Jim could describe a pile of dirt and I would probably buy it. He is that good of a presenter. I so enjoy these videos, so informative and the sweetest sound. Just great.
11:27 Avant 180 Sax, Otto link Mouthpiece 13:36 Avant 180 Sax, Ambica Mouthpiece 16:42 Two Voices Sax, Otto link Mouthpiece 18:44 Two Voices Sax, Ambica Mouthpiece 20:50 Two Voices Sax, Ambica Mouthpiece, Jazz Select reed
Jim, the Otto Link (HR) on the Rampone sound magnificent. The Conn/Selmer with the Ambika sounded lovely as well . On a video , in general , it is difficult to hear the exact difference of how much depth and weight of sound there is , between the Conn /Selmer & the Rampone . However the Rampone has a deeper hefty tone , with the standard OttoLink 7* Tone Master . I play a 1937 Conn19M Silver plated Tenor ( with Slight Modifications and ornate engraving from the great Don Menza
Beautiful video Jim and once again your playing is simply sublime! You cover so many bases with these vids’ they provide a splendid learning opportunity for players sax wrangling. The main thing for me is how much your passion glows through! A+!!! 🧐
The Van Doren makes my Link tone edge super dark and resistant. The Rico royale makes it super bright and the change is more significant than any other aspect including metal mouthpieces , saxophones etc…. Totally true!.
Some very good points made. Whether one is choosing their first or 4th sax...something I think many might glance over is "lung capacity". Many just look for that sax with the larger bell. But not consider if they can put enough air through it. Requires more sir since it does have a larger bell. Not for all body types (the player). Overlooking this could be discouraging. Especially for someone new to the sax. They start with a "big bell" sax. Find they can't produce enough air. Which they would have a hard time in the beginning anyway regardless of the design of the sax..learning to control air flow. Big bell saxes probably would be a bad first sax. Something many people, even "experienced" players, don't think about till maybe years later.
A tenor an play everything that an alto can, with more beef. Try Sanborn transcriptions at the correct pitch and see. Alto is for "sweet and cheerful". Tenor is serious.
I have a Macsax Bob Sheppard tenor mouthpiece and just recently tried it with a Yanagisawa TWO20. That combo was amazing and to my ears was what you would call dark and smoky sounding. I will be buying the TWO20 as soon as I can afford it. I was totally blown away by it.
Thanks for the demo. I have a 7* Ambika and was gravitated to Select Jazz but after watching your video I got Vandoren traditional 2 1/2 and found it gives me a nice warm and controllable down to low Bb without sounding buzzy too much like Select Jazz 3S. 3M is punchy and less buzzy than 3S but my embouchure is not quite there so with slightly softer choice of Vandoren 2 1/2 I have a good of both worlds of warmth and feeling comfortable and not worrying about reed vibration getting out of control (thanks to Vandoren’s thicker heart). I also get a bit more definition of high frequencies (more transparent) than Select Jazz because Vandoren traditional’s very tip is actually thinner than Select Jazz so it adds a bit of sparkle. I use Francois Louise Ultimate ligature which adds more vibrancy and tone complexity in a warm way to the setup. I found those three elements work well together. I’m using a late Mark VI.
I bought a Theo Wanne Ambika 3 gold plated for my Silver 82Zii Tenor. It is a beautiful mouthpiece for standards! For the ripping stuff I use the Jody Jazz DV Platinum. For a really unique sound I have the Drake Pete Christlieb Master Series. Best of all worlds.
The Louis ultimate would give it a free blowing nature, which would be good, but the ronver is really good for getting that reliable dark warm sound. But the Louis ultimate is a great piece for all set ups honstly
Wow! That museum (I know it’s a sax shop.) makes my mouth drool. Sorry for sounding gross, but I can spend all day there. I hope to go there with my daughters who are learning the sax.
This is really informative and interesting! I moved to a Vandoren V16 mouthpiece on my 15 year old Yamaha Y32 and have been pleased with the results - I like the darker sound so as to be more emotive on ballads. My dilemma is whether to consider an upgrade and the Conn Selmer was interesting. Thank you.
It's a tenor, she will produce what ever sound you want. Has anyone ever tried the old Selmer Paris- C* long scroll- soloist? I have this 45 year old mpc. I put a self baffle in. Sweetest jazz sound you've ever heard. Everything you want- control!
Oh wow, great video! What a difference right at the end with the other reed! I play a Yamaha 62 with either the Slant sig, or Durga, both from Theo Wanne. The problem I find with the large chamber is on the high notes, trying to keep it in tune.
Very nice, after playing a metal Link (modified tip w/added baffle) on my Mk VI Tenor, I switched to a Daddario Select Jazz DM7 for something darker. Still trying different reeds: Royal, LaVoz, Vandoren, Jazz Select & Lupafarro to see what I like best
Nice video and v good sounds. I have found a great setup for my Conn-Selmer, with a Meyer 7 ebonite, with carbon fiber reeds like the Fiberreed Hemp, and/or Carbon. Sounds warm, with proyection and definition too.. and can be clear and bright enough if you need.
I prefer the Conn with the Ambika and the Otto Link on the Rampone. I do find the ebonie links can tend to be a bit muffled sounding and they are not exactly consistent in quality, which you'd think by now JJ Babbitt would have fixed the inconsistency issue. Need to hear sound samples from it before I can say for sure, but the new version of the JodyJazz HR* tenor mouthpiece is supposed to be darker sounding than the current HR* as it uses the same Chedeville rubber they use on Chedeville mouthpieces and that might be good for that dark smoky sound with the right reed. Could you do a video comparing Soprano saxes? Straight and curved, Student to professional ones. I am thinking of getting a straight soprano in the next few months, when I have saved enough money, so that would be useful since I can't come to your store and there are no places I can play test saxophones anywhere near me.
I play a Slant Sig 2 in 7* by Theo Wanne on a Selmer Series III tenor sax. Would you say the Ambika is darker than the Slant Sig ? I feel it isn’t, may be because I play Legere Signature 2.75. Good video, thanks.
Lastly , using a lighter ligature, would help the Otto Link 7*TM, to have more options of playing gunk and blues . Adding some Epoxy to middle the chamber , would give more power .
Thanks, Jim. That was a worthwhile comparison. To my ear, I liked the Ambika on the Conn, then the Otto Link on the Rampone. (Weird, eh?) You obviously like the Jazz Select reed and it shows in the sound. By the way, what neck strap are you using? I like the way it sits low and off the neck.
I have a P.Mauriat 67rx influence. As you described, it has a big warm sound, but how would you say it fares in a classical/concert setting? I'm a jazz "main" but I plan to dabble a bit more in that field, just wanted to gauge if I should expect a harder/easier time transitioning.
Hi Jim have you considered including a spectrogram graphic to accompany your videos? I feel this would help customers understand the subtle differences when you are trying to convey the dark fat cutting sounds etc. It would help show the differences between the makes of instruments too. As yet this idea has not been used by other youtubers. What are your views? Is it worth you guys trying this?
Could you please do video for cobmination bright sound on tenor? As i started to play on tenor, i wanted to reach the sound as dark as possible, but it still was not what i expected. Then i tried dukoff d9 miami florida and this total opposite of dark sound but it's great and i like it!
I liked the video; at the beginning I perceived it as a sale pitch but, down the road, the video included an Otto Link. If you talk "Dark Saxophone Set up", I don't think you can leave on the side an Otto Link-original models-large chamber. So this made me change my perception of your video. Btw, the sound darker-attenuated has mainly to do with the geometry of the bore , a trunked cone, it is the reason for How Waves Oscillate and travel the instrument, Construction Materials also... not too much, almost nothing the lacquer...
The (bell metal) Links sound like they have a bright edge to me, but without the attack that comes from a baffle. Sakshama's Links are said to be the best.
@@luisAponteSax VERY RICH PEOPLE can buy a machine (reed profiler?) that can copy the cut of your KILLER REED onto all of your new ones (same type of course) so that once you have found a good one you can have the same again and again.
The Vandoren Traditional reed has big resistance but it sounds the best if you can push through the full air. Those Java reeds are easier to play but the sound is a bit too bright for me.
Hey Jim. I like your videos very much. Do you have any experience with "le monde" saxophones? I'm interested what you think about this brand. Especially about the universal series. Greetings from Germany
I have several Alto Saxophones costing 1000s and a made in GDR tenor paid £200 on ebay and would not change it. . For Both of them I have Otto Link Mouthpieces. Recently I purchased a Legere Classic 2.5 Synthetic reed. Trying it with the Otto link I found the sound was too dark. In my collection of mouth pieces I have an RPC mouthpiece purchased in 2004. The Person who made the RPC mouthPiece supplied the mouth piece to the saxophonist in the Broadway Play Miss Saigon. I hated the RPC mouthpiece as it was too bright. Paring the Legere Classic 2.5 Synthetic reed. with the RPC mouthpiece produced a sound I like. This is for my Alto. I much prefer playing the Synthetic reeds. What i require now is a synthetic reed for my OTTO Link mouthpiece and Tenor Saxophone.
I guess you're not going to try out one of the new Sugals then? You wanna see the price of some flute mouthpieces, sometimes people's hair falls out when they see it, some of them cost more than a complete good bass clarinet. The prices of violin bows is scary too, apparently anything under £2500 is just rubbish that's all. Better than the flute, save some money and just buy an OZ D whistle (it's a "tin whistle" made of wood) for around $600.
@@coffinman5007 True story.. The flute point is a good one. People freak out about saxes costing £5000+...right until you tell them to check out how much professional flutes cost. £500 for a mouthpiece which is finished without compromise doesn't seem too dear in comparison.
I think it's not the Vintage. If I remember well the tone edge has the letters "straight" and the vintage one has them in "diagonal". I'm not sure tho!
TwoVoices was _a poor_ saxophone choice for smoky sound. All its setups delivered ear-piercing, shrill sound. That sax can funk, but hardly exhale smoky husks. You should stick with Selmer-inspired designs because Selmers DEFINED dark, smoky sound. Also, Theo Wanne's Ambika, Gaia, etc. with each new generation become too broad and unfocused. His first-generation mouthpieces are the best, when Theo had the LEAST influence from the general type of enthusiasts.
Zvonimir Tosic Many tests have been performed with different horns and necks (see Better sax videos), but with the same mouthpiece and reed, there are no difference. For trumpets and trombones the horn might play a role, but not for the saxophone. But the producers try to tell you that there is a difference to sell you more expensive horns. As we are very bad separating products, we are therefore easy to trick. Charli Parker sounded the same on Selmer Mark VI as on a plastic horn.
@@hansmathiasthjomoe4817 There is a difference. Rampone & Cazzani horn tried above is a loud, open, unlacquered, hand made horn, a bit unsophisticated and crude; I listened to it elsewhere and it behaves predictably. Plus, those 2 pounds of silver in its bell can't "sound dark." I wonder what was Jim thinking?! One can't play very well some smoky and husky dark tones on such an open, loud horn, with a stretched-out core sound. One really must play a Selmer-inspired design, because that was a historic course of development that made such sound so popular.
Why would anyone in modern times want a natural dark sound? Dark sounds are totally unmarketable in today’s music, unless you’re playing period tribute shows that feature a certain era of sax playing, but those gigs are few and far between. Bright sounds are so much superior in virtually every sax playing situation, even in straight ahead jazz. The best modern saxophone players known throughout history are more known to have brighter sounds. Sure there are a few old school boomers out there playing their dark setups living on their name. But the modern killing frontline sax players are all bright. If you want to be a real gigging sax player, you need to be playing a bright sound. I’m not trying to bash anyone’s taste here, play what you want. I admire the dark sounds of the 30’s and 40’s like Colman, Lucky Thompson, And Webster, but in 2020, dark sounds are a thing of the past.
It is so nice to have a highly articulate experienced sax player doing product reviews. Keep up the good work. Much appreciated.
Jim could describe a pile of dirt and I would probably buy it. He is that good of a presenter. I so enjoy these videos, so informative and the sweetest sound. Just great.
Agreed, and you can tell he enjoys doing these. I mean, who wouldn't...
Still waiting for my pile of dirt. @@Danox94
11:27 Avant 180 Sax, Otto link Mouthpiece
13:36 Avant 180 Sax, Ambica Mouthpiece
16:42 Two Voices Sax, Otto link Mouthpiece
18:44 Two Voices Sax, Ambica Mouthpiece
20:50 Two Voices Sax, Ambica Mouthpiece, Jazz Select reed
I gave u a like. For ur hArd work
Lovely comparison there Jim. Awesome to hear all those horns side by side.
Jim, the Otto Link (HR) on the Rampone sound magnificent. The Conn/Selmer with the Ambika sounded lovely as well .
On a video , in general , it is difficult to hear the exact difference of how much depth and weight of sound there is , between the Conn /Selmer & the Rampone . However the Rampone has a deeper hefty tone , with the standard OttoLink 7* Tone Master . I play a 1937 Conn19M Silver plated Tenor ( with Slight Modifications and ornate engraving from the great Don Menza
Beautiful video Jim and once again your playing is simply sublime! You cover so many bases with these vids’ they provide a splendid learning opportunity for players sax wrangling. The main thing for me is how much your passion glows through! A+!!! 🧐
The Van Doren makes my Link tone edge super dark and resistant. The Rico royale makes it super bright and the change is more significant than any other aspect including metal mouthpieces , saxophones etc…. Totally true!.
What a man. Thanks Jim for your expertise!
Some very good points made. Whether one is choosing their first or 4th sax...something I think many might glance over is "lung capacity". Many just look for that sax with the larger bell. But not consider if they can put enough air through it. Requires more sir since it does have a larger bell. Not for all body types (the player).
Overlooking this could be discouraging. Especially for someone new to the sax. They start with a "big bell" sax. Find they can't produce enough air. Which they would have a hard time in the beginning anyway regardless of the design of the sax..learning to control air flow. Big bell saxes probably would be a bad first sax. Something many people, even "experienced" players, don't think about till maybe years later.
Important insight and I'm sure often overlooked. Is the "big bell" usually indicated in the product write up?
Great topic. Every aspect covered and this is obsessed often.
Oh, I liked that Ambika. Still warm but with some edge added in. Lovely.
Keilwerth has always produced that big round sound for me.
Do you want smoky sound? First switch to tenor if you play alto! Once touched Tenor I forgot about alto
Yup definitely
Pretty much. My alto collects dust
Bari
A tenor an play everything that an alto can, with more beef.
Try Sanborn transcriptions at the correct pitch and see.
Alto is for "sweet and cheerful". Tenor is serious.
@@coffinman5007 what would you say bari is, aggressive with a nice side?
Rampone + Ambika + Vandoren Traditional Reed = 👍👍👍
I have a Macsax Bob Sheppard tenor mouthpiece and just recently tried it with a Yanagisawa TWO20. That combo was amazing and to my ears was what you would call dark and smoky sounding. I will be buying the TWO20 as soon as I can afford it. I was totally blown away by it.
Try to do a series of "inspired by" set ups. Trying to approximate tones of different famous players with setups in the store?
Well done Jim! The subject is entirely Subjective. Endless parameters.
Excellent video! You can really tell the difference with each set up
I wish I had a room in my home populated with several dozen saxes hanging on the walls. Then a case full of mouthpieces and shelves of boxes of reeds.
Thanks for the demo. I have a 7* Ambika and was gravitated to Select Jazz but after watching your video I got Vandoren traditional 2 1/2 and found it gives me a nice warm and controllable down to low Bb without sounding buzzy too much like Select Jazz 3S. 3M is punchy and less buzzy than 3S but my embouchure is not quite there so with slightly softer choice of Vandoren 2 1/2 I have a good of both worlds of warmth and feeling comfortable and not worrying about reed vibration getting out of control (thanks to Vandoren’s thicker heart). I also get a bit more definition of high frequencies (more transparent) than Select Jazz because Vandoren traditional’s very tip is actually thinner than Select Jazz so it adds a bit of sparkle. I use Francois Louise Ultimate ligature which adds more vibrancy and tone complexity in a warm way to the setup. I found those three elements work well together. I’m using a late Mark VI.
I bought a Theo Wanne Ambika 3 gold plated for my Silver 82Zii Tenor. It is a beautiful mouthpiece for standards! For the ripping stuff I use the Jody Jazz DV Platinum. For a really unique sound I have the Drake Pete Christlieb Master Series. Best of all worlds.
My setup is. Rampone Two Voices,Meyer ebonite 7* mouthpiece with Francois Louis ligature and vandoren traditional #3.
Sounds dark to me...
The Louis ultimate would give it a free blowing nature, which would be good, but the ronver is really good for getting that reliable dark warm sound. But the Louis ultimate is a great piece for all set ups honstly
Wow! That museum (I know it’s a sax shop.) makes my mouth drool. Sorry for sounding gross, but I can spend all day there. I hope to go there with my daughters who are learning the sax.
I like the first combination Conn - Otto Link most soundwise, no idea how the playing experience feels though, whithout trying it out myself.
Finally another person with a bari as their PFP
This is really informative and interesting! I moved to a Vandoren V16 mouthpiece on my 15 year old Yamaha Y32 and have been pleased with the results - I like the darker sound so as to be more emotive on ballads. My dilemma is whether to consider an upgrade and the Conn Selmer was interesting. Thank you.
It's a tenor, she will produce what ever sound you want. Has anyone ever tried the old Selmer Paris- C* long scroll- soloist? I have this 45 year old mpc. I put a self baffle in. Sweetest jazz sound you've ever heard. Everything you want- control!
Nicely done. Thanks.
Oh wow, great video! What a difference right at the end with the other reed!
I play a Yamaha 62 with either the Slant sig, or Durga, both from Theo Wanne. The problem I find with the large chamber is on the high notes, trying to keep it in tune.
Mauriat 66R Tenor and the Mauriat Alto 67 Rul’s. Are the best horns they made. I’m glad I bought mine in 08-09 . Love these horn’s.
Very nice, after playing a metal Link (modified tip w/added baffle) on my Mk VI Tenor, I switched to a Daddario Select Jazz DM7 for something darker. Still trying different reeds: Royal, LaVoz, Vandoren, Jazz Select & Lupafarro to see what I like best
Goddammit, Jim is a beautiful man.
I want that 2 voices, I’m sold! 😍
I live in northern Italy 20 minutes away from where they make them😁
I like these videos before I've even watched them
Ramone and ambica are the best. Wish I could hear this set up with a la voz medium or medium soft Reed. Even darker if you try it
jim, fantastic videos, always really enjoy whatever you're up to. can't wait to visit the store when i can get to london!
Thanks Jim, nice sound with a Legere signature 2.5 reed on an Otto Link Metal Tone master 7* with Yamaha.
Nice video and v good sounds. I have found a great setup for my Conn-Selmer, with a Meyer 7 ebonite, with carbon fiber reeds like the Fiberreed Hemp, and/or Carbon. Sounds warm, with proyection and definition too.. and can be clear and bright enough if you need.
Complimenti...programma molto interessante!!!
Can you do this but for alto? I have small hands and a beginner but I know I want a dark sound
Do this for trying to find that big, fat, and dirty Bari sound
I mean, just give a stm a shot, works well for me in a 6*
I prefer the Conn with the Ambika and the Otto Link on the Rampone. I do find the ebonie links can tend to be a bit muffled sounding and they are not exactly consistent in quality, which you'd think by now JJ Babbitt would have fixed the inconsistency issue. Need to hear sound samples from it before I can say for sure, but the new version of the JodyJazz HR* tenor mouthpiece is supposed to be darker sounding than the current HR* as it uses the same Chedeville rubber they use on Chedeville mouthpieces and that might be good for that dark smoky sound with the right reed. Could you do a video comparing Soprano saxes? Straight and curved, Student to professional ones. I am thinking of getting a straight soprano in the next few months, when I have saved enough money, so that would be useful since I can't come to your store and there are no places I can play test saxophones anywhere near me.
Sakshama's Links are better than Babbit's. They play properly for a start.
I play a Slant Sig 2 in 7* by Theo Wanne on a Selmer Series III tenor sax. Would you say the Ambika is darker than the Slant Sig ? I feel it isn’t, may be because I play Legere Signature 2.75. Good video, thanks.
Lastly , using a lighter ligature, would help the Otto Link 7*TM, to have more options of playing gunk and blues . Adding some Epoxy to middle the chamber , would give more power .
I liked the Conn-Selmer saxophone for tone.
Thanks, Jim. That was a worthwhile comparison. To my ear, I liked the Ambika on the Conn, then the Otto Link on the Rampone. (Weird, eh?) You obviously like the Jazz Select reed and it shows in the sound. By the way, what neck strap are you using? I like the way it sits low and off the neck.
Looks like the Balam neck strap...I've got one and it's the most comfortable strap I own! www.sax.co.uk/balam-leather-strap.ir
Yes, i agree. I choice the same combination like you.
The Other reed Vandoren Reed I discovered is the V12 2.5 , it works on Alto sax/ ( on clarinet I use a #4 V-12 . )
I have a P.Mauriat 67rx influence. As you described, it has a big warm sound, but how would you say it fares in a classical/concert setting? I'm a jazz "main" but I plan to dabble a bit more in that field, just wanted to gauge if I should expect a harder/easier time transitioning.
The intro is always sharp # :)))
great and very useful vid thank you
what is the strap (thingy) you're wearing - I need something like that off the neck
That's a Balam strap!
@@lowkinson2899 thank you
;)
Hi Jim, would you consider Inderbinen saxophones? Would love to hear your comments on their horns!
Hi Jim have you considered including a spectrogram graphic to accompany your videos? I feel this would help customers understand the subtle differences when you are trying to convey the dark fat cutting sounds etc. It would help show the differences between the makes of instruments too. As yet this idea has not been used by other youtubers. What are your views? Is it worth you guys trying this?
Could you please do video for cobmination bright sound on tenor?
As i started to play on tenor, i wanted to reach the sound as dark as possible, but it still was not what i expected. Then i tried dukoff d9 miami florida and this total opposite of dark sound but it's great and i like it!
I liked the video; at the beginning I perceived it as a sale pitch but, down the road, the video included an Otto Link. If you talk "Dark Saxophone Set up", I don't think you can leave on the side an Otto Link-original models-large chamber. So this made me change my perception of your video.
Btw, the sound darker-attenuated has mainly to do with the geometry of the bore , a trunked cone, it is the reason for How Waves Oscillate and travel the instrument, Construction Materials also... not too much, almost nothing the lacquer...
The (bell metal) Links sound like they have a bright edge to me, but without the attack that comes from a baffle. Sakshama's Links are said to be the best.
Great video, Jim. Just curious, what strengths are the 2 reeds? Thank you.
could you guys give a jazz baritone setup？thx
Hard Rubber Otto Link tone Edge
Slant Signature reissue 8 with Vandoren Java 3.5 Green Box
The sound in my experience is what the cane produces and its quality
La Voz has the voice and the bass but only 2 in a box are any good.
Legere is boring but extremely reliable.
@@coffinman5007 i had 1 la voz i alto definitely handleable love it
@@luisAponteSax VERY RICH PEOPLE can buy a machine (reed profiler?) that can copy the cut of your KILLER REED onto all of your new ones (same type of course) so that once you have found a good one you can have the same again and again.
Could we get a bluesy/rock into a modern rock set up?
on the very first sax you tried, you sounded a lot like coltrane 😌
Does a Neck-Screw have an influence on the sound? I have changed it at my Yamaha YTS62 and I think it sounds different, warmer or darker.
Hi! Could you please
tell me where I can get a good quality ligature for tenor a metal mouthpiece?
The Vandoren Traditional reed has big resistance but it sounds the best if you can push through the full air. Those Java reeds are easier to play but the sound is a bit too bright for me.
Intonation first
my setup is the Martin tenor with Florida no USA custom 7 ，original ligature and vanderen Java strength 3😂
Hey Jim. I like your videos very much. Do you have any experience with "le monde" saxophones? I'm interested what you think about this brand. Especially about the universal series. Greetings from Germany
The rampone and Cazzani is my dream horn. The only problem with it is the fact that it is over 9,000 usd
Selmer super action 2+ sr tech pro + Rico unfiled 2.5
Berg Larsen
Rico Brown Box Reeds
I have several Alto Saxophones costing 1000s and a made in GDR tenor paid £200 on ebay and would not change it. . For Both of them I have Otto Link Mouthpieces.
Recently I purchased a Legere Classic 2.5 Synthetic reed. Trying it with the Otto link I found the sound was too dark. In my collection of mouth pieces I have an RPC mouthpiece purchased in 2004. The Person who made the RPC mouthPiece supplied the mouth piece to the saxophonist in the Broadway Play Miss Saigon. I hated the RPC mouthpiece as it was too bright.
Paring the Legere Classic 2.5 Synthetic reed. with the RPC mouthpiece produced a sound I like. This is for my Alto.
I much prefer playing the Synthetic reeds.
What i require now is a synthetic reed for my OTTO Link mouthpiece and Tenor Saxophone.
NO tenor sax mouthpiece should ever cost more than $300
I guess you're not going to try out one of the new Sugals then?
You wanna see the price of some flute mouthpieces, sometimes people's hair falls out when they see it, some of them cost more than a complete good bass clarinet.
The prices of violin bows is scary too, apparently anything under £2500 is just rubbish that's all.
Better than the flute, save some money and just buy an OZ D whistle (it's a "tin whistle" made of wood) for around $600.
@@coffinman5007 True story.. The flute point is a good one. People freak out about saxes costing £5000+...right until you tell them to check out how much professional flutes cost. £500 for a mouthpiece which is finished without compromise doesn't seem too dear in comparison.
Why there's no key clicking noise in the recording?
Two voices+link
Was the Otto Link a Tone Edge or a Vintage (Tone Edge)?
I think it's not the Vintage. If I remember well the tone edge has the letters "straight" and the vintage one has them in "diagonal". I'm not sure tho!
Is that almighty Kenny G in the back ground? 20:00
you can hear you arnt that comfortable with the vandoren reed ^^
Do you have any showroom along the south coast?
What's the strap?
Excuse me where is it?
Now bari!
Check out Leo P's seup for that.
Gerry Mulligan or Harry Carney have dark tones
Can you do a video on a jazz fusion soprano sound?
Try a Lakey or a Beechler.
I like Lakey 6 but lately using a Yani meta; 7 on sop
"delicious silver"? that's not weird at all
Silver is essential to our way of life.
An MB2 is all you need.
Sod being dark.
Yes can I get somewhat dark sound with my MB2 using Vandoren Traditional 2 reed. It's a very very versatile mouthpiece.
Not a huge fan of overly specialised setups. I prefer having a versatile and flexible setup that lets me sound how ever I’m feeling.
SIRVALORSAX
Where is this sax store???
Waterloo in London
I don’t have a saxophone
marketing is good but I don't share it thanks
🧐🧐
That Vandoren reed probably needs work. You’re lucky if 1 out of 10 is good out of the box.
anyone else have such a pure visceral hate for this guy? it is why i keep watching these videos
TwoVoices was _a poor_ saxophone choice for smoky sound. All its setups delivered ear-piercing, shrill sound. That sax can funk, but hardly exhale smoky husks. You should stick with Selmer-inspired designs because Selmers DEFINED dark, smoky sound. Also, Theo Wanne's Ambika, Gaia, etc. with each new generation become too broad and unfocused. His first-generation mouthpieces are the best, when Theo had the LEAST influence from the general type of enthusiasts.
Yes, yes, but who is the girl in the background with the black leggings and can I have her number please?
Haha 69 views
LMAO
As far as I know, the sound is entirely decided by the mouthpiece, the reed and the player. The horn doesn’t play any role.
I mean the neck it the only other factor so changing sax will most likely be a different neck in turn making a difference tho not by much
Horn did play a role. Conn sounded better than TwoVoices for this type of music.
Zvonimir Tosic Many tests have been performed with different horns and necks (see Better sax videos), but with the same mouthpiece and reed, there are no difference. For trumpets and trombones the horn might play a role, but not for the saxophone. But the producers try to tell you that there is a difference to sell you more expensive horns. As we are very bad separating products, we are therefore easy to trick. Charli Parker sounded the same on Selmer Mark VI as on a plastic horn.
@@hansmathiasthjomoe4817 There is a difference. Rampone & Cazzani horn tried above is a loud, open, unlacquered, hand made horn, a bit unsophisticated and crude; I listened to it elsewhere and it behaves predictably. Plus, those 2 pounds of silver in its bell can't "sound dark." I wonder what was Jim thinking?! One can't play very well some smoky and husky dark tones on such an open, loud horn, with a stretched-out core sound. One really must play a Selmer-inspired design, because that was a historic course of development that made such sound so popular.
For you that thinking about what gear that make the sound: ua-cam.com/video/2S23Ki1JXUQ/v-deo.html
Why would anyone in modern times want a natural dark sound? Dark sounds are totally unmarketable in today’s music, unless you’re playing period tribute shows that feature a certain era of sax playing, but those gigs are few and far between. Bright sounds are so much superior in virtually every sax playing situation, even in straight ahead jazz. The best modern saxophone players known throughout history are more known to have brighter sounds. Sure there are a few old school boomers out there playing their dark setups living on their name. But the modern killing frontline sax players are all bright. If you want to be a real gigging sax player, you need to be playing a bright sound.
I’m not trying to bash anyone’s taste here, play what you want. I admire the dark sounds of the 30’s and 40’s like Colman, Lucky Thompson, And Webster, but in 2020, dark sounds are a thing of the past.
@@MyRackley Saying a style is unmarketable is not bashing. It’s being rational.
It's only rational if you're into it for commercial purposes. Stop shoveling dirt on the past. It's making you value money over music.