Truetones and jazz?

[kaplac]

Hey everyone,

I know everyone says Truetones are nice for classical sax. But what about the other side of the sax?

How well do you guys think the true tones pull off a nitty gritty blues/jazz sax sound?

I know all the subjectivity among saxaophoens and how much they do for differnet people. But for you personally, Do you think a true tone can do well among a sea of jazz players with their super 20s and Mark VI's?

[princeganon]

every true tone i've played has sounded quite different. i used to own a c melody that had one of the grittiest honking sounds i've ever heard. The lower register sounded like a bari. my current TT alto sounds very classical, but could easily be used for jazz, though i'd say a VI or a S20 would be better if you're leaning towards the bluesier, more rockin' side of jazz.

so, i guess my advice is try a few and see what you think.

[kaplac]

Yeah, my problem is that I'm not in a position to test out saxes since I live in a town with small selection.

But if I bought a TT off ebay cheap and I didn't like it could I make some decent money off of it to get a different sax?

[Dave Dolson]

Sidney Bechet played a TT soprano.

I do not believe that a certain brand of saxophone is required or desirable to play a certain type of music. Show me a well set-up saxophone that has good intonation and I'll bet that it can play any kind of music one wants to push through it. That includes TT's.

To claim otherwise is silly. DAVE

[princeganon]

Show me a well set-up saxophone that has good intonation and I'll bet that it can play any kind of music one wants to push through it. That includes TT's.

To claim otherwise is silly. DAVE

yes that's true, but it doesn't mean that some aren't better suited for certain types of tones than others. If not we'd all be content with student horns. if you plan to primarily play rock or blues, it doesn't make sense to buy a TT. It's certainly capable of playing those types of music, but there are better options.

I can run in dress shoes, but if I plan on doing a lot of running, maybe i should buy some running shoes.

[saintsday]

Do you think a true tone can do well among a sea of jazz players with their super 20s and Mark VI's?


Yes.

[kaplac]

Ok, I knew this kinda thing would start up when I made this thread.

But I get the genral consensus now. The true tone can do it, there are jsut better suited candidates for rougher more raw sounds used in blues and rock. But I figure the TT can provide a pretty sophisticated sound for a jazz player.

Thats really all I needed to know. Thanks guys!

[Grumps]

How well do you guys think the true tones pull off a nitty gritty blues/jazz sax sound?
That's what I use my alto for; rock and funk as well.

[ToreH]

You may have to use a mouthpiece with some extra edge, but then it works great.

My son is leading a funk-jazz-rock band with a TTalto and a Runyon XL 7 and has no problems in parking the rest of the band with his combo.

[super20dan]

i some times use my true tone alto in my r&b band using a dukoff!

[Dave Dolson]

Prince: Nonsense. DAVE

[JL]

if you plan to primarily play rock or blues, it doesn't make sense to buy a TT. It's certainly capable of playing those types of music, but there are better options.

This is NOT true at all. The TT altos are very flexible horns, capable of a wide dynamic range (more than most modern altos). They have a great blues sound.

Now, imo, if you want to play rock or blues, get a tenor. I'm not saying an alto won't do it (look at Dave Sanborn, Maceo Parker, etc), just that the tenor seems better suited to that style. But if you go with an alto, the TT will do the job if YOU can do it.

[princeganon]

Prince: Nonsense. DAVE

wow, what an brilliant argument. If all horns are equally suited to all types of music, why is it that I've never seen classical guys playing super 20s?

Yes, a TT can play any kind of music, but given the same mouthpiece setup and player, the average s20 is going to have a grittier sound than the average TT. That's all I'm saying.

[princeganon]

But if you go with an alto, the TT will do the job if YOU can do it.

I never said that it couldn't. I agree that the TT is a very flexible horn, but if you don't need flexibility, and only want that gritty type of tone, the TT is certainly capable, but other horns are better suited to that particular type of tone.

[SephirothTNH]

why is it that I've never seen classical guys playing super 20s?

Preconceived notions?

[Migraine777]

I'm a classical nerd, and I'd love to own a Super 20, or moreso, a Silversonic....sad to say, I own 6 saxophones, all vintage, most recent built is my 305xxx buescher, but I have never...played a King saxophone. I'm missing out! Someone send me your Silversonic, let me wail on that sucker for a while and I'll send it back with some cookies or something for your troubles...=P

- Pat

[knighttrain]

My TT Alto does Rock as well as or better than my other altos. You just have to use a mouthpiece appropriate to the horn and music. I use a Runyon Delrin XL - my Quantum works just as well - other rock pieces work almost as well.

[fred12]

True tones were built in the twenties for the music people were playing at that time. This era is commonly known as the "Jazz Age". Duh.

My TT (obtained after recommendations of certain SOTW distinguished contributors) plays whatever I want it to, within my admittedly limited ability.

[Hornlip]

True tones were built in the twenties for the music people were playing at that time. This era is commonly known as the "Jazz Age". Duh.

Bwaa!!

I've found that the True-Tones will dirty up nicely if you drive them a little. They're a darker-toned horn -- with a lot of thick "guts" in there. You can bring it out.

[Pinnman]

I and two friends have TT altos, quite unusual to have so many so close together in England. We all make some very jazzy sounds on these and, with careful technique, some decent classical sounds too.

[silvin]

What do you exactly call a True Tone? Does this include Aristocrat series ?
What do you think about this (http://silvinsax.free.fr/Blues%20en%20do.mp3) ? Does this sound classical?

[Dave Dolson]

Prince: What makes you think I have to argue with you? I stated my position in my first post . . . and it appears that all subesequent posts (except yours) corroborate what I wrote.

Saxophones are saxophones, nothing more - nothing less. They will play what one wants to play. That you haven't seen a certain model played in a certain type of music means nothing.

I'll add that you seem to be perpetuating more saxophone myths with your posts. I urge you NOT to buy into all the malarky one hears and reads about saxophones and do some critical thinking for yourself. DAVE

[Dave Dolson]

Silvin: The 1920's Buescher saxophones were called True-Tones and they had a little tuning-fork/triangle/bell logo with "True-Tone" in block letters running through the logo. They were True-Tone models. This was also true of their clarinets. I have four TT saxophones and an Albert System clarinet that I just examined. Each one is as I described them.

Later Bueschers don't have the tuning-fork etc. logo, but they stamped "True Tone" in script underneath "Buescher" on the backs of the horns. These markings are on my Big B and TH&C altos.

So, I am assuming that after the model True-Tone, when Buescher introduced the Aristocrat line and later Buescher 400 (TH&C), they kept the sub-name of True Tone, but did not identify the indiviual models as such. DAVE

[oldbluesman]

I play a 1924 Buescher TT tenor. Just fibnished my regular gig playing the sax. We play jazz, blues, country, pop, etc. I have no problem with my TT playing any type of music.

[princeganon]

Prince: What makes you think I have to argue with you? I stated my position in my first post . . . and it appears that all subesequent posts (except yours) corroborate what I wrote.

Saxophones are saxophones, nothing more - nothing less. They will play what one wants to play. That you haven't seen a certain model played in a certain type of music means nothing.

I'll add that you seem to be perpetuating more saxophone myths with your posts. I urge you NOT to buy into all the malarky one hears and reads about saxophones and do some critical thinking for yourself. DAVE

I'm sorry but not all saxophones are created equal. I'll agree that the sax makes a lot less difference than the player or the mouthpiece, but it can make a difference, and this thread is not about players or mouthpieces. Why don't we just close all of the saxophone related sub-forums and replace them with a notice that says "Saxophones are saxophones, nothing more - nothing less. They will play what one wants to play."

Every TT i've played with the exception of the C Melody I mentioned (and I've played quite a few, mostly altos) tends to lean towards the darker, and more focused side. If I put a high baffled piece on there, will it get bright? of course it will. but it won't be as bright and spread as a king with the same mouthpiece. Do you disagree that changes in bore geometry cause changes in timbre???

And I'm not trying to perpetuate any myths. What I've said is based on my own experiences playing these saxophones. I've tried to get a classical tone out of my s20, and I can. I can also get a better one out of my TT. I guess that must just be in my head though.

I think some people are misinterpreting what i'm saying. Nowhere have I said that a TT isn't capable of producing a great jazz tone.

just out of curiousity, what type of horn do you play? It must be a student model, since I don't see how you could possibly justify spending more money on a pro horn when they're all the same.

[Grumps]

My boy has a pro model Zephyr alto equipped with Noyeks that has this great modern ring to it. Can't quite get it to scream like my TT though; and to my ear there's nowhere near the full flavored depth to lather a ballad with... So yeah, some horns are meant for certain things. No such boundaries upon a True Tone alto however.

[Bootman]

Every S20 I have played or owned has had less dynamic range, tone colour and flexibility than my Buescher Aristocrats. The best Truetone I owned was a gold plate 246K alto (rich, resonant and would honk with anything). My aristocrats work in any style of music I care to play them in, Blues, Fusion, Rock, Jazz, Classical, Concert Band, sax quartet etc.....

I prefer Martin saxes for Blues or Contemporary work because they split notes a t low volume better than any other make of sax. The Conns are great for old time Rock/ Blues or Jazz. Bueschers are fantastic for swing jazz playing, big band work as well as the more modern setting. The Buescher aristocrat series I is the loudest horn I have ever found and the altos make exceptional lead horns for a big band section. They also have the best altissimo of any model of sax, no stuffy middle D (tenor) and the most precise keywork.

I used a Buescher aristocrat tenor for all playing for many years, it is what led me down of vintage saxes many years ago.

The main piece of advice is get a late true tone, series I aristocrat or split bell aristocrat sax, make certain that it has all the snap ins with metal backed pads, play it, use it on gigs and see what happens. You will be very, very pleasantly surprised. These are Rolls Royce model saxes and were built better and stronger than the other models. You wont be disappointed owning a Buescher sax.

[Dave Dolson]

Prince: True, all saxophones are not created equally. That is why I have so many - I prefer some over others but they all play well. I wanted them and could afford them, so I bought them.

All of the various threads are necessary, even if my claim that a saxophone is a saxophone (etc.) is true (as many here see it). Many readers need to be exposed to the myths surrounding saxophones.

The issue was the ability of a TT to play certain kinds of music - and I think that has been proven here by the numerous posts telling about how posters' TT's have been used. If anyone could only own ONE saxophone, a TT would serve them well (but so would any good saxophone).

Your basic flaw is assuming that because of your limited experiences, what you experienced must be true of all similar brands and models. I don't think your assumptions are accurate.

All saxophones vary, even among similar models. To claim that TTs provide a dark or focused tone is inaccurate, in my opinion. They will give what the player gives it. But I repeat - once a saxophone has been proven to be a player, then it will work anywhere.

Do I think bore geometry causes changes in timbre? Yes, but so do a whole bunch of factors difficult to isolate. Are you claiming that a TT has some bore characteristics that makes it less able to play certain music? (Or more suited for certain types of music?) I seriously doubt that you could listen to a recording or live performance and tell anyone what model of saxophone was used.

When I test a saxophone, I look at its feel, tone, intonation, and response. I don't give a thought to so-called bore size or design. Does the horn play well for me? That is all that counts.

What type of a saxophone do I play? "Must be a student model". Right . . .

Let me list for you the saxophones in my closet and this doesn't include all the models that have passed through my hands in 50 years of playing saxophones -

SOPRANO

Buescher TT, 1928
Buescher TT 1928
Yanagisawa S992
Yanagisawa SC902
Antigua 590LQ
Kustom (Antigua, probably) MKVI clone

ALTO

Buescher TT early 1920's
Buescher Aristocrat Big B
Buescher 400 TH&C
Selmer Cigar Cutter 1932
Selmer MKVI (early 1960's)
Selmer Reference 54
B&S Medusa

C-MELODY

Buescher TT early 1920's

TENOR

Kessler Custom

You need to come up with some empirical evidence to change MY mind - and it appears the minds of many others around here. DAVE

[princeganon]

Your basic flaw is assuming that because of your limited experiences, what you experienced must be true of all similar brands and models. I don't think your assumptions are accurate.

First of all, I don't understand what makes your limited experience more valuable or accurate than my limited experience. And yes, of course there are vast differences between like models. I mentioned that in my very first post. I told the OP that he should try out some TTs for himself since they can be vastly different.

And I agree with most of what you say. The TT is indeed a good choice if you can only buy one saxophone. I'm not advocating shopping for saxophones based on bore geometry. My point was that the TT and the Super20 sound different, and that the fact that they have very different bore geometry could be one of the causes. If you find the TT to be equal to the Super20 in grittier blues & rock type tone, then fine. It's totally subjective. I don't. I've never been able to achieve that big meaty King tone (and I've played a lot of kings) on a TT (and I've played a lot of TTs.) I can come close, but it's just not quite there for me, and with a King it seems to just want to come out naturally. Maybe the rest of the people on this thread feel the same as you do, but I know for a fact I'm not the only one with this opinion.

[Bootman]

To be precise, the grittier dirty blues sound can be achieved on any sax. It is made by overdriving your sound and adding a slight growl from your throat, basically blowing the **** out of sax and having it play on the edge of splitting the tone. A big mpc and big reed usually help you achieve this, it also takes a tremendous amount of air to get this working. Adding slap tongue, pops and whoops will allow you to get a good take on the Blues/ Rock sax sound.

The older Rock bands would often use a Buescher with a Brilhardt and a plastic reed.

[Dave Dolson]

"First of all, I don't understand what makes your limited experience more valuable or accurate than my limited experience."

Only about 40 more years of doing it. And, common sense coupled with a distrust of marketing types (yes, even those from the Saxophone Age). I woke up one day about what is fact and what is myth - and you will, too.

"My point was that the TT and the Super20 sound different, and that the fact that they have very different bore geometry could be one of the causes."

They do? How do you know that (sound AND bore geometry)? Can you look down the bells and the necks and see perceptable differences? Have you measured them at every internal inch of the body and charted out the shapes? Have you blind-tested many examples of those two horns . . . or better yet, listened blind to hundreds of those saxophones played by the same player with the same mouthpiece and reed? Can you cite an objective study verifying these assertions?

Recently a poster claimed something about bore sizes and I happen to have horns from each era mentioned. I could not measure them internally, but I measured the outside of three altos (from the 1920's, the 1940's, and a modern alto). Guess what? They all measured the same at three similar points on the body.

Prince, this is taking on the silliness of the finishes-effect-sound posts. You are writing about myths - stories bandied about in music shops by youngsters who don't know except what they've been told by someone else who doesn't know. This is like gun-store commandos trying to tell real cops about how guns work and arrests are made; like readers of Car & Driver trying to tell design engineers what is best for their cars.

Don't believe the marketing hype - and don't believe the common thought. DAVE

[coolsax2k7]

I almost bought a nice silver plated TT alto once. I must have playtested it with the mpc that came with it at the time... I was primarily a tenor player then. I held onto it for a week or two, but I never really found it free-blowing enough for me. It was resonant and focused, but a little resistant. When I tried a New Aristocrat though it was one of the sweetest saxes I ever played. I was able to get a very cool swing-jazz type of sound out of this one, although it too was slightly resistant. But my later Buescher Big B tenor is free and easy-blowing, and flexible as far as playing jazz, rock, and blues is concerned.

That was my experience but I know there are some jazz professionals today who still use truetones (doesn't authur blythe?)

[Little Sax]

This is like gun-store commandos trying to tell real cops about how guns work and arrests are made[...]

Dave I agree with you regarding the saxophones, but this is a bad analogy. I have plenty of police officers (and federal agents) in my extended family tree. Trust me when I tell you there are a lot of very gun savvy officers out there, but there are also plenty that know just enough about guns to know where to put the bullets...

[Dave Dolson]

Little Sax: I don't have to trust you about SOME cops not knowing which end to put the bullets. I know that - I was one for nearly 30 years - and two members of my family still are. We know where the bullets go. But that's why I said "real" cops . . . arm-chair commandos are a different story. I thought the analogy was quite good!! DAVE

[Little Sax]

Little Sax: I don't have to trust you about SOME cops not knowing which end to put the bullets. I know that - I was one for nearly 30 years - and two members of my family still are. We know where the bullets go. But that's why I said "real" cops . . . arm-chair commandos are a different story. I thought the analogy was quite good!! DAVE

Fair enough.

[Pinnman]

Little Sax, Did you know that Dave was a cop too?!

[Little Sax]

Little Sax, Did you know that Dave was a cop too?!

I would have no reason to have known that.

[princeganon]

Only about 40 more years of doing it. And, common sense coupled with a distrust of marketing types (yes, even those from the Saxophone Age). I woke up one day about what is fact and what is myth - and you will, too.

"My point was that the TT and the Super20 sound different, and that the fact that they have very different bore geometry could be one of the causes."

They do? How do you know that (sound AND bore geometry)? Can you look down the bells and the necks and see perceptable differences? Have you measured them at every internal inch of the body and charted out the shapes? Have you blind-tested many examples of those two horns . . . or better yet, listened blind to hundreds of those saxophones played by the same player with the same mouthpiece and reed? Can you cite an objective study verifying these assertions?

I haven't measured them at every inch of the body, but I have measured them at a few places and there were differences. That's really beside the point though, I don't understand why am expected to provide full documentation and links to objective studies to qualify my opinion, when you do no such thing to qualify yours.

You are older than me. Congratulations. I guess that means you'll always be right and I'll always be wrong. Nevermind the fact that you have absolutely no clue about my experiences as a saxophonist, or how many TTs or s20s I've played. You assume a whole lot, and expect people who disagree with you to make no assumptions, but to provide you with proof of everything they say. And frankly, I find the insinuation that I am not a "real" saxophonist pretty insulting.

Believe me I'm not one to easily buy into myth. I don't believe that the Mark VI is the best horn out there. I don't believe that finishes make any difference. My beliefs have nothing to do with any marketing hype.

[Dave Dolson]

Let's review . . . the original post alluded to the myth about TTs not being suitable for hard-edged music. You, Prince, posted a message that I agreed with, in principle.

My first post was only to point out to the original poster that the first jazz saxophonist (Bechet) used a TT and that the myths about certain saxophones being better for certain music was just that - a myth.

I believe it was YOU that came back and took me on. Prove it up.

Oh, and whatever insult you perceived was not directed at you. I don't care how much saxophone you've played or if you are real or not. DAVE

[princeganon]

Let's review . . . the original post alluded to the myth about TTs not being suitable for hard-edged music. You, Prince, posted a message that I agreed with, in principle.

My first post was only to point out to the original poster that the first jazz saxophonist (Bechet) used a TT and that the myths about certain saxophones being better for certain music was just that - a myth.

I believe it was YOU that came back and took me on. Prove it up.

Oh, and whatever insult you perceived was not directed at you. I don't care how much saxophone you've played or if you are real or not. DAVE

I took you on? I didn't even disagree with anything in your post. I added to what you said, and obviously you disagree with what I added. You then replied with "nonsense". It was YOU who didn't provide any back up, but instead felt the need to point out how much more experienced you are than I am, when in fact you have absolutely no idea who I am or anything about me.

We have different opinions. fine. there's nothing wrong with that. I just don't see why wer're supposed to accept everything you say as the gospel while I'm expected to have a ridiculous ammount of data to back up what I say. None of us here have performed the kind of case studies you suggested,so all we have is our own experiences. And I'm sorry, but my experiences are no less valid than yours.

[super20dan]

dave -you still have the kustom?

[JL]

You know, Super 20s, Conns, Bueschers, Martins, all have more similarities than differences, imo. They are all flexible, can moan softly or scream. The real demarcation that I've noticed is between these older American horns and the newer Selmer clones like Yamaha, Yani, etc. Even there the difference is subtle, but definitely noticeable. For a short time, I had a Buescher TT alto, a series one Aristocrat alto, and a Yamaha Custom. They all sounded good and could play any type of music, assuming the player could. The Yamaha was noticeably different. It was much less "malleable" and less bluesy sounding (yes this is subjective). I played all three for my wife. She said the Yamaha sounded like a marching band instrument and the Bueschers sounded much more soulful: (her terms, as a listener). She preferred the TT by a wide margin. So did I and I sold the other two. Now, I'm primarily a tenor player, so take what I say for what it's worth. But to answer the original question. YES a TT is a great choice for blues/jazz.

[fred12]

JL as another TT owner could you tell us what your setup is? Thanks.

[Dave Dolson]

Super20dan: Thanks for asking . . . Yes, I still have the Kustom.

I have nothing more to add to this thread. DAVE

[JL]

JL as another TT owner could you tell us what your setup is? Thanks.

I mostly use an Otto Link tone edge (7) and sometimes a Jody Jazz 9, with V16 2.5 reeds. Both mpcs sound good but the Link has more body. As I said, I rarely play alto these days (I much prefer tenor), otherwise I'd probably order an RPC. The RPC is a fantastic match on my Buescher tenors as well as the MKVI.

[superbaguy]

I didn't see anyone mention Arthur Blythe playing his TT alto. Also, there was an older cat...I think the name was Benny Waters that had a fine jazz alto sound.

[mhoyoux]

I didn't see anyone mention Arthur Blythe playing his TT alto. Also, there was an older cat...I think the name was Benny Waters that had a fine jazz alto sound.

If you look clearly back to the CDs of Mr BLYTHE "live at vanguard" and inside the cover, this a BUESCHER New aristocrat with lacquer and split bell key orientation...

Max.

[JL]

If you look clearly back to the CDs of Mr BLYTHE "live at vanguard" and inside the cover, this a BUESCHER New aristocrat with lacquer and split bell key orientation...

Max.

Is it possible to tell from a photo? The split bell keys is not definitive since both the TT and New Aristocrat have split bell keys.

[zxcvbnm]

I doubt it's a New Aristocrat because I've seen the pinky spatula and it does not have the horizontal low Bb.

[Dog Pants]

As entertaining as this little sideshow is.......it has degenerated from debate, to urinating contest.

Prince,
you did challenge Dave's post. No harm in doing so, so long as you defer to age and experience when you're outgunned.

Dave,
Prince agrees with most everything you say, and his only realfault was in making sweeping generalisations. We're all prone to that at times. So no need to put the boot in, your credentials are not in dispute here and you've been here long enough to know better than to waste your time with these kind of arguments.

Forgive, forget, move on.

FWIW, I play an Aristocrat. I get chided by Bootman for throwing Eddie Vinson licks into just about everything I play. The Aristocrat plays blues alto just fine. I have a choice of several altos and if I really wanted to change, Bootman has dozens more for me to play. The Aristocrat does the job for everything I need it to do. Blues, Big Band, teaching. Great horns and built tough too.

Now, onto more important things.....can anybody help me pick the winners in the footy this weekend? My son is kicking my butt in the tipping comp and we're only up to round 2. This could be embarrassing....and expensive. :D:(:evil:

[lobe67]

wow, what an brilliant argument. If all horns are equally suited to all types of music, why is it that I've never seen classical guys playing super 20s?.

probably because
1) that have bad intonation compare to the buescher
2) They're dynamic is "on off" type , if you see would i mean... always on the shouting side

On the contrary, Bueschers are flexible and their timbre changes a lot with the way you play . From Rascher to Shorter it 's up to you...

Laurent

[mhoyoux]

I doubt it's a New Aristocrat because I've seen the pinky spatula and it does not have the horizontal low Bb.


If you look closely to Mr BLYTHE's horn, you can see the bell key guard (Low B) not as "simple design" like this :



But with more "refined" like this :



Believe me : I have scanned the back of the CD cover and you can easily see it !!

Max.

[luispa]

True Tones also have this brace but usually they're removed. Here're 2 pictures of Arthur Blythe:






The high E side key tells me True Tone.

[mhoyoux]

His TRUETONE : "serie IV" not an early... On the several photosI've owned of Mr BLYTHE, it seems that's a lacquered TT ?

[luispa]

JL as another TT owner could you tell us what your setup is? Thanks.

Alto:
- Gold Plated TT 164XXX + Vintage Berg Larsen 85 2/M or JJ ESP 7 + Hahn #2.5

Tenor:
- Gold Plated TT 164XXX or Silver Plated 205XXX + Rovner Deep V 6L 30D or refaced Otto Link STM 7 or Vandoren V16 T77 or SR Tech Pro or SR Tech Fusion 115 + Hahn #2.5 or #3 depending on the mouthpiece.

Soprano:
- Curved Lyon & Healy (TT Stencil) + Selmer E (Metal) + Hahn #3

[John_Dikeman]

I'll post this again...
http://www.youtube.com/watch?v=XU_eKFPsdaY

Or this with Sir Roland Hanna
http://www.youtube.com/watch?v=XHYMLH1f_80&feature=related

Maybe someone can tell what horn it is. Otherwise, maybe we can listen and be happy about that! ;)

[JL]

Alto:
- Gold Plated TT 164XXX + Vintage Berg Larsen 85 2/M or JJ ESP 7 + Hahn #2.5

Tenor:
- Gold Plated TT 164XXX or Silver Plated 205XXX + Rovner Deep V 6L 30D or refaced Otto Link STM 7 or Vandoren V16 T77 or SR Tech Pro or SR Tech Fusion 115 + Hahn #2.5 or #3 depending on the mouthpiece.

Soprano:
- Curved Lyon & Healy (TT Stencil) + Selmer E (Metal) + Hahn #3

Just to be clear: That's luispa's set ups, not mine.

[luispa]

Just to be clear: That's luispa's set ups, not mine.

Yes, that's my setup. I'm sorry for any confusion.

[luispa]

I'll post this again...
http://www.youtube.com/watch?v=XU_eKFPsdaY

Hard to see in this video.


Or this with Sir Roland Hanna
http://www.youtube.com/watch?v=XHYMLH1f_80&feature=related

Look at the high E side key (3:38) it seems to be plain like if it were a TT. Also take a look at the pinky finger keys (4:02), it looks more like a TT than an Aristo.