Will you be including this including this info. in your for sale thread the next time you are selling one of these for $1000+ ? :bluewink:They are not special pieces to ME, but others will have a different feeling about them.
It's all about finding what works for you as a player. I would never play one of these for any reason. They just don't do it for me at all.... and I have owned probably 100 of these during my heavy buying and selling days.
If you find one that has something special for you, that's great.
I will add that there are many guys that I've heard on these pieces that sound wonderful. I just don't have that experience with these myself.
Ben Wendel as well. I think that these are like the ToneMaster of the rubber world. People saw the cover of Blue Train and want to sound just like that. Then they buy an original piece or even get one worked on and it's not bright like that.Seems these are popular for the current modern tenor approach. I think Seamus Blake and Jon Irabagon both play Reso Chambers.
Interesting. Good way of putting sound into words for my comprehension. What about resistance?Ben Wendel as well. I think that these are like the ToneMaster of the rubber world. People saw the cover of Blue Train and want to sound just like that. Then they buy an original piece or even get one worked on and it's not bright like that.
I wrote an article about Reso Chambers a few years ago because so many think they can sound like that just by blowing into the mouthpiece. Some setups just go from the start, but if you aren't voicing the same way someone like Seamus or Ben Wendel are, they will feel deader than they'd hoped. Keeping these small or playing original with the hardest reed that still feels responsive and playing along with these guys helps I find.
What people like about these is the chunkiness to the sound I find. If you can learn to brighten them up, there is no comparison. Slant Tone Edges for instance will feel tighter, brighter and thinner if you get into the Reso thing. Most people will gravitate to a Slant type piece for this sound because it starts brighter. This is a generalization of course but I have played dozens of these and worked on quite a few. I really like them around modern 5*-6*. You can really push a piece like this and it never gets too bright.
It's a lot easier to play dark on a bright mouthpiece than vice versa. A little harder reed or back off on the airstream.Also when considering what players are doing with their specific pieces....it can often be surprising. When working with Mark Turner (not a reso player) I found that despite conventional assumptions, he plays a pretty punchy EB link. The setup and just the way he blows is so unique that one would assume it to be a dark piece. So in a lot of ways its a crap shoot to get to the sound you like, especially one in the same wheelhouse as your favorite player. There is more than one way to skin a cat. Sometimes a player will sound closer to another player on a different setup.
Other points to consider are that there was more than one incarnation of Reso Chamber and some of them have smaller cores than the others. It's not something I've kept track of but noticed and discussed with guys that are hard core about collecting. Baffles remain similar to any NY era Link, rubber or metal. It's the short convex shape that Theo describes as a rollover. Not long and flat like the Tone Edge pieces that they eventually made.I am not necessarily looking to buy a new mouthpiece, and I don't buy hard rubber pieces anyway, irrespective of the level of sympathy I have for those who manufacture them. I think I have some basic understanding of common mouthpiece designs, but the Reso Chamber appears to be rather distinct from other Links, and just about any other mouthpiece out there. The replies in this thread help to reduce the mystique somewhat, and I appreciate them irrespectively of underlying intent if any.
A few years ago, I would indeed just have bought a piece to figure out what it was all about, but those days are gone. It yielded a pile of mouthpieces that were hard to sell, certainly with my - approaching zero - level of salesmanship.
My reasons for starting this thread were (a) curiosity and (b) an everlasting struggle with trying to figure out whether to embrace or fight what appears to be my inherently darkish tone on tenor. The latter is hardly of general interest.