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Looks like corrosion. :)
 

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Nope, I have no idea what it is. Maybe a patch in the back of the bell from prior damage?




It was just nice to see a video of him up here, and that reminded me of a piece I had sold him a while back.
He's such a great player.
 

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At 2:58 on pause and at full screen it appears to be a maroon silk cleaning swab with white stitching around the edges. Putting a light cloth in the bell in this manner essentially reduces all of the overtones above cutoff frequency that go straight out the bell. Cutoff on most tenors is around the frequency of G3 if I remember correctly. My guess is that he recorded live this way with the mic up close to the bell to reduce extraneous sounds being picked up through that sax mic and the cloth was inserted to prevent the high frequencies that emanate from from the bell from dominating the recorded sound and making it too bright and edgy.
 

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A variant of the the "donut" mute, that Larry Teal talks about in his book and is sometimes used in so-called "legit" sax playing.

Clifford Jordan used to use a tie.
 

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Way to make a 10M sing!!! Egro argo out the door!
 

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Dave! Dukoff! name-dropping! until Raphyel mentioned the 10M, I figured this was a Sanborn thread.
 

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I still cant believe he plays a conn with selmer keys. I literally go to bed dreaming of that saxophone. It must marry the rolled tone hole fat conn sound with the silky smooth keywork of selmers. I know once you get used to them you can play fast on a conn but his sax really makes me wonder..... I think my point is that i have definitely at some point thought about that sax and then a week or so ago i realised that someone had not only thought of it but created it..... god i would love to play that horn.
 

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looks like the cloth bag that Crown Royal whiskey used to come with, i keep my mouthpiece in one still. But whatever, that is really some great playing by everybody. i would like very much to hear more from this group. five stars!
 

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HORN


Conn 10m Ladyface 1938, original lacquer, action remodelled by Steve Crow to resemble a Selmer Mk 6 as much as possible without moving any tone holes. New Selmer keys have been put on, contrary to a vicious rumour going about that they were the keys from my old Mk 6!


MOUTHPIECES


Otto Link metal, Wolf Tayne Florida STM, refaced by Morgan Fry. It’s about a 7-7*. This is what I play on the recordings on this site.


I have another “no USA” Florida Link 7* which I used for a while and then it just mysteriously stopped working. I then had it refaced by Brian Powell in the US, who’s done a tremendous job and it’s great again. I am back on this one with a Selmer ligature.


REEDS


Rico Jazz Select 3M filed


Right?
 

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Don't look like selmer keys to me, but the G# is certainly modified.
 

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The G# is modified, but there is till no tilting spatula that I can see...It looks to me like the arrangement is still "Conn". It looks like he just made the G# larger but kept the rest of the configuration the same. You can see it at the point below. It doesn't look like a total makeover to me, but just a very minor modification.

http://www.youtube.com/watch?v=kgGCIkqRuf0&feature=player_detailpage#t=180s
 
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