I am using a legere American cut 2 with a rovner copy 7.It was harder to blow at first then bended the reed up and down several times.then the reed became softer and worked very well.this is my experience on hard reeds.
It’s funny isn’t it? Imho the Venn doesn’t sound brighter - it sounds fatter and more juicy. I picked it out in each test as my fav. I’ve never got on with the hollow buzziness of Legere. Also - contradicting your experience again Nige, I’ve found the altissimo on Venn to be outstanding. Effortless and piping. Weird, isn’t it? 😂 All that said, still nothing records like a cane reed to my ears and I’ve tried everything except Hartmann reeds. I know it’s a hassle with cane, but I wouldn’t record with a synth at this point. I’ve seen a review of Vandoren VK1 for clarinet but not sure if they’re out for sax yet. Hope you’re well! J😊
I have, and play, all three Légère reeds and love them for various settings, but I am quite prepared to try a Venn reed or two based on this. Life is full of surprises so let’s invite more of them into our lives so that we may be all the more amazed 😎❤️🎷
I came back from the hell of cane reeds and promised myself to never go back. I had a lot of expectations on the Venn but absolutely hated it. I believe I have played every single sinth reed but Hartman's and Legere's American cut are the best by a really long shot... But that's just me.
I had two Legere American cuts and they didn't last long for me (I used a 2.25 on alto). I usually practice 2-3x a week (unfortunately). I love the tone I get from them, however, the reeds didn't last me more than 1.5 to 2 months. They'd always bend on the corner. I tried the Forestone Hinoki M before. The sound was ok, but I wasn't that satisfied with is. My son loved it when he tried it. He used it all throughout his first year in Marching Band. It lasted long. I'm thinking of either trying the Hinoki again (maybe a MS strength this time) or the Venn. You sounded great on both reeds, Nigel.
I wasted good money on a Venn. My main beef was the size issue. I couldn't even tell you if I like the sound because I couldn't get a peep out of it. Seriously, these should not be promoted to less than highly experienced players IMHO. Legere American Cut sound good and I find size 1.75 ideal for me - the weakest Venn is a 2.0 which is like a 3+ in any other brand, it would seem.
D'addario told me that players with wide tip openings have expressed the need to step down further in strength on the Venn than those on a narrower tip opening. For example, on an 8* on tenor I needed to step down from a 3M Select Jazz to a 2.0 Venn (although that probably plays more like a 3S and the 2.5 was more like a 3H on my setup). My students that play narrower tip openings haven't seemed to need such big steps. I'm guessing Nigel plays a wider tip opening and that would explain the need to make a bigger step down too. I found altissimo on the Venn much better than on a Legere although for me neither compares to a good cane reed in that respect.
Hi i find the legere American cut pretty good, I find them only a bit sharp on the lips..specially on the soprano.. for the tenor they are quite good. More than legere I have to say tha t I like the Forestone Hinoki, at the moment I am really in love with. Hinoki are Similar to cane one also in the aesthetic. No Nostalgia for the cane with them! Great sound, super comfortable 🔝
I have had issues with Synthetic reeds in the past until I found the Legere reeds which was perfect for me a couple years ago, played right off the bat every time and lasted as long as a good cane reed (5-6 months) I used to try playing plastic cover reeds during my college days in jazz band but found that they were unreliable most of the time. I will check out the New Venn reeds though! Thanks for the video!
Everyone talks about Venn and Legere - kudos to their marketing teams. But there are at least two other manufacturers, who make incredible synthetic reeds, but are never mentioned in popular reviews. They are 1. Forestone (Japan) and 2. Harry Hartmann's Fiberreed (Germany). I personally find both to produce incredible quality reeds.
@@McGillMusicSaxSchool - Harry Harmann's Carbon Onyx are my personal favorite, but I didn't like the Forestone with my setup as they lacked character and resonance to my ears.
Unlike you, I found the Venn to be darker yet still able to deliver a solid altissimo. Legere Signatures tend to be a bit brighter for my setup. Personally, I prefer Harry Hartman Carbon Onyx for most situations and the Venn when doing classical. The Harry Hartman Copper Cabon tends to be even darker, especially on tenor compared to alto, for me. Overall, synthetics make playing sax more enjoyable and less like having to be a reed tech on top of a player. Results vary, I guess, depending on setups and people.
@@McGillMusicSaxSchool - Selmer Paris Soloist C** on alto; Dukoff Super Power Chamber D8 on tenor; and Riffault France R4 on soprano. FYI - Switching between all three saxes on gigs was a nightmare before synthetics.
I ´m playing Venn reeds on tenor. Yes, me too I have had problems on thge tip of the reeds, it´s very , very easy to brooke the tip of the reed . Pay attention in the storage.But for me the sound of this reed is OK. I have tried the legere, but to me in the reponse it´s harder in than the Venn. I play jazz only in a BigBand and a Quintet. Now I´m looking for Soprano Venn reeds f, but I can´t found them ..perhaps with Venn clarinets reeds for Soprano..?
I am using a legere American cut 2 with a rovner copy 7.It was harder to blow at first then bended the reed up and down several times.then the reed became softer and worked very well.this is my experience on hard reeds.
It’s funny isn’t it? Imho the Venn doesn’t sound brighter - it sounds fatter and more juicy. I picked it out in each test as my fav. I’ve never got on with the hollow buzziness of Legere. Also - contradicting your experience again Nige, I’ve found the altissimo on Venn to be outstanding. Effortless and piping. Weird, isn’t it? 😂
All that said, still nothing records like a cane reed to my ears and I’ve tried everything except Hartmann reeds. I know it’s a hassle with cane, but I wouldn’t record with a synth at this point.
I’ve seen a review of Vandoren VK1 for clarinet but not sure if they’re out for sax yet.
Hope you’re well! J😊
Yeah I guess everyone has a different experience. I liked your video on the Venn. But they didn’t really suit me.
I have, and play, all three Légère reeds and love them for various settings, but I am quite prepared to try a Venn reed or two based on this.
Life is full of surprises so let’s invite more of them into our lives so that we may be all the more amazed 😎❤️🎷
It’s always good to keep trying things!
I came back from the hell of cane reeds and promised myself to never go back. I had a lot of expectations on the Venn but absolutely hated it. I believe I have played every single sinth reed but Hartman's and Legere's American cut are the best by a really long shot... But that's just me.
Glad you found some you like.
Since returning to the saxophone two years ago, for synthetic reeds I am partial to Legere reeds. 2.5
Glad you like them too.
I had two Legere American cuts and they didn't last long for me (I used a 2.25 on alto). I usually practice 2-3x a week (unfortunately). I love the tone I get from them, however, the reeds didn't last me more than 1.5 to 2 months. They'd always bend on the corner. I tried the Forestone Hinoki M before. The sound was ok, but I wasn't that satisfied with is. My son loved it when he tried it. He used it all throughout his first year in Marching Band. It lasted long. I'm thinking of either trying the Hinoki again (maybe a MS strength this time) or the Venn. You sounded great on both reeds, Nigel.
I wasted good money on a Venn. My main beef was the size issue. I couldn't even tell you if I like the sound because I couldn't get a peep out of it. Seriously, these should not be promoted to less than highly experienced players IMHO. Legere American Cut sound good and I find size 1.75 ideal for me - the weakest Venn is a 2.0 which is like a 3+ in any other brand, it would seem.
They are a little harder. Sorry they didn’t work out for you John.
D'addario told me that players with wide tip openings have expressed the need to step down further in strength on the Venn than those on a narrower tip opening. For example, on an 8* on tenor I needed to step down from a 3M Select Jazz to a 2.0 Venn (although that probably plays more like a 3S and the 2.5 was more like a 3H on my setup). My students that play narrower tip openings haven't seemed to need such big steps. I'm guessing Nigel plays a wider tip opening and that would explain the need to make a bigger step down too. I found altissimo on the Venn much better than on a Legere although for me neither compares to a good cane reed in that respect.
That’s interesting Dave. I’m playing a size 8 mouthpiece.
Hi i find the legere American cut pretty good, I find them only a bit sharp on the lips..specially on the soprano.. for the tenor they are quite good. More than legere I have to say tha t I like the Forestone Hinoki, at the moment I am really in love with. Hinoki are Similar to cane one also in the aesthetic. No Nostalgia for the cane with them! Great sound, super comfortable 🔝
Interesting.
I have one Ven and am practicing with it on tenor. It’s not bad.
Cool
I have had issues with Synthetic reeds in the past until I found the Legere reeds which was perfect for me a couple years ago, played right off the bat every time and lasted as long as a good cane reed (5-6 months) I used to try playing plastic cover reeds during my college days in jazz band but found that they were unreliable most of the time. I will check out the New Venn reeds though! Thanks for the video!
You’re welcome. I remember trying the Rico Plasticover years ago too and didn’t get on with them, though Dave Koz told me he uses them all the time.
@@McGillMusicSaxSchool Very interesting, you learn something new everyday. ☺️
Everyone talks about Venn and Legere - kudos to their marketing teams. But there are at least two other manufacturers, who make incredible synthetic reeds, but are never mentioned in popular reviews. They are 1. Forestone (Japan) and 2. Harry Hartmann's Fiberreed (Germany). I personally find both to produce incredible quality reeds.
I’d definitely like to check those out too.
@@McGillMusicSaxSchool - Harry Harmann's Carbon Onyx are my personal favorite, but I didn't like the Forestone with my setup as they lacked character and resonance to my ears.
Unlike you, I found the Venn to be darker yet still able to deliver a solid altissimo. Legere Signatures tend to be a bit brighter for my setup. Personally, I prefer Harry Hartman Carbon Onyx for most situations and the Venn when doing classical. The Harry Hartman Copper Cabon tends to be even darker, especially on tenor compared to alto, for me. Overall, synthetics make playing sax more enjoyable and less like having to be a reed tech on top of a player. Results vary, I guess, depending on setups and people.
That’s really interesting Bob. Can I ask what mouthpiece you’re using?
@@McGillMusicSaxSchool - Selmer Paris Soloist C** on alto; Dukoff Super Power Chamber D8 on tenor; and Riffault France R4 on soprano. FYI - Switching between all three saxes on gigs was a nightmare before synthetics.
I ´m playing Venn reeds on tenor. Yes, me too I have had problems on thge tip of the reeds, it´s very , very easy to brooke the tip of the reed . Pay attention in the storage.But for me the sound of this reed is OK. I have tried the legere, but to me in the reponse it´s harder in than the Venn. I play jazz only in a BigBand and a Quintet. Now I´m looking for Soprano Venn reeds f, but I can´t found them ..perhaps with Venn clarinets reeds for Soprano..?
Venn reed on bariton sax?
Good question - I haven’t tried. I use Legere on my Bari.
Not available for baritone yet but I was told they are working on one
Lenny Pickett played Bari reeds. What’s he using now?
I love legere american cut. It is unique and radically different from cane reed and other plastic.