Been there, done it and it´s great!! You sound great! And Charles Lloyd plays the same setup. And many of todays players are playing them and having no problems finding their personal voice. I still have my 10M but regret selling my "Chu" gold plated.
Thanks! I appreciate your compliments. You are right about the New Wonder sounding fatter and rounder. The 10M is more focussed, more tube-like if you know what I mean. However the NW can be the loudest of both with the right mouthpiece. I have a bunch of mouthpieces I use on and off. The NW is a little more mouthpiece friendly but neither one gave me serious intonation problems. As for the Brilharts like the one you hear in this clip it takes extra care to find the right spot on the neck though
Thanks! Yes I think the old Brilharts really kill on old Conn horns, in particular with New Wonders they are a great match. Always sounding fat never thin or shrill. Not even at the the palm keys. And the fun part is you can growl and scream on it as much as you like.
A wise decision. If you decide to go for Brilhart I would suggest you look for the 40's Great Neck and 50's/60's Carlsbad era. The white Tonalins are really nice too as they seem to play slightly warmer. Personally I prefer the Ebolins. I am not sure why but they seem to have a little more edge and projection. However that is only based on experiences with the ones I have tried so far. Brilharts and also Otto Links are a great match for the New Wonder tenors.
@neoman91661 Thanks for the nice compliment. Although I think my tone is far from perfect and doubt it ever will. But I keep working on it. I am just self taught and love to listen a lot to nearly all of the tenor giants from the 30's up to the 60's. I am a big Lester Young fan. But also from Gene Ammons who I feel has the perfect tone. I don't think there is any secret. It is the sound you got in your head. And an old horn from that era and large chambered mouthpiece helps a bit too ofcourse.
@SaxJockey This the 'normal' plain vanilla STM. Not a newer one and I had it refaced to add a bit more juice to the sound. I might try a STM NY too one day.
From your avatar I take it you are a Bundy player. My very first tenor was a beaten up early 60's Selmer Bundy I that had a beautiful singing tone and was very powerful in the low register too. Sometimes when I hear some old practising recordings with the Bundy I wish I still had it. That particular horn sure had a smooth singing ballad tone that I have never found in other horns again.
As far as my knowledge goes Chu played either a NW II or an early 30's Transitional. Anyway they do not differ that much as the sound goes. My favorite NW I player is the Prez. He used it in the 30's and on and off with his 10M in the 40's and 50's. Yes, I love Dexter! I prefer is 40's era Savoy recordings.
One way to archieve a growling effect is to sort of hum along while your playing. By doing that you alter the air stream and if done right you can get a nice growling sound. Anyway that is the way I seem to do it. It is not easy to explain. I really started analysing it after you brought up the question. I take it there are other ways too to archieve a similar effect.
@SaxJockey Different reed choices and even ligatures can make a huge difference too. But the main thing is your airstream and phrasing. How to articulate every note. But I guess you know all about that. Prysock played a Link too by the way.
Man, I love your playing. Nice, fat subtone, and a punchy growl to boot. How does the New Wonder feel in regards to intonation vs the 10m? It sounds like the New Wonder is a little fatter, whereas the 10m has a more concentrated sond.
@SaxJockey I am sorry for bringing you in this confusing situation. I read these critics on the newer Links often too however I have no experience with one. I would recommend to send the one you like to good refacer and have it made the way you want. You will never regret that. Besides that it also a matter how you blow the Link. One thing I have noticed is that I have developed a sort of instant growl in the tone making it sound eh...less refined. Not suitable for all types of music, I guess.
My friend, I am about to buy a New wonder tenor and I would appreciate if you can tell me axactly which Brilhart mp i should buy. Thanks in advance for your help. By the way, excellent sound, I wish I can get half of that.
I have a vintage carlsbad era brilhart ebolin and a current production ebolin (made by selmer usa). I myself am not a mouthpiece wizard, but judging from the dimensions and design they are basically identical, aside from the machining marks on the table/baffle of the vintage ebolin, as the vintage brilharts were hand finished. However, they sound completely different. The modern one is slightly stuffy and very warm and airy, while the vintage one has excellent punch/projection with lots of brilliance. why is this?
I have no experiences with the current production Brilharts so unfortunatly I can't comment on that. However when reading most comments about the current Brilharts it is becoming evident that after the Selmer take over they seemed to have more trouble to get it right. Which is quiet surprising when it only takes to copy a good design in molded plastic. It goes to show that Arnold Brilhart indeed was a genius. Maybe he did not sell them all of his secrets after all ;-)
Also the length of the facing is very important for the character of a mouthpiece. I've got my information from here: www.stohrermusic.com/2011/11/how-to-choose-a-saxophone-mouthpiece/
Been there, done it and it´s great!! You sound great! And Charles Lloyd plays the same setup. And many of todays players are playing them and
having no problems finding their personal voice. I still have my 10M but
regret selling my "Chu" gold plated.
Thanks! I appreciate your compliments. You are right about the New Wonder sounding
fatter and rounder. The 10M is more focussed, more tube-like if you know what I mean. However the NW can be the loudest of both with the right mouthpiece. I have a bunch of mouthpieces I use on and off. The NW is a little more mouthpiece friendly but neither one gave me serious intonation problems. As for the Brilharts like the one you hear in this clip it takes extra care to find the right spot on the neck though
great sense of swing, not to mention tone - this is the sound / playing style I am moving toward - like the guitar also
Sensacional
Thanks! Yes I think the old Brilharts really kill on old Conn horns, in particular with New Wonders they are a great match. Always sounding fat never thin or shrill. Not even at the the palm keys. And the fun part is you can growl and scream on it as much as you like.
A wise decision. If you decide to go for Brilhart I would suggest you look for the 40's Great Neck and 50's/60's Carlsbad era. The white Tonalins are really nice too as they seem to play slightly warmer. Personally I prefer the Ebolins. I am not sure why but they seem to have a little more edge and projection. However that is only based on experiences with the ones I have tried so far. Brilharts and also Otto Links are a great match for the New Wonder tenors.
@neoman91661
Thanks for the nice compliment. Although I think my tone is far from perfect and doubt it ever will. But I keep working on it. I am just self taught and love to listen a lot to nearly all of the tenor giants from the 30's up to the 60's. I am a big Lester Young fan. But also from Gene Ammons who I feel has the perfect tone. I don't think there is any secret. It is the sound you got in your head. And an old horn from that era and large chambered mouthpiece helps a bit too ofcourse.
@SaxJockey
This the 'normal' plain vanilla STM. Not a newer one and I had
it refaced to add a bit more juice to the sound. I might try a STM NY
too one day.
Perfeito!!!
From your avatar I take it you are a Bundy player. My very first tenor
was a beaten up early 60's Selmer Bundy I that had a beautiful singing tone and was
very powerful in the low register too. Sometimes when I hear some old practising
recordings with the Bundy I wish I still had it. That particular horn sure had a smooth singing ballad tone that I have never found in other horns again.
I have an early 60’s Bundy that happens to have a conn10m/nw neck.. I love it a lot.. How would you compare the sound to a 10m or nw
As far as my knowledge goes Chu played either a NW II or an early 30's Transitional. Anyway they do not differ that much as the sound goes. My favorite NW I player is the Prez. He used it in the 30's and on and off with his 10M in the 40's and 50's. Yes, I love Dexter! I prefer is 40's era Savoy recordings.
Apparently Chu didn't play a Conn, the name association is just a quirk.
One way to archieve a growling effect is to sort of hum along while your
playing. By doing that you alter the air stream and if done right you can
get a nice growling sound. Anyway that is the way I seem to do it. It is not easy to explain. I really started analysing it after you brought up the question. I take it there are other ways too to archieve a similar effect.
@ Jazzznbluezzz1 I think, Chu Berry is one of the Conn NW players. I know that Chu played a NW II.
My favourite Conn 10M player is Dexter Gordon!
@SaxJockey
Different reed choices and even ligatures can make a huge difference too.
But the main thing is your airstream and phrasing. How to articulate every note.
But I guess you know all about that. Prysock played a Link too by the way.
Damn man, you have the perfect tenor sound! That smoky, dark, rich vintage sound. You listen to a lot of older guys, or what? What's the secret?
Man, I love your playing. Nice, fat subtone, and a punchy growl to boot. How does the New Wonder feel in regards to intonation vs the 10m? It sounds like the New Wonder is a little fatter, whereas the 10m has a more concentrated sond.
@SaxJockey
I am sorry for bringing you in this confusing situation. I read these critics
on the newer Links often too however I have no experience with one. I would recommend
to send the one you like to good refacer and have it made the way you want. You will never regret that. Besides that it also a matter how you blow the Link. One thing I have noticed is that I have developed a sort of instant growl in the tone making it sound eh...less refined. Not suitable for all types of music, I guess.
Thanks for answering!! My question: Have you ever had experiences with Martin Saxes?
...and the sweet winner is: NW with Carlsbadass mpc.
1
My friend, I am about to buy a New wonder tenor and I would appreciate if you can tell me axactly which Brilhart mp i should buy. Thanks in advance for your help. By the way, excellent sound, I wish I can get half of that.
You get a really sweet tone with those mouthpieces!
How do you get that growl effect? I'd be really interested to know
I am sorry. I do not have experience with Martins. But I would love to if I get the chance
I have a vintage carlsbad era brilhart ebolin and a current production ebolin (made by selmer usa). I myself am not a mouthpiece wizard, but judging from the dimensions and design they are basically identical, aside from the machining marks on the table/baffle of the vintage ebolin, as the vintage brilharts were hand finished. However, they sound completely different. The modern one is slightly stuffy and very warm and airy, while the vintage one has excellent punch/projection with lots of brilliance. why is this?
I have no experiences with the current production Brilharts so unfortunatly I can't comment on that. However when reading most comments about the current Brilharts it is becoming evident that after the Selmer take over they seemed to have more trouble to get it right. Which is quiet surprising when it only takes to copy a good design in molded plastic. It goes to show that Arnold Brilhart indeed was a genius. Maybe he did not sell them all of his secrets after all ;-)
yea how did Conn and Buescher turn out after the Selmer take over and those awesome Martins I think went to Yanigisawa
Also the length of the facing is very important for the character of a mouthpiece. I've got my information from here: www.stohrermusic.com/2011/11/how-to-choose-a-saxophone-mouthpiece/