Soprano Saxophones Acoustic Design

[Bryan Kendall]

Question:
I suspect (I may be completely wrong here) that the soprano saxophones (Bb, Eb and C) are of a different or slightly modified formula (inner deminsions, proportions, acoustic formula) than the alto, tenor, baritone and bass saxes. The soprano has such a DIFFERENT tonality than the other saxophones....hence the blending problem the soprano has in a sax quartet.

I may be wrong but .....this is just my ears speaking.

I appreciate your opinions because I would like to understand the "why" of the big difference in tonality between the soprano sax and the other saxes....I don´t think that it can be explained by saying that "the soprano is just a smaller alto" because it just doesn´t "sound" like it is.

There it is.......I said it. Now don´t beat me up too much, guys.

[djonk]

Yes, I think that the tone of a soprano is different from that of other saxes. I also think that the tone of a bari is different from that of other saxes.

I think that the tone of an alto is not just a small bass.

I think that the tone of an Eb ninio does not sound like a soprano!

What is the question?

[Dr G]

Why assume there exists a problem at all? :?

There's no such problem in my quartet. Maybe you're just experiencing an inexperienced sop player. :lol:

[Bootman]

A curved Soprano blends better in a Sax quartet than does a Straight Sop. A Saxello is a nice combination of both the curved and the straight.

[djonk]

Perhaps the mouthpiece choice is more of a determining factor for blend, then the analyzing of the saxophone's inherent dimensions?

There are several posts in the saxophone sections on making saxes blend with each other.------

Then one reads the: 'Tone Producing' and the 'General Mouthpiece Discussion' threads, to find questions from players, looking for a bright, cutting sound; "buzzy" and thin with growl.

This reminds me of my guitar playing son, that searched for the best natural sound reproduction microphone and guitar, so that he could play 'Heavy Metal' through the; overdrive, distortion and fuzz tone channels of his amp!

[JohnZ]

I'm going to post before thinking this through, but isn't there some type of idiosyncracy about the 12 note music system that makes certain harmonics, 5ths & 7ths???? not work out to exact octaves? Does this ring a bell with anyone?

[rrex54]

OK, so I'm 8 months late commenting, but maybe other things had to settle in first.

In either the C-Melody section here on SOTW or on the C-Melody forum someone examined bore:length ratios across the sax family. The C-Mel was the only outlier with a disproprotionately smaller bore. In terms of design it would seem that the sopranos are indeed right in line.

In the mouthpiece section someone commenting on the characteristic of Links noted that the pieces bring out certain overtones that are not prominent on tenor -- but stand out with the higher frequencies in soprano making the pieces sound bright -- even though folks would not usually characterize a tenor Link as bright.

I agree with David/djonk that each pitch in the sax family has its own unique voice. The soprano, perhaps because of the higher pitch, can seem to stand out. At the same time, it seems, for me, more flexible, more open to shaping through the choice of mouthpiece and reed than any other member of the family. Between that and the real challenges it presents, I find it perhaps the most intriguing member of the family . . .

at least until I pick up my tenor, or C Mel, or alto, or . . . . :dazed:

[bruce bailey]

About 30 years ago I had a Conn Chu curved that gurggled on the low notes. I was having Ben Herrod at Link make me some tenor Mpcs and he sold me a 5* for the soprano and the problem went away. I think that the problem with these oldies is finding the right chamber in relation to the side rail dishing to set up the proper waves. Now if I could only find a C soprano mpc for the nice Conn I have, life would be great.