[Keith Lafond]

I'm using a Sakshama MBI that I had him make a little darker for me because I wasn't used to high baffle pieces. Now I'm wishing I went brighter. Wondering what is working for all of you?

 

[datsaxman]

I like the Yanagisawa metal tenor MP in a 9 opening.
Tons of power when I want it, but not harsh or bright.

If the band is really loud, I can always use the Berg.

 

[Bubba06]

I've been using the Jody Jazz DV 7 with D'Addario Select Jazz. I, too, was using something darker, but have come to find my sound on this piece, and use it for everything now.

-Bubba-

 

[pumseig]

10mFan "Boss" in a 9 opening

 

[GHawk]

10mfan Black Widow 8 metal w/Legere American Cut reeds. I was using cane for funk gigs because of the consistency in altissimo but not since I got the American Cut.

 

[FunkyHorn626]

Navarro Bahia Anibal Rojas metal

 

[Sacks Of Phones]

A tweaked Jody Jazz Jet for the funk/rock/soul.

 

[ZootTheSim]

At my last show in February, it was (I think) a Saxscape Hudson with Vandoren greens on my TH&C. That, or my Metalite M7, I don’t right remember. Not sure what I played on alto (it’s been a very long year), but maybe a Super Session D with Rigotti Golds? My Zephyr alto needs work, so it was the trusty YAS-23.

I also like my Mojo Vortex and Berg on tenor for rock or pop. But my new B&S tenor likes a Klum Acoustimer with java greens—amazing altissimo.

GHawk, tell us more about these American Cuts! Are they really all that?

 

[ajarndontree]

I have a Phil Barone Contemporary 7* (basically the same baffle as the MB but with a larger chamber) I am selling here on the marketplace for $300. It’s too bright for me but you might like it if that’s what you’re going for. I am using a Phil Barone Super New York, which has just a moderate baffle. I guess as I get older I am starting to prefer a darker tone.

 

[John Laughter]

Don't forget the EQ on the mixer and take control your own volume channel 🎷

 

[mi000ke]

10MFan Black Widow with Legere Sig - but it makes no difference once the club's sound man gets involved. I'm going back to my 10MFan Robusto or Barone jazz for tomorrow night's gig as it's a bit more comfortable, and it's a crap shoot what sound will actually be coming out of the PA. When we do our own sound I would play on the BW.

 

[ZootTheSim]

I admit to being very intrigued by the Black Widow. But it’ll have to wait till I get another gig in, say 2022.

 

[J-Moen]

My 10mfan Daddy-O 6 works great - but I did enjoy the JodyJazz DV 7 I recently acquired. Definitely not as versatile as my Daddy-O, but a little more comfortable to push on the rock/funk edgy sound.

For Tenor, my 10mfan Chameleon has been amazing - covers everything from pop to 40s ballads.

Soprano - the 10mfan virtuoso!

 

[BrianMitchellBrody]

Last 5 years same set up of Berg Larsen Vintage 105/0 with 2 1/2-3 Legere Studio Cut for straight ahead and swing on a B&S Chicago Jazz Series.

My latest purchase was an Eastern Music DG Fatboy Copy which has been opened up to .110 by GW.

I also just started using the Borb Oliver Baritone (RPC copy) in a 6 and an 8. .100 and .120 Its the combination of deep sub tones and power to play to an extreme volume
like a metal mouthpiece because it is made of copper and resin. I get some interesting harmonics with it too.

Peace

 

[ajarndontree]

10MFan Black Widow with Legere Sig - but it makes no difference once the club's sound man gets involved. I'm going back to my 10MFan Robusto or Barone jazz for tomorrow night's gig as it's a bit more comfortable, and it's a crap shoot what sound will actually be coming out of the PA. When we do our own sound I would play on the BW.

although yes it's a crapshoot what will come out of the pa, I have found my saxophone always ends up louder in the mix no matter who is running sound when I bring my Electrovoice RE20 to the gig. Most of the microphones the typical sound person will put in front of your horn cannot accurately capture the subtle nuances of attack and release of the saxophone tone and also can't handle the sound pressure levels. I would rather not have a microphone at all than play through an sm57, Beta 58 or any other typical stage mic. Unlike most typical stage mics, the RE20 doesn't render the saxophone tone harsh and overly bright. SM 57's and 58's make a saxophone sound like a harmonica to my ear. That's why Michael Brecker used to carry an RE20 to every gig. I believe Bob Berg did too. The only other mic I would care to use is the Sennheiser MD421 or a high end ($400+) clip on wireless condenser mic.

 

[Sakshama]

I'm using a Sakshama MBI that I had him make a little darker for me because I wasn't used to high baffle pieces. Now I'm wishing I went brighter. Wondering what is working for all of you?

I have a killer MBII that you can come and check out. Live a block away from the place you last visited.

 

[saxbrain]

1+ for the MB lI Sakshama (still keep my MB l Sakshama). Black Widow 8* HR or a Early Babbitt Metal 8*...depends on the location etc..

 

[BarryIsaac]

I'm using a Sakshama MBI that I had him make a little darker for me because I wasn't used to high baffle pieces. Now I'm wishing I went brighter. Wondering what is working for all of you?

Just worth mentioning that reeds can make a huge difference as far as tonal quality.

I also play a high baffle mouthpiece ($28 metal Chinese-made & probably the first one out of many I've bought that was actually quite good out of the box.) Plus I've added a wedge a la Runyon - because the piece was a low baffle model.

What works for me on tenor are Hartmann Fiberreeds, which are brighter than cane, and also are more efficient sound producers than cane. I've tried most of them; the only ones that didn't do it for me were the Hemp and the Onyx. YMMV of course. Bari and Fibracell synthetics are also brighter than cane. Of these 3, the Bari is the least like cane as far as tonal quality IMO. But there's no accounting for taste.

Of course reeds (synthetic or cane) can be adjusted to play more brightly, which I will do if a reed needs a bit more buzz.
This is a good adjustment chart: https://owd.tcnj.edu/~mckinney/reed06-03-01-gif.gif
Also, reeds will be brighter and more responsive if asymmetries are removed (eg. Ridenour method, or, IMHO better, a PerfectaReed gauge. Harry Hartmann's reeds are usually cut quite accurately. Fibracell, not so much.

 

[Grumps]

I use the same setup for pop, rock, funk and soul that I'd use for combo jazz, or even traditional (dixieland) jazz. RPC rollovers on alto (90) and bari (120), a high baffle RPC for tenor (134) and a Super Session J for soprano. All with Vandoren Java Green #3 reeds, but for bari, for which I still have some old stock #3 Rico Royals from the 1980's. Genre is more a mind set than an equipment issue for me.

 

[BariMelt]

Theo Wanne Durga 3 (8*) with 2H or 3S Roberto's reeds.
Also a 10m Fan Chameleon 8*. It has a great sound, but as someone mentioned earlier, the monitor and PA guys have to get it right so I can hear what I need to hear.