Looking for a gruff tone

[Maninthealley]

Hello, everyone! I've been playing alto sax for three years, and started playing tenor about a year ago (A Keilwerth Black nickel) . I've got a nice otto link 6 on it right now, which is pretty versatile, but I'm really looking for a new mouthpiece that'll give a raspy, gruff tone to my playing. I've been told that a metal mouthpiece would help give me that tone, but I'm pretty lacking in knowledge on this subject. The kind of sound I'm looking for is really shown by a player named Skerik - he's played with a number of bands (check him out - he's great!). I think he uses a lot of growling to accentuate the gruffness of his style. I was hoping that you knowledgeable folks could give me any suggestions on what kind of mouthpiece I'm looking for. And, in addition to any models you give me, a possible link to a soundclip on a site would be really great! Thank you!

[JL]

It's not really the mpc. This is a sound you get by "growling." Look it up with the search feature. You'll find a lot of tips on how to do it.

[dirty]

Skerik is one of my favorite players and has been since shortly after I started playing. He has a great sound, which I think sounds like a medium-height step baffle. Right now, I'm playing a Berg 110/2 on a Yamaha 62 tenor, which gives me a nice, bright, fat sound that might be something like what you're looking for. I'm getting my Link refaced, and hopefully that will become my main mouthpiece, but I'm keeping the Berg for those times when I want that sound!

But yeah, I think a medium-size step baffle with a medium-ish chamber would be about right. But, of course, I can't tell you what you're going to like. Try a few and pick the one you like the most. Hell, your Link might be pretty good for that, too.

[gary]

I have a Berg (tenor, but maybe there's a parallel) and in contrast with the Link I play, the Berg has a sandpaper-ish quality to it that the Link does not. As mentioned above, you might want to give one a try.

[vick]

you can do anything on a link. try a harder and brighter cut of reed and read how to growl. If the sound's in your head it just takes practice to get it out of your horn.

[dirty]

I got my Link back from the refacer, and it can get pretty gritty. I would try a brighter reed to liven up the sound of that Link. I'm liking Superial #2.5, but they feel a little bit on the soft side.

[ismail]

hmm cannonball adderley has a very raw tone sometimes, but without growling.
its not only the setup, but also the attitude you have while blowing. can change the tone significantly.

[Captain Beeflat]

All good advice...also try Plasticover reeds & be aware that Plas Johnson (& others) uses baritone reeds on tenor........being more flexible over a greater length it is not difficult for your trnor to sound like a kazoo.
I would suggest that the real trick is not to over-do special effects, otherwise it becomes just the norm...

[JL]

.being more flexible over a greater length it is not difficult for your trnor to sound like a kazoo.
I would suggest that the real trick is not to over-do special effects, otherwise it becomes just the norm...

That's definitely good advice! And yes, there are other ways to get some grit in the sound than growling. For a more subtle but effective effect, play some notes in the upper register without the octave key, and/or use the lower note fingering for Bb, B, C, & C# but lip them up an octave. Generally with the latter effect, you'll alternate between the second register fingering and lower register fingering to offset the two different sounds against each other.

But heed Beeflat's advice. All these types of effects, growl, flutter tongue, alternate fingerings, can become very tiresome and lose their effect if overused. To some extent, their impact is inversely proportional to how much they are used. Same with altissimo.

[ismail]

That's definitely good advice! And yes, there are other ways to get some grit in the sound than growling. For a more subtle but effective effect, play some notes in the upper register without the octave key, and/or use the lower note fingering for Bb, B, C, & C# but lip them up an octave. Generally with the latter effect, you'll alternate between the second register fingering and lower register fingering to offset the two different sounds against each other.

But heed Beeflat's advice. All these types of effects, growl, flutter tongue, alternate fingerings, can become very tiresome and lose their effect if overused. To some extent, their impact is inversely proportional to how much they are used. Same with altissimo.

talking about skerik...

i´m sure he uses a LOT of different techniques. he has developed a style that sounds effectful but still fluid and listenable, not like some annoying permanent growlers.
When I listen to skerik, I get the impression that his playing and sound is maybe 10% equipment. rest is technique. hes just very original but always controlled with both embouchure and fingers. sounds dirty and eruptive, but accurate.
I´ve never read about the techniques he uses, but I guess JL has just mentioned the most valuable ones. he surely plays without octave key sometimes and just as surely plays the low notes one octave up (and uses overtones in general). so, to get real, long-term satisfaction, i guess working on those things would do MUCH more good than buying a harsher mouthpiece.
by the way, if I had to guess, I´d say that skerik uses a rather conventional, warm sounding mouthpiece...just listen to the slower pieces with him.

bye

[Neil Sharpe]

Here's the link for the flutter and growl effects.
http://www.saxontheweb.net/Rock_n_Roll/FlutterTongue.html

[blackfrancis]

Keep the Link and listen to some Coleman Hawkins. The Godfather of Gruff.

[EZ]

Grow a long beard and take some of it into your mouth when you play. :D