10 Saxophone Gear Myths Debunked
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- Опубліковано 29 тра 2019
- #bettersax #saxophone #myths
Jay Metcalf talks about common myths about saxophone gear.
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"YOU are the instrument" is one of my favorite pieces of advice ever.
Cannonball Adderly: "I can play on anything, as long as it doesn't get in my way."
That's the very definition of an un-bad tool. A great tool will make the job easy and a joy. A bad tool is dangerous. A bad tool makes you curse it and the job you're doing.
Yes. But mind you: he was Cannonball.
Pros yes pros play only the best gear ! .... always
@@Lucia-kk4kn as
It's spelled "Adderley"...just sayin'!
As a player who began in 1961, (I am now 70), everything Jay has said here is 100% true and accurate. Some of the things Jay discussed I learned years ago from my different sax/music teachers; the rest of the myths I learned from my years playing different horns in different settings, (concert band/orchestra, jazz band, pep band in H.S., marching band in H.S. and college, and finally top 40 and wedding bands). If you are a novice, listening to Jay's advice here will save you much wasted time, money and disappointment. I am reminded of a very close sax player friend who spent countless years chasing after the "perfect" sax and mouthpiece. I still have my original 1956 Martin alto and 1967 Selmer Mark VI tenor. My friend had no less than 15 different tenor saxes over the 35 years I knew him, and some of them were wonderful instruments. He was also a worshipper of the "lacquer" religion. If you have a good quality instrument and a competent teacher, follow Jay's guidelines here and you will avoid many pitfalls. When your instrument no longer satisfies your need for better sound/ergonomics/playability, you will know and you will be better equipped to find the right sax for your needs. Thanks for all of the great advice you give us on a regular basis, Jay. Much appreciated.
Thank you!
R, your comment will save someone thousands of dollars. I can confirm everything here by my experience. Just saying.
I am a professional sax repair tech. I am sure you need to get a full repad every 6 months...make sure you bring the horn to me!
LOL
I recommend 6 week repads and weekly solder reflows. Daily cork replacement is a must of course. Relacquer every two months.Disposable one use S-bows is the way to go. Call me for price quotes.
Too funny!!! 😂
@@overthetarget9401 XD
Dude, I nearly had a shouting match with a Sam Ash employee over the lacquer thing. The paint and lacquer are microns thin. I have watched your videos for a while and this one forced me to subscribe. Oh and the number of band directors I have fought with on the reed strength thing has been amazing. When I mention that the tip opening figures into the reed strength it is like I disrespected their mother.
I had the same experience with a store clerk. I asked them to confirm it and they pointed me at marketing materials. I just said "oh...okay" and left unconvinced.
;)
Reed strength preference is based on overall blowing resistance. Some players like a low resistance free blowing setup. Others prefer a medium or high level of resistance.
The purpose of Lacquer is to protect the shiny buffed brass from oxidation.
@@grantkoeller8911 I've been playing since 1961 and I have always played my best on Rico Royal 2 1/2 strength. All my buddies said, "you should be blowing at least a 3", but I always got the best results from low Bb to high F with a 2 1/2. Enough said.
@@grantkoeller8911 Amen.
My Selmer tenor was made in 1952, I bought the sax in 1980, and played it with original pads from 1980-2014. So the pads lasted from 1952-2014.
62 years!!
Just love watching your videos they are all very informative and spot on, keep up the great teaching.
Good video. Important, especially for new players, to focus on their playing and not wasting money on stuff that really won't make up for poor technique.
Great video, verified things I've thought for years. Ligature: awhile back, just as an experiment, I took a couple heavy rubber bands and put them on my mouthpiece/reed. I played a variety of scales and exercises and seriously could not tell that much of a difference in sound or response between the rubber bands and the Rovner Dark I normally use.
You really need more subs...
I'm checking your subs every day
Do you mean subtitles?
@@Ghartanker subscribers
Yes the 1st myth I’m glad you spoke on!! I hate when people be like oh I don’t sound like this because my horn or mouthpiece. I use the same set up for everything. I just manipulate my playing style to best fit the situation
I think you can agree that mouthpiece can be suited to a style, playing with a classical tone on a larsen or dukoff although possible is going to be harder than on an s80. Playing pop or funk on a classical piece is going to be difficult.
I don’t know if it’s mental or something but I actually have a student model alto sax with a basic mouthpiece that came with a rental kit. Yesterday I went and tried pro horns with better mouthpieces. And OMG my sound was sooo much better than my student horn! And everything that I have trouble with with my student horn was so easy on the horns that I tried!
Once again, you are at the most important issues! Thank you!
Once again, the truth with no half words.
Easy to like because I suspected as much on each point you made. But to have you confirm my hunches is mightily reassuring! Much appreciated. I much respect your take on all things saxophone.
Very much enjoy what the man has to say, and the way he says it. A rare pleasure.
I can almost tell you with 100% certainty, anyone who gives this a thumbs down is of the mind-frame: It's not me, I just need better "X" (X being one of the sax gear you just mentioned). Sound advice! as captain planet would say..."The power is yourrrrrrs" lol
Agreed in all you say, many thanks for such a thoughtful treatment. This wisdom takes a lot of stress away from the learning curve
Very interest, as it also confirm my own experience that the sound is depending on the mouthpiece and reed setup. One commentator said that he could hear it was Charlie Parker never mind he was playing a Selmer or a plastic saxophone. I'm impressed about your videos, both about what you say and about the technical quality.
Excellent tips, most of which apply to all other kinds of instruments.
I had a concert for band and I did amazing with your tips!
Right on the money . Speaking of money I remember buying a brand new selmer mark 6 in the late 60's. I paid 400 dollars fie it. I wonder how many of sax players wish we had bought a half dozen of them back in time. Lots of money in today's market. Live and learn
I Love your videos and your a great player
you have definitly helped me
Cheap tenor sax vid coming soon?
I’ve been wondering about that too.
I've been waiting too.
I asked him the same thing a while ago. Hope he will.
It is coming next week I promise!
Great video I really support everything you said thanks!!!
Again a great video! I totally agree with you and I'm going to practice right now....
Thanks for your good sense! Thanks for being down-to-earth about the heavenly pursuit of saxophone playing.
My pleasure!
Thanks for useful information.
Thank you for sharing Jay,as always good information given 🎶🎶🎶🎷✌🏽😎
Clear and sound advice, excellent.
It's to easy to think there's a magic product out there that'll improve your playing.
Many thanks 👍
paul harland
Couldn’t agree more!
Brilliant man of knowledge, much appreciated🎷❤️
I fell in love with the baritone sax when I started playing in a big band. Now I want to start playing it as well.
Totally agree on most of the myths on this video.
When it comes to the mouthpiece though I would take under consideration that the more expensive ones have better build quality. You get them playing almost out of the box, without refacing them or any other procedures needed to correct them. The question is, "Do I need this expensive mp?". Well, probably not. But it will take much effort and false feedback off your mind. Hit the shed and work on your playing. I have owned quite a few in the past, but now I play on a high end one and am way more comfy on it. Also Ligatures they do have an impact, mostly on the comfort level. In my experience though when I feel more "safe" on my setup, my sound comes more freely out. Without me twitching and clinching my lips. (You all know what I mean).
Great video though. Always a pleasure to watch them!!
Great videos, incredibly encouraging. Seems like the steps/recipe/algorithm for a beginner to become really skillful technically and mastering the instrument are - conserve cash on basic and get better, then get better instrument if needed; conserve energy ie should be able to play easily and consistently then get better instrument if needed; conserve time and get efficient ie get more done in less time, energy etc then get better instrument if needed; conserve your thoughts, produce great music on any gear ie expensive or cheap doesn’t matter anymore ie your ligature could be a rubber band and not a $600 machined item made from unobtanium
Contrats man, that’s amazing ACTUALLY information...unfortunately we have around the world many “myth propagators” and you are THE light in this darkness 😄 thank you! All your videos are amazing.
MARQUINHO SAX from Brazil 🇧🇷
Awesome video reference,thank you.I currently play Chinese Yanagisawa w902 Tenor,Vandoren v16 t6 large chamber,and chinese Jody Jazz 7.Iam still very newby,but i love your videos.
I just watch your videos because there aren't enough clarinet videos. Thanks.
haha
Your vids have got so much better. Plus your skills as a presenter. Look forward to them.
Great video. I hope this gets to many. I also have been playing for many decades and agree with all of the facts mentioned, especially the sound. I've seen a lot of money spent on chasing sound. Most of your tone comes from your embouchure, and the cavity and muscles behind it. Your anatomy from the neck up plays a huge roll in your sound. My 2 cents... Spend time listening to players with the sound you're looking for, then spend practice time trying to emulate it. Don't get caught in the vortex of spending money on gear trying to achieve a certain sound. Try, before you buy differently configured mouthpieces. You can hold on to them for a while, then purchase what works best for you.
You are spot on, I will say I was playing a Theo Wanne ambica and after watching your mouthpiece video I obtained the jody jazz limited edition with a 9 opening and my sound and resonates unbelievably. Thanks!!
excellent info, thanks!
Been playing all types of saxes for 60 years now, in rock, jazz, classical, recording, etc. Still play a lot. I've never heard better advice in all those decades. Well done! I would add that beginners need a well functioning horn more than anyone. If you are new to the saxophone, you don't want to be fighting a leaky pad or stuck key. A pro might be able to work around those issues, or at least can identify what's going on. When I was young, I just thought I was a bad player, when my horn leaked or certain keys would stick. Get a horn that functions pretty well, no matter what it costs, and then follow the advice in this video! And, of course, nothing really replaces practice time.
I agree with almost all of this. Quite a few of these 'myths' were unknown to me. But I think that you have understated the importance of a good mouthpiece and ligature. I think that any serious saxophone player should consider getting a new mouthpiece and ligature (separately) as a means of improving tone before upgrading to a more expensive saxophone. I really like Rovner ligatures and use them on 3 different saxes as well as 2 clarinets.
Absolutely spot on. Great video. Dave.
I agree. It comes down to the player, given that the saxophone you are playing (any saxophone) is in proper adjustment -- leaks/intonation. I sound like myself on a student Yamaha, a Mark VI, a King Super 20, a Conn, a Vibrato plastic sax, a Wood Stone. Yes there are slight different colorings to the sound, but at the end of the day I always sound like me. Even on different mouthpieces, ligatures, reeds. We have a sound concept of what we want to sound like in our heads and with practice we can execute (speaking in alto) a Paul Desmond, Cannonball, Phil Woods, Sanborn approach to sound if need be. Of course we all have our preferences what sax, mouthpiece, sound concept we like and we will put in the time to make that happen. My opinion.
Rousseau RC4 mouthpiece for alto sax is amazing. Turned my selmer bundy 2 into a player horn
I'm glad you made this video, Jay. I was almost considering a total repadding of my Selmer MK 6 but feel better now after watching this video. I probably need a tech to check my right hand pads for leaks though. I keep getting moisture/saliva after playing/practicing for a long time. What are your thoughts?
It doesn't have to be all or nothing. I bought my Mark VI in 1970 and I just took it in 2 years ago (to a proven "repair place") when I was having issues as you described. The technician replaced only the faulty pads, desiring to keep as many components original for as long as possible...
Thanks Jay! I always tell people that the most important part of the saxophone is the player! With that being said, it never hurts to have an instrument that's in working order and a proper reed/mouthpiece/ligature/embouchure set up. The sax is a very nuanced instrument so having good equipment is crucial though nothing is more important than the player.
It was very helpfull knowing that changing pads in a regular time basis is not "mandatory". This used to be a really expensive mith. Thanks Jay.
I went back to a basic ligature because the reed slides into place where I want it in seconds vs fiddling with lining up that Rovner strap thing.
Jay, great video..man I love your Yanis
Thanks, this really helped
Thank you so much for this great information. It’s a big benefit for me. My teacher told me, i have to know how i want to sound in my mind.
BTW i love my old Czechoslovakia Amati tenorsax with a handfinished mouthpiece from Kay Siebold (Hamburg, Germany)
Very useful comments, most of them aren't new for me... But is great listen to Jay confirming them.
However, I wish let a little note here: a couple of years ago, I passed a week in New York and I went into a sax seller to test some tenors (I carried my mouthpiece). The seller lend me 3 new saxophones of their own brand totally identical, except for the finishing: one lacquered, one silver-plated, and one naked. After compare them, I could detect some subtil differences in the colour of their sound...
May be something subjective? I don't think so, but I admit that the hue change was very little.
For the rest, I totally agree. Thanks Jay!
Mouthpieces matter. I recently played a Bass saxophone of Paul Cohen for the first time and he gave me the option of two mouthpieces. One played okay throughout all registers, but the other was a struggle. I also have two mouthpieces for both my tenor and soprano, one being a baffled Bobbie Dukoff and the other a classic hard rubber style. The tone difference is significant. Reeds matter. I find using good quality synthetic reeds (Harry Hartman, Legere, and Fibracell) a huge blessing for achieving a consistent, reliable sound and not having to deal with the idiosyncrasies of wood reeds. Everything else regarding equipment does little to change my sound. Players matter. Thanks for posting these MYTHS as I find they reinforce some very useful information for my students. Keep posting!
I didn’t take the comment as saying mouthpieces don’t matter, but rather that you don’t need to spend a king’s ransom to get the sound you want.
@@patrickknight2924 I was just reinforcing Jay's sage advice. Sorry for not being clearer.
Great video. So true!
For classical in Augustana College 1980, on alto, I played a Selmer S-80 C*, with Vandoren blue box #3.5
About playing in tune: I think it is important to also mention about the placement of the mouthpiece and the quality of the reed along with "the player" as important factors for playing in tune.
I'm really glad to see that the idea of the player being 90% of the saxophone sound is becoming more and more accepted (or at least on the internet!).
I feel the ligature help a lot if you need more resistance or need a free blowing sax
Wow! So happy my son watches your videos. 😊
this is somewhat motivational and i love it
Excellent video
After a 50 year sax playing career, I've always had great success with the common, cheap 2 Screw ligatures made by the American company AP&M in the 1950's and 1960's (Made in Chicago.) Also the HB, (Made in France) who made the Selmer stock brass 2 screw, the Bonade, and the Leblanc Nickel plated. These will be stamped with Made in France. I have also loved the Made in USA nickel silver 1920's Conn ligatures and King three band ligatures and Arnold Brilhart ligatures.
Thanks for the video… good as always. I’ve been playing the saxophone for over 50 years, and I totally agree with your comments about the sound and where it comes from. At the NAMM SHOW some years ago I met a guy that try to convince me the importance the right neckstrap and the choice of the hook for the sound to be better. I said no way that the sound can change because of that…..😂
Great video I completely agree with all. Especially the paint on sax, expensive lig, and softer reeds. I, owned a good quality Tiawan made horn. It had elaborate etching, the most beautiful I've ever seen. I sold it because the vintage...1952 American pro horn I own now is superior hands down- this is opinion- my own. Thanks for your great treatment of this subject.
I dig this video! Well done! I would like to learn more about which Chinese-made horns to recommend to students.
very true and informative
Hello
I use a Rico c3 for my alto since 1992(made in Taïwan), what do you think about that mouthpiece. I think I should change instrument, but I’ll have to wait for less covid and the Better Sax. Do you think it will be possible to test it in Switzerland ?
Thank you for your advice and your videos.
Great points Jay. I totally agree that the sound 99% comes from the person. You’ll sound like you on my set up and vice versa.
Most important thing make sure your sax is leaks free and that you have a mouthpiece wich facing is good. Some legendary brands have some bad mouthpieces.
otto link, mostly due to jj babbitt
I agree with 90%. Well done. 👍🏻
Omg the reed strength one is so true I always say that, glad you now have
Leon Thomson You’re profile picture is my lock screen
I agree with most of your statements, but... there are two horns that were more than this humble player ( me) could duplicate - the Conn 6M and King Silversonic tenor, on any other horn. Believe me, I tried. 😥 Thanks, Jay keep up the good works!
I just took ownership of a 6m a few months back. It’s still continues to shock me how good it is I don’t think I will ever master it, but who knows.
So if I understand correctly, the truth regarding the myths is as follows.
1. The sound is mostly determined by the player
2. The sound is mostly determined by the player
3. The sound is mostly determined by the player
4. China is using the BetterSax to spy on musicians
5. You're not the same person as your teacher
6. The sound is mostly determined by the player
7. Softer reeds just might be better for you
8. The sound is mostly determined by the player
9. The sound is mostly determined by the player
10. Take care of your sax
Pretty straight forward. I don't disagree. Love the content! Been watching a lot of your stuff recently as I'm getting back into playing after about 15 years off. I definitely missed playing
haha
I agree with all of your points, except perhaps the role of the ligature. When I switched to Rovner ligatures, I noticed a slight improvement in tone, with both clarinet and alto sax.
Their versa has made me play much better
All true. So long as one finds a mpc that allows you to play over the range of the sax reasonably easily. You may still have some struggles at the bottom and in the Altissimo range - keep trying and watch Jay's vids! Matching mps - reed - embouchure combination is a matter of trial and error and can take a goodly while. Ligs probably have nothing to do with it except as Jay says to hold the reed!
Totally agree that the ligatures main and only purpose is to hold the reed to the mouthpiece table. So many brands, styles, price points and materials. Bottom line how does it respond ? The slight differences in ligature response will be discerned by the player but usually, not by the listener.
Excellent!
I know you’ve already tried a Chinese horn, but Can you do another on the your favorite brand copy? There is a Yanagisawa WO37 on DHGate for the similar price as your Amoon Alto. Maybe it was the luck with your purchase.
Also,
Totally agree with what you preached about when it comes to teachers choosing brands. In college my professor played on a Selmer Action Series II and like ducklings, 75% of students followed. I was the outcast with a Cannonball Raven Alto. I still remember the day he pointed me out and I told him to play it in front of our sax class and he was shocked about how great it was and build quality, firm, and responsive. Selmer and Yanagisawa have proven quality over time. That’s why their worth is massive.
Cannonball Alto🔥
Dexter Gordon playing a Mark VI after 1965 still sounded like Dexter Gordon and it was still great, but it wasn't quite the same sound as he got out of his Conns that he had used until then. On the other hand, some Trane-chasers find they get closer to their mark with a Yamaha Custom Z than with any of the vintage Selmers, even though "their" sound originally came out of a Selmer SBA. The lesson I take from that situation is that different players interact with their equipment differently, with different technique and physiology, and the results aren't entirely predictable with respect to the equipment *or* the player.
One day I tried a Selmer Reference 54, a Keilwerth SX90, and a Keilwerth SX90 in a store. The SX90 was at a price I was willing to consider while the SX90R was not. Compared to my Conn 10M the Reference 54 sounded dull and thin, the SX-90 sounded bright and thin, and the SX90R sounded right on. The difference between the sounds of the SX90 and the SX90R was perplexing, since they have the same bore dimensions. The physical differences were the straight toneholes and the lacquer finish on the SX90, as opposed to the tonehole rings and black nickel finish on the SX90R. But it didn't make sense to me that they could account for the difference in sound (my 10M is an early STH horn that can hold its own against the RTH horns). I'm not in a position to argue against the tonehole rings on the SX90R making a critical difference to the sound, but it doesn't align with my experience with a related feature on different horns. Go figure.
One overlooked factor among vintage sound chasers is that the sounds they are seeking came from closed tips and hard reeds. Lester Young got his classic sound from his Basie days with a 4****** Link with a modified baritone reed. There are all sorts of people who have sought "holy grail" vintage mouthpieces because so-and-so played one, then had the tips opened by refacers. The bottom line is that the piece they got was never the piece they really wanted in the first place, or they would not have had them modified.
I played for a number of years on a cheap plastic mouthpiece with the hardest reeds I could find. People described my tone as "broad" and were sometimes taken aback at the mouthpiece I was using. That setup had its limitations in terms of dynamics, but being used to hard reeds definitely opened up options when I wanted to upgrade. If there's any one place to start if you want to tweak your sound, it's getting used to different reed strengths. Hard reeds also tend to last longer and it's easier to adjust a hard reed softer than a soft reed harder. Working on the vamp carries less risk than working on the tip.
Spot on! Thanks.
Another great video full of clear advices. I just wonder, high F sounds way more closer to high E on my old baritone, I honestly doubt that I can correct it.
Some old horns have more intonation irregularities than others. I used to have an old Conn Baritone that was tough to play in tune in the palm keys. But, some great players managed to do it and record with those instruments so it is definitely possible...
@@bettersax Thanks a lot Jay, I'll start with the tuner app you talked about in a previous video and hope for the best ! Merci beaucoup !
Thanks, Jay!!
Great video again! Totaly right. And thanks for your good clear english.
Different makes and design concepts are significantly different from each other, as are different players, one to another. Obviously the greater difference is between 2 players who play different horns! I find a significant difference between my sound on a 1970 Mark VI v. my 82Z -- engineering, design, concept. But more dramatic for me are changes between mouthpieces, then reeds, then ligs. Ligs only much noticeable between say an all-fabric (Rover) v. all-metal (Vandoren, Bonade, etc.). Reed cuts and of course mouthpiece tips, baffles, and chambers vary widely, and make a great deal of difference to me!
@@trhuffer yes Todd, i agree... but i feel that reeds are the most noticiable factor. In all case, only a good setup combination, for this horn, and for this player improves the sound significantly.
@@HonestSaxSound-unEdited- I almost wrote a toss-up between reeds and mouthpieces, so can't disagree with that. Perhaps more factors in a mouthpiece, including feel, response, playability, articulation, etc. besides its characteristic tone. True some of these other considerations exist for reeds also. Certainly one change (ex. reed) can be significant, but reed, mouthpiece, lig, horn, player -- the changes multiply. I play my 62 with my Ponzol piece, metal lig,, and synth reed I frighten even myself...
@@trhuffer Great setup Todd! I play too synthetic reeds (Carbon fiber) with Meyer 7 mp, on Selmer Aristocrat, and i feel an amazing good response in the whole register and a great versatile sound.
Have a nice day. Blessings.
Hello from France ! I saw you were living in France too ! I’d like to ask if you give master classes ? And could you do a video to recommend jazz learning methods ? I’m a 50year old tenor saxophone student (I started playing two years ago, my teacher says I’ve reached a level enough to learn jazz).
I like Dave Brubeck style, the first years of Stan Getz, but not really the free jazz style).
Thank you in advance for your answers.
Marie-Hélène Lachaud
Hy Jay! I like videos about these "mysterious" stuffs too. I have a question: do you have any experience about alternatives to make the sax more quiet? I mean to practise without bothering the neighbours etc.... Thanks your work all!
The mutes where the sax goes inside work pretty well.
@@bettersax Thank you from Hungary:)!
My experience is that what I get used to and I'm comfortable with seems to do what I want to hear and inspire me while I play. Confidence is important. I've heard great players with questionable gear. Wayne Shorter had his Mark 6 stolen a few days before he began playing with Miles. He played a Bundy for a few months before he got another 6. The Bundy had rubber bands on some keys. He sounded great.
That first speech was very motivational
Point-sax overhauls involve a lot more than just replacing the pads, and these things affect the way it plays.
What is your take on heavy mass screws on the neck tenon or having heavy precious stones on the neck of the saxophones?
1:55 "Ligatures have very little influence on your sound" while true, ligatures can make a big difference to how a mouthpiece feels to play on and different ones can have an effect on the tone so it has to do just more than fit on the mouthpiece and reed well. Some will add brightness to the tone and others will darken it due to the material used. Since I started playing saxophone nearly 2 years ago, I used a Rovner dark ligature on all mouthpieces I used, then a Rovner light ligature.
As soon as I switched to a Francois Louis and a Selmer one screw silver plated ligature, I noticed a difference straight away. The Rovners by comparison was much more resistant and dampened the reed vibrations than the other two and were not helping my playing. I often found low notes on my alto were harder to get out. The Selmer was freeblowing and more centered and produced a clearer sound and was easy to play on and didn't move when tightened. The Francois Louis was the most free blowing with low notes coming out easily and playing well, but moved when tightened and scratched up on of my mouthpieces sopped using it.
Great video, agree. Own your tone, practice to improve and don't blame your instrument.
It's like the old question my students asked me: Which trumpet sounds better; silver plate or gold plate? The answer is gold plate because with silver plate you spend too much time shining your trumpet when you should be practicing.
Enfin les vérités !!! Cette excellente mise au point est nécessaire et doit être refaite régulièrement parce beaucoup trop de saxophonistes dépensent des sommes folles pour des choses qui ne servent à rien ......Il faut rechercher sa sonorité personnelle , celle qu'on aime entendre , sans s'occuper des marques de mouthpieces , de ligatures , de reeds......CHACUN DOIT CHERCHER SON MEILLEUR MATERIEL sans se laisser influencer par l'avis de tout le monde . Un seul avis compte : le nôtre . Celui des autres est intéressant , mais ne doit pas devenir plus important que notre propre jugement . Bravo....c'est une excellente et très utile vidéo que tout le monde devrait avoir écouté !!!
What he said!!! No substitute for hard work.
The perfect setup is the one that makes you feel good. Forget about all other stuff...... that's why i'd love to get a hold of a Rampone Cassine Two Voice :-)
And a Jody Jazz DV NY
Heee? You already have a Jani A5 with a siver neck and a JodyJazz hardrubber....
Yes, but who wouldn't love a fiery Italian???
Ohhhh, go to bed already!!!!
I got into a "discussion" recently about lacquer and finishes . I overhearda store clerk saying that it changed the sound to another customer. After the customer left, I asked them about it (after they lest so as not to embarrass them, but because I was curious). I had played several black nickel, rough finish and normal lacquer versions of another brand tenor sax years back (when I was looking to buy a new horn) and found that there was as much difference in sound between horns with the same finish as there was between horns with different finishes and it was not always in the same direction (i.e. one finish was not always brighter than another, it seemed to vary). The clerk pointed to marketing materials saying it did, and I said "okay" and let it go.
still unconvinced, but I am not a savage to be arguing with a clerk in a music store!
;)
Jay I changed to a Silverstein Cry04 Gold lig from the supplied Otto Link one which came with my OL metal 6 mpc. There was an immediate improvement in the sound. The Ol lig was good but I am very impressed by the Silverstein! I play a Ref 54 alto (a wonderful instrument also) That said we all have to decide what set up works best for us.
The ligatures that come with the Otto Links are pretty bad.They are usually a bit crooked from what I've seen. On a link especially a good ligature fit is important because of the odd shape. I'm don't doubt you noticed an improvement with the Silverstein. There are other ligatures that will sound great on there as well for much less though.
@@bettersax Copy that Jay
Back when I used to play and had to opportunity to play alto, tenor and bari I had to use a harder alto reed after I played bari for a long time because I would literally blow the softer alto reeds apart after playing on them a few times.
I am 57 and retired. I started playing in 1978 at the age of 12. I didn't play for about six years, and picked up the alto sax again in 2021. I have two altos. A Martin Indiana, RMC era, and a Wal-Mart special, as I call it, a horn I got for 169 dollars with shipping in 2021. It looks just like an expensive pro horn with a black finish, gold colored bell, and extensive engraving. The enjoyment comes more from playing. Sound wise, the new alto came with a plastic mouthpiece that looks like a copy of a far more expensive Selmer Paris C*. I also have a Eugene Rousseau Studio Jazz 7 that has been my main mouthpiece since around 1997. For that I have an ebay cloth ligature that looks like a more expensive Rovner. Mine has the name Accent on it, a brand of horn I see sometimes advertised. The newer sax came with a standard ligature. The Rovner is more than adequate, as the other ligature. Years ago I had an arsenal of mouthpieces, Lawton, Selmer, Wolfe Tayne. When I was young I believed that if I could get a heavy reed, let's say a V-4 on a metal mouthpiece I would sound just like a pro. It just made it more difficult to play, and then I thought the problem was me. I had to have this horn and that horn. At one point I spent 1,600 on a Selmer AS-100, and was always checking out new top of the line pro horns that were far out of my reach, because of the prices. I eventually realized that it was me that mattered, not the equipment. With what I have now, I enjoy playing, and keep moving along with it. The Wal-Mart sax, Ammoon, came with a horrible case, though, and the case is important to me. I see the same case on most of the new Chinese Saxophones. It offers poor protection and the hardware is very cheap. The zipper has two zipper mechanisms. One of the zipper handles snapped off, and I realized that the strap clips, and a lot was made out of plastic. There were issues with the Ammoon, because I couldn't get below a low c, but on the Martin, everything just flows smoothly up and down. That was a technical issue that I fixed myself with an eyeglass screwdriver. Now the notes come out. With the reeds, since the 90s I have been using Rico Royal 2.5 reeds, and playing got so much more enjoyable when I lowered the strength. Lacquer is just aesthetic, as far as sound goes, and won't affect sound. The coat of lacquer is so thin that there is zero impact. It does, IMHO help protect the brass from corrosion down the road. I think the most important thing is to just get going and play and enjoy. I play at home and am content.