Classical Sound with 6M

[gary]

Guys, I've got a 6M and I am looking to produce a very traditional French classical sound. In 1972-3 when I was studying sax at university, my ideal set up would've been (had I the money) a 60's Buffet with the 60's Selmer C* that I was playing.

I'm now playing a 1947 Conn 6M Lady Face. Considering much of sound is a consequence of non-mouthpiece factors (that's called a preemptive strike) what muthpiece would you recommend as a good complement to the 6M to get that 60's Buffett/C*/French sound? Thanks.

[paulwl]

Musically speaking, the 6M can be a very good classical alto. It has beautiful sonorousness, dynamic versatility, nice keyboard action, and altissimo is easy. The problem (and it would be a real one, if you were in a college program) is that it has no devotees in classical music. It is "typed" as a jazz horn.

This is going to affect educated listeners' perceptions, however much the sound satisfies you. Since you want to make a "very traditional" French sound, those listeners trained in the tradition are going to be very important to you in assessing how you're doing, and their tradition (any tradition) comes with prejudices, some of them dealing with equipment.

Conns have some following in the "German"/"American" or Rascher school of classical sax, but pretty much limited to tenors, baritones and basses. Their favorite alto and soprano are Bueschers, which are thought to be darker and more focused.

How does the French thing fit tonally with the 6M? Not too badly, I'd think, as long as they are willing to listen to the horn instead of just look at it. It's not essentially jazz-toned if you don't play and set it up that way. It's darker than the typical post-B-A Selmer, but it has very good brilliance in the upper range when you want it.

Speaking as a relative tourist in classical playing, I'd think a medium-dark vintage piece like a rubber Brilhart, or Selmer Soloist short-shank, would fit nicely with what you want to do. You could try any more or less classical piece on the market, but don't expect much out of the S80/S90 type square chambers (they tend to make the older horns erratic in tuning and response) or the ultra-big chambers like Caravans or Raschers (too dark to sound at all French).

A Morgan L(arge chamber) is also worth checking into - supposedly a large chambered jazz piece, but very good for straight ahead, medium color, pretty, big tone. I even know a few classical people using the L. Morgan also makes a C(lassical) chamber, but they tend to be darker than what we think of as French tone.

Hope the above helps. Bonne chance. :)