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Discussion Starter #1
I recently bought a Durga 9 tenor mpc that should arrive soon. Anyone using a Durga for awhile? If so what style of music are you playing?
 

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Me! Me! This guy! Ha!

I play a Durga 9 tenor with a funk band. I've had it since the spring and I must say that it' super comfortable and plays like a champ!

It's a great piece and is very versatile! I liked it so much, I bought a Durga 9 alto as well!
 

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I got a Durga 9 alto after reading Rockstar's praise for it. It was so good I went out and got a 10 tenor. I'm playing mostly bar gigs and corporate parties as a duo with backing tracks. We do everything from Motown to Sinatra to Queen to current Pop stuff, with a lot of Blues mixed in. The versatility of the thing is amazing.
 

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I play a tenor 8 and an alto 9.
The durga is the best piece I ever tried in 10 years. Extremely well balanced, rich tone, amazing projection and super easy altissimo ... what else do we need?
 

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Discussion Starter #7
I did have a Durga 8 for a week when the pass-around was going on. Crazy-easy to play since it was an 8 tip opening. Since I typically play R&B/Funk these days it looks like this will be a great match. Even the 8 was able to take a huge amount of air.
 

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Some advice needed. I have on trial from my local store a Durga 6. I went to the shop and tried some mpcs; none floated my boat so I gave the durga a whirl. I was quite impressed and took it for a trial. Thing is I am coming from a STM 8* 2.5 reeds. I had to use 3.5 with the 6 Durga. I did 2 gigs over the weekend and it worked very well. Midway through 2nd gig the reed died on me and had to make a quick change.

A couple of concerns, for a 3.5 reed to give up is with maybe 3 hours max is a little worrying as I cannot go up another strength. Also for some reason I could not get the buzz or overtones by pushing my airstream during my playing, it just got louder. Great piece otherwise.

If I went up a couple of lays 8 or 9 I could see that the reed problem may become a non issue, What would be the cons of a larger opening as it certainly has enough volume?


I used a 9 Durga at a gig (It belong to one of his endorsees & he let me use it for the gig, he used his Freddie Gregory) some time ago and did not get on with it, but the 6 plays great.
Andrew
 

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Andrew, I would look at a 7 or 8 with a "3ish" reed if the 3.5/6 combination isn't lasting for you. I tried a 6 first on the Durga and loved the sound and feel but my LaVoz MH soon got thin on it. Went to a 9 and LOVED the sound and feel once the reed broke in. Using an 8 with LaVoz MH & Rigotti 3 Strong reeds now and satisfied.
 

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Some advice needed. I have on trial from my local store a Durga 6. I went to the shop and tried some mpcs; none floated my boat so I gave the durga a whirl. I was quite impressed and took it for a trial. Thing is I am coming from a STM 8* 2.5 reeds. I had to use 3.5 with the 6 Durga. I did 2 gigs over the weekend and it worked very well. Midway through 2nd gig the reed died on me and had to make a quick change.

A couple of concerns, for a 3.5 reed to give up is with maybe 3 hours max is a little worrying as I cannot go up another strength. Also for some reason I could not get the buzz or overtones by pushing my airstream during my playing, it just got louder. Great piece otherwise.

If I went up a couple of lays 8 or 9 I could see that the reed problem may become a non issue, What would be the cons of a larger opening as it certainly has enough volume?


I used a 9 Durga at a gig (It belong to one of his endorsees & he let me use it for the gig, he used his Freddie Gregory) some time ago and did not get on with it, but the 6 plays great.
Andrew

I have had an issue with the ligature on a Wanne metal tenor piece (I have a Gaia 7*). I found that I have to use the thicker brass plate or reeds tend to loose contact at the window end of the table. Once I switched away from the 'alive gold' plate, and moved the lig up to the second set of holes (i.e. nearer the tip) all the problems ceased, but it drove me mad for a while. This may be the issue you have experienced. Try moving the lig up and swapping to the thicker plate and see if the reeds still 'die'.

I should in fairness add that I at first thought that this was an issue with the length of the main lig screw; I spoke to Theo and he suggested a fix of drilling out the top hole where the main screw goes in in order to allow the screw to penetrate further (sounds rude, sorry) but that did not fix the problem. As I say above, moving the lig up and using the thicker plate seems to do the trick for me.

YMMV!
 

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I have had an issue with the ligature on a Wanne metal tenor piece (I have a Gaia 7*). I found that I have to use the thicker brass plate or reeds tend to loose contact at the window end of the table. Once I switched away from the 'alive gold' plate, and moved the lig up to the second set of holes (i.e. nearer the tip) all the problems ceased, but it drove me mad for a while. This may be the issue you have experienced. Try moving the lig up and swapping to the thicker plate and see if the reeds still 'die'.

I should in fairness add that I at first thought that this was an issue with the length of the main lig screw; I spoke to Theo and he suggested a fix of drilling out the top hole where the main screw goes in in order to allow the screw to penetrate further (sounds rude, sorry) but that did not fix the problem. As I say above, moving the lig up and using the thicker plate seems to do the trick for me.

YMMV!
I had the very same problem, but I suspected the reeds rather than the m/p or lig. I now keep my reeds in a Vandoren reed humidifier and haven't had the problem since. If the reeds aren't flat and (very important) properly hydrated, they can warp slightly and lift away from the rails near the end of the window, and a pressure plate system, especially if the plate is toward the middle of the heel of the reed and not toward the front, can allow this to happen. But in any case, if the reed isn't flat and properly hydrated it isn't going to work so well whatever you do, so it's best to fix the reed rather than find a work around IMO. Again, this was on tenor.

On alto I have a Durga 8 & 9, both fantastic, but slightly different of course. I'm using Vandoren Java (green box) 2.5's.
 

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I had the very same problem, but I suspected the reeds rather than the m/p or lig. I now keep my reeds in a Vandoren reed humidifier and haven't had the problem since. If the reeds aren't flat and (very important) properly hydrated, they can warp slightly and lift away from the rails near the end of the window, and a pressure plate system, especially if the plate is toward the middle of the heel of the reed and not toward the front, can allow this to happen. But in any case, if the reed isn't flat and properly hydrated it isn't going to work so well whatever you do, so it's best to fix the reed rather than find a work around IMO. Again, this was on tenor.

On alto I have a Durga 8 & 9, both fantastic, but slightly different of course. I'm using Vandoren Java (green box) 2.5's.
Yes Mike F, I think you're right, it is to do with the reed swelling and contracting, unless of course the table isn't flat, which is unlikely on a Wanne piece.

However, moving the lig position and changing the plate has negated the problem for me, which to my mind is a satisfactory outcome and saves me scraping reeds, which I am loath to do for many reasons - for one, I trained as an oboist and have had absolutely enough of it, and for two, less flippantly, I prefer not to change the balance of modern reeds. Also I actually prefer the sound of the piece with the lig further forward, it's better focused; unsurprisingly the second positiion for the Liberty Lig on a metal Wanne exactly coincides with where I place my Enlightened Lig on the Hard Rubber models (with which I have had no problems whatsoever).

But this may be slightly beside the point for Andrew D, who has a problem with reeds dying on him. This is an easy, quick fix that requires no particular skill and maybe useful to him under the constraint of having an expensive mouthpiece on trial.
 

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Count me in. Durga 9 on a YTS-61. Lig is pushed one notch forward as described by the others, and I'm using the titanium plate. I am very happy with the mpc. Playing funk, rock, jazz-rock, blues, RnB. I like Alexander Superials, Vandoren ZZ, and also Lavoz.
 

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Discussion Starter #14
My Durga 9 just arrived this afternoon. Not much time to test it out since I'm getting ready for a casino gig tonight. Trial by fire!
 

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Yes Mike F, I think you're right, it is to do with the reed swelling and contracting, unless of course the table isn't flat, which is unlikely on a Wanne piece.

However, moving the lig position and changing the plate has negated the problem for me, which to my mind is a satisfactory outcome and saves me scraping reeds, which I am loath to do for many reasons - for one, I trained as an oboist and have had absolutely enough of it, and for two, less flippantly, I prefer not to change the balance of modern reeds. Also I actually prefer the sound of the piece with the lig further forward, it's better focused; unsurprisingly the second positiion for the Liberty Lig on a metal Wanne exactly coincides with where I place my Enlightened Lig on the Hard Rubber models (with which I have had no problems whatsoever).

But this may be slightly beside the point for Andrew D, who has a problem with reeds dying on him. This is an easy, quick fix that requires no particular skill and maybe useful to him under the constraint of having an expensive mouthpiece on trial.
I should perhaps have added that I had the problem with the ligature already in the second hole from the front, which is also my preferred position for the lig on the tenor pieces. Finland is much dryer than the UK with humidity inside often dropping below 20% in the winter. That's why I absolutely had to deal with the reed issue, rather than just moving the lig even further forward.

However, I'm glad that moving the lig solved the problem for you!
 

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I should perhaps have added that I had the problem with the ligature already in the second hole from the front, which is also my preferred position for the lig on the tenor pieces. Finland is much dryer than the UK with humidity inside often dropping below 20% in the winter. That's why I absolutely had to deal with the reed issue, rather than just moving the lig even further forward.

However, I'm glad that moving the lig solved the problem for you!
Ah, right, I'm with you! I particularly had this problem last year in a very dry concert hall. I had to soak the reed and then use the FL 'smart cap' and soak the pad too so that it would not dry out on the stage. Strangely I have not had this problem at all with the ebonite versions of the Wanne pieces.
 

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Ah, right, I'm with you! I particularly had this problem last year in a very dry concert hall. I had to soak the reed and then use the FL 'smart cap' and soak the pad too so that it would not dry out on the stage. Strangely I have not had this problem at all with the ebonite versions of the Wanne pieces.
I don't know why it would only happen with the metal pieces either, but in any case my problems were resolved by the Vandoren reed humidifier. I highly recommend them. I found that even soaking the reeds in warm water before playing would not prevent them from warping, even with continuous playing(!), but if the cane is thoroughly humidified all the way through (as it is if it's kept in a humidifier) then there's no problem. In addition, the reeds last much longer and play far more consistently, even if they aren't played every day.
 

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I don't know why it would only happen with the metal pieces either, but in any case my problems were resolved by the Vandoren reed humidifier. I highly recommend them. I found that even soaking the reeds in warm water before playing would not prevent them from warping, even with continuous playing(!), but if the cane is thoroughly humidified all the way through (as it is if it's kept in a humidifier) then there's no problem. In addition, the reeds last much longer and play far more consistently, even if they aren't played every day.
OK, thanks for that tip Mike F, I have debated getting one of those humidifiers, it has just seemed like another 'GAS' item, but if it really does the trick I think I will get one - outdoor concerts in summer have always been problematic and maybe this will help.
 

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Discussion Starter #19
Four sets last night of R&B/Funk/Pop and the Durga really did great! Much different than my Mojo-modified Guardala Studio. Not nearly as bright and lacked some of the buzz of the Studio. What it does have is this huge wall of sound. While the Studio is limited on how much air you can push through it the Durga just keeps going and going. Flexibility is a highlight as the Studio has a more locked in sound. The Durga is very flexible and can play soft and woody or crazy-loud. Throughout the gig I focused on relaxing the pressure from my jaw and the mpc came alive. Very easy to play all night.

I have another short two-set gig tonight that will be more laid back so it will be more time to get used to it on stage. So far it sounds really good through the mic.
 

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Hey Guys thanks for all the replies I wil try some of the suggestions. I could not bring myself to return the Mpc despite the tip size and the cost. This piece has blown me away, I concur you can almost play with a dark phat sound, My Mv1 has a naturally darker sound and the combo is amazing, I could not believe this when I was hearing myself play. I had around 6 gigs in a variety of situations (Small combo to large band on a outdoor gig). The articulation on this mpc made me play bop lines with ease which I was not really expecting from a mpc with this design. One of the reasons I considered this kind of mpc was for my louder band gigs, however in a small combo setting this thing comes into it's own.

The retailer I purchased from is getting some 8s and 9ns in. So I will for sure compare and they has given me the option of swapping over. I love this piece.

Andrew
 
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