, the tone on my sax is very strong, deep, and full. However, on the Vandoren, my tone is much weaker, and on the Legere, it hardly makes any sound.

Any tips on how to work reeds in?
 

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Your question is hard to answer without knowing what piece your using and what reeds you are used to using.

The Legere 3 is a "classic" cut reed, made for a darker more centered tone.
See this thread: http://forum.saxontheweb.net/showthread.php?164477-Fibracell-vs-Legere-vs-Bari-for-Alto

I think, though, that I can guess what's going on: you're Rico works because they are thin and offer "strong" sound with little to no air or back pressure required. It's probably a small size and it is easy to play. This makes it so when you jump on a quality reed, especially one that is thicker, requiring more embouchure control, you get "no sound". Really what's happening is that you are not able to focus the air properly to make the thicker reed resonate.

If this sounds like your dilemma, try a Legere Studio Cut 2.25 for starters. You will get response without a ton of air and it will help your embouchure develop.

Good luck! I hope it helps!
 

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This makes it so when you jump on a quality reed, especially one that is thicker, requiring more embouchure control, you get "no sound". Really what's happening is that you are not able to focus the air properly to make the thicker reed resonate.
That happened to me recently after playing a Legere Studio 2.25 for alto for a couple of months. I decided to go back to my Vandoren Java #3 reeds and I was struggling to play anything above an A2. I even went down to playing Vandoren Java 2.5 reeds and those seemed too hard. Took me a couple of weeks to get used to. The Legere was so easy to blow that I believe I lost the mini-chops I had before I started playing it.
 

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So are you guys saying that for guys who are just now beginning to get what's going on, synthetic reeds can cancel out new learning and take you back two steps for every one step you struggle to take forward? Man,... I wanna put quarters in the piggy bank stuck on my shoulders. Not take'em out!
 

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So are you guys saying that for guys who are just now beginning to get what's going on, synthetic reeds can cancel out new learning and take you back two steps for every one step you struggle to take forward? Man,... I wanna put quarters in the piggy bank stuck on my shoulders. Not take'em out!
Well, that was my experience at least...and on alto. I played a Legere Studio 2.25.
From
 

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Just recently bought myself a used Keilwerth tenor, and discovered a few goodies in the case, some really high end reeds.
These are what I found:

Vandoren 3
Vandoren V16
Legere 3 (Synthetic, clear)
You found them in the case. Were they new reeds, used reeds, used & worn out reeds, a box or two of each brand, or just one reed each? If you only have one example of a particular brand of reed, even if it hasn't been used, you can not make any judgment one way or the other because reeds vary quite a bit. The only way to make an assement on a given brand of reed is to buy at least a box of five, break them in a bit, and play them all in turn. Then if they are too hard or too soft, try a couple boxes in other sizes until you get it dialed in. Then play the better ones on a few gigs. After all that you will have a pretty good idea of how the reeds work for you.
 

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Well, that was my experience at least...and on alto. I played a Legere Studio 2.25.
From
Yeah, I'm on Alto too! Been bouncing back-n-forth between the Legere 2 and a Fibracell 2 over the last couple weeks. I'm also just getting to the point where I'm starting to understand just how important a good embouchure is,... the next chapter hopefully will be on how and when to adjust it to shape air and stuff. My motivation for synthetics was mainly money. But if the end result of using them is a lazy face,... well then I dunno!
 

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Your embouchure will only suffer if you allow it to. The synthetics will spoil you, though. It's simply the new school approach- utilizing technology to work smarter not harder. I don't feel that you will miss out on any fundamentals by making life easier on yourself- unless you feel that you SHOULD walk to school uphill, 10 miles, barefoot, in the snow, just because that's what the older generations did!
 

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it's very important to match the MP & Reed combo. Long facings MP's work better with softer reed, Short facings require stiffer reeds and if you attempt to play a soft reed on a short facing it will clam up when you push the reed or attempt high notes. Medium or Med/Short facing MP's are good pieces for development. Also consider the tip opening. Play a piece with a wide tip opening during development will build bad habits like biting etc..

As far as the reeds you listed, They are exactly the one's I play. I use the Van 3 blues and Legere 3 on a Vandoren TL3 for concert band/classical stuff on my Sax.com TS-642L. I use the V16 3 on a V16 T7 and my Vintage 8 Otto Link HR for Jazz with my magnum neck on my PMXT 66RUL.

Good luck.
 

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Discussion Starter #12
Sorry for the long wait guys, but turns out it just needed more air and embouchure control. It gives me great smooth tone throughout all my registers now :D
 
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