Seeing the same set up everywhere!

[zappysax57]

Is it just me, or do a lot of players now play on a large opening HR with an ultimate ligature? and they all seem to get that same sound! seamus blake, joshua redman, everyone in the top college band in my state, new guys, but ITS THE SAME TYPE OF SOUND!!! I WANT THAT SOUND!! sorry....anyone else notice this?





http://www.enjoyjazz.de/content/e6/e699/e818/Joshua_Redman_Kricke_gro_01_ger.jpg

http://italia.allaboutjazz.com/italy/gallery/casanova/seamus_blake_05_cesenatico2007.jpg

http://www.facebook.com/photo.php?pid=2969364&id=646871585&op=1&view=all&subj=93579129345&aid=-1&oid=93579129345

EDIT 3rd link is a little wierd, look around on some other photos

[masqualero]

7,7* a big opening?

[magical pig]

Yeah and I think Seamus Blake plays a Reso chamber with a 5* or 6 tip opening.

In a side note, if EVERYONE HAS THIS SAME SOUND, why would you want to sound like them?

[MyMartinTenor]

In a side note, if EVERYONE HAS THIS SAME SOUND, why would you want to sound like them?

Exactly! Seems like a great opportunity to carve out your own niche.

[zappysax57]

Yeah and I think Seamus Blake plays a Reso chamber with a 5* or 6 tip opening.

In a side note, if EVERYONE HAS THIS SAME SOUND, why would you want to sound like them?

You do make a good point, perhaps the ones i know a bit better play on like 8's, but not exactly the same sound, but THAT sound. Like a link sound dex and trane etc

[hgiles]

Cardboard?

[MyMartinTenor]

Hmm. Huge differences in sound between Redman, Blake, Dex, and Trane. I wonder what the common element is that you're hearing.

Maybe just a certain fatness in the sound? A certain common articulation (??) ?

[magical pig]

Yeah and I think Seamus Blake plays a Reso chamber with a 5* or 6 tip opening.

In a side note, if EVERYONE HAS THIS SAME SOUND, why would you want to sound like them?

You do make a good point, perhaps the ones i know a bit better play on like 8's, but not exactly the same sound, but THAT sound. Like a link sound dex and trane etcWell, to me, Seamus Blake, Joshua Redman, Dex and Trane all have different sounds. Especially Trane and Dex.

Anyways, the answer to your question is : buy a Link-type piece (low baffle, big chamber) - hard rubber would probably work better psychologically if you strive for that "Slant Sig" type sound (which I think is what you're talking about) - and practice your *** off. There's no shortcut to getting a good sound. There are some "tips & tricks" but 1. sound happens mostly internally so it's hard to show or explain a "feel" 2. the unique shape of your throat, mouth cavity, etc. will force you to blow different than anyone else.

There are numerous "tips & tricks" you can find on this forum but IME experimenting on your own is the key. What I like to do is work in detail on my sound by frequencies ie try to change how the low, mid-low, mids, mid-highs and highs color my sound. There are numerous layers of sound in a saxophone sound...

Victor.

[JL]

zappysax, I know exactly what you are talking about. In terms of the mpc, it has a lot more to do with using a large chamber mpc and low rollover baffle, than tip opening. As quoted below:


Anyways, the answer to your question is : buy a Link-type piece (low baffle, big chamber) - hard rubber would probably work better psychologically if you strive for that "Slant Sig" type sound (which I think is what you're talking about) - and practice your *** off.


Something like a Tenney Jazzmaster or Slant Link will help get the sound you're talking about, however as magical pig & others here pointed out, the mpc won't automatically do it for you (but you already know that!). You really have to work with your embouchure, voicing, long tones, and your EAR to get the sound you want.

[zappysax57]

Hmm. Huge differences in sound between Redman, Blake, Dex, and Trane. I wonder what the common element is that you're hearing.

Maybe just a certain fatness in the sound? A certain common articulation (??) ?

Ha i mean trane and dex have that link sound which is analogous to blake and redman

EDIT but yes the slant sig type sound is what i am striving for...looks like i gotta work harder!

[MusicalCharities]

Don't forget how much of the sound comes from YOU, the player, rather than the mouthpiece, Zap. Even with the same setup, different players have their own sound. Just find what works best for you , and what sounds good to YOUR ear, not what everyone else sounds like. You'll be happier in the end.

[bfoster64]

it has a lot more to do with using a large chamber mpc and low rollover baffle, than tip opening.

That is exactly what I was thinking. One of the common elements linking all the players you mentioned is a large chamber mouthpiece with a low rollover baffle. I notice you didn't mention Michael Brecker, who played a high baffle mouthpiece and whose sound is very different.

[RandyJ]

"Is it just me, or do a lot of players now play on a large opening HR with an ultimate ligature?"

Yea, I think it's just you.

JR

[al9672]

Its not just work harder but work smarter as well.

Don't just blow for hours but set a goal, have a focused session/s , record yourself and listen to it afterwards and see if you achieved or moved closer to your goal

[JL]

"Is it just me, or do a lot of players now play on a large opening HR with an ultimate ligature?"

Yea, I think it's just you.

Well, I think the OP focused on the less important aspects: the lig and tip opening (actually tip opening is important, but it's more geared to the size or presence of a baffle and personal preference), but I do think there is an element of truth in what he has observed. A lot of tenor players prefer a large chamber mpc, and there has been a resurgence in hard rubber mpcs, probably because some very nice ones are being made now. Also the feel of a HR mpc is different and some prefer that. I think you can get a very similar sound on a mpc of the same, or similar, design, whether if be HR or metal. That has been discussed enough in other threads.

Anyway my point is the OP has made a valid observation in that many top players use Links or Link-like mpcs and for good reason. That's not to say everyone should use the same design. We're all different, with different goals. But if the OP wants that particular sound, no matter how many others do also, he'd do well to try out some large chamber mpcs.

I went this route recently (a Tenney Jazzmaster) and man am I glad I did!

[Michael]

1. You have to ignore some people because they are endorsers and thus they choose the pieces that give them the most money.
2. As for the ligature, that only seems to be a few people. I haven't seen a ton of FL ligs around other than what you've mentioned. Usually it seems to just be a normal 2-screw...
3. As for mouthpieces, well HR feels a lot better and seems to have better highs in the sound so there is plenty of reason to grab HR over metal (not that one is better). And well, big or small tip opening, these guys have the chops to play 10* pieces if they want to.

[Mal 2]

1. You have to ignore some people because they are endorsers and thus they choose the pieces that give them the most money.

This is somewhat true, but in a lot of cases they get the endorsement and the company makes pieces to their specifications. It works both ways. Still that does not mean that THEIR custom piece will work for YOU.


2. As for the ligature, that only seems to be a few people. I haven't seen a ton of FL ligs around other than what you've mentioned. Usually it seems to just be a normal 2-screw...

I see more Rovner ligatures than anything else, which is probably because they are cheap and come in every conceivable size. Olegatures are gaining market share as well.


3. As for mouthpieces, well HR feels a lot better and seems to have better highs in the sound so there is plenty of reason to grab HR over metal (not that one is better). And well, big or small tip opening, these guys have the chops to play 10* pieces if they want to.

This is entirely a matter of personal preference. I like metal, except on soprano. For a long time I thought I disliked metal alto pieces because I'd never found one I liked. The acquisition of the Meyer 5J did little to change that. It was stuffy and resistant, somewhat squeaky, and had a small tip. I let it gather dust for a while and finally decided to open it up after I sold off the metal Meyer tenor piece (I got both as a package deal and sold the tenor piece alone for what I paid for BOTH) -- at that point I figured I'd gotten it for free. Now after working on it, I find it suits me just fine. This means soprano and the various clarinets have HR mouthpieces and everything else I play is metal or ceramic.

One thing about metal mouthpieces is that their composition works both for and against them. Stainless steel is an absolute BEAR to work on, but requires no finishing afterward and is exceptionally stable and durable. Dukoff Silverite is easy to work on, but not very durable -- it behaves almost like hard rubber in this respect. Brass, bronze, "bell metal", etc. are all fairly soft metals and not too hard to work on, but require replating afterward if they are to look original. I also don't like exposed copper, it tastes unpleasant to me. Fortunately, silver brush plating is REALLY easy, gold somewhat less so but not terrible.