BBQ Tenor prototype impressions

[connman]

THE FOLLOWING IS A LETTER SENT 10/27 TO CHARLIE A. AFTER TESTING THE BBQ TENOR PROTOTYPE. Hi,Charlie. I just sent back your proto of the BBQ,although I was very reluctant to part with it!Man, that thing wails! I played it against several of my more powerful pieces on two different tenor horns to test its effect, so here goes. I played it against a Berg .110/1, .110/0, Runyon Delrin Quantum, and Runyon metal smoothbore. First, the BBQ had more volume than any of the other pieces, yet I was shocked at how easy it was to play. There was no problem with low notes or altissimo, and there were no dead spots in the area of middle D as with alot of pieces. The sound was very powerful, yet had plenty of "fat", unlike the Smoothbore which has good highs but is very thin sounding. It sounds more like a superb Berg without any of the problems normally associated with Bergs. Perhaps because of the material, it is much more resonant than an SS Berg, and brighter than the HR Bergs. It has a rich brightness that is lacking in the Quantum and better volume as well. By the way, all the pieces I tested it against are excellent players that were set up by Jon Van Wie with the exception of the Smoothbore. I liked the fact that the BBQ seemed to be pretty reed-friendly and that the piece was wide enough so that the reed width did not exceed the width of the mpc. Since I double on alto, I thought that the duckbill shape might be a problem, but it wasn't at all. There were no squeaks which I have encountered with various Dukoffs that I have play tested numerous times. Also,although I have "spoilers" for the Quantum and Smoothbore, I don't use them because they make low notes difficult. However, the spoiler included with the BBQ worked flawlessly and gave the piece even more volume and a real "gritty" sound that would work well for blues, classic soul, funk, and R&B. It was interesting too that you can play easily at lower volumes for a nice full ballad as well as roaring, ripping funk. I would be curious to know what you used for a basis of this proto. The outward shape looks like an old Berg duckbill, but the interior baffle looks like something else. You might consider offering it in both a duckbill and a more traditional scoop. All in all, this is a monster player! Thanks for the chance to test the mpc. Regards, SKIP HEINZ. P.S. Testing was done on mint Selmer SBA and King Zephyr tenors.

[Helen]

I just had the opportunity to play-test Charlie's new BBQ m/p for a couple of days. Here is my review that I sent to him:

Charlie,

I found this 7 to be really easy to play. The duckbill design was a very natural embouchure feel for me, and didn’t require any adjustment time on my part. It has a huge, even sound across the full range of the horn at higher volume levels, and the sound doesn’t “break” when it is pushed, like the Bergs are prone to do. I found that it had an even scale throughout, and all the notes that tend to be a bit fuzzy, like D2 and A2, were as clean sounding as the rest. Intonation was perfect over the full range of the horn. The altissimo range was easier than on my Dukoffs. I just heard the note, and it played, with no thought to my tongue position, or embouchure tension. The notes were just “there”. Fork F and E just jumped out as well, with virtually no sound difference between them and their palm key counter-parts. I’ve never hit G3 with such ease!

There were 2 things that I noticed, but I’m not sure if they are me, my horns, my reed, (or any of the other variables) or the piece itself:

When playing quieter, there was a very “airy” sound which, although I did not play it through a mike, I would suspect would be very noticeable when amplified.

The piece is not as “rich” or “lush” in tone as my Dukoff in the lower end of the horn. Subtones, perhaps due to the “airy” sound I described, tended to be thinner sounding than on the Dukoff.

I’m wondering, could the piece be designed for a richer sound in the bottom end at lower levels, without compromising the brightness and “edge” over the rest of the range? As it is right now, for the kind of music I play (electric blues, r&r, r&b, and soul) this is the perfect piece since I generally play at 2 volume levels: loud and louder. I would see it fitting in really well with the sound of the electric guitar that I always play with. I did prefer the sound of the BBQ on the Martin a little more than on my Selmer, but I suspect that has to do with the star resos. rather than with the horn itself.

For what it’s worth, here are the horns I used:

Martin Handcraft; silver-plated; original neck; Fibracell 2 ½ tenor reed; Selmer style pads with plastic resonators.

Selmer Mark VI 198XXX; Unison replacement neck; Fibracell 2 ½ tenor reed; Selmer style pads with star, crinkle, or Noyak resonators (whatever you like to call them).

Charlie, this is a great m/p! I love it. I’d be very interested in buying one. Let me know when they are available.…

Take care...helen

[kcp]

I’ve also play-tested Charlie A’s BBQ prototype. As this seems to be the fashion, I’d like to share my impressions about the mouthpiece:

Hello Charlie,

Again, thanks for letting me try the BBQ, it’s a nice mouthpiece you got there! So far, here are my first impressions about it:

Reviews on BBQ mouthpiece prototype (size #9, tenor):
The mouthpiece blows very easy, shows no resistance and has a nice bright sound. I’m a bright sound fan, that’s what I look for in all my mouthpieces. The middle and higher range sound what I would describe as “sweet”, although the higher range has a tendency to be a little sharp - Mind-you, maybe that is just me. I noticed that you sent me a #9 instead of a #8 like you were supposed to. If these are comparable to Runyon sizes, although there isn’t very much difference between a #8 and 9, it could be that I’m just not used to play on a slightly bigger mouthpiece… Give me some time to get used to it.

The sub-tones are coming-out nice and mellow throughout the entire range of the horn. The projection is great, better than the Quantum’s I’d say. Too bad the weather is a bit too cold these days to be playing a metal mouthpiece outside. Or I would go try-out this mouthpiece on the streets to see how it competes against traffic noises. But I’m pretty sure the BBQ would make it’s self heard without problems. If the weather warms-up next week, I promise I’ll go try it outside.

I find the BBQ sound similar to the Runyon Metal Quantum but with more bottom in the low range. One thing I really appreciate is that with the spoiler in, the sound doesn’t get too edgy - That’s what I hated about the Quantum (not bright enough without spoiler, bright enough but too edgy w/spoiler) The BBQ has just the right dosage IMO.

I don’t know about the other prototypes that were sent for trials but one thing I didn’t like about the one I got is that I found it difficult to play punches in the lower range of the horn; the sound didn’t always come-out clearly. This problem doesn’t exist in the middle & high range – To make sure, I checked my sax for leaks and it didn’t have any. I tried the mouthpiece with my other tenor and found the same problem. Also, I played both saxes with the mouthpiece I usually use (Runyon Custom splr #8.) where no such problem existed.

Despite that, it’s a mouthpiece that I like and with time I think that I can get used to play it without flaws. I’ll give you more impressions later…

Take care
Kim

To this, Mr. Andrews commented the following:

…This piece as stated from day one is a piece designed for R & B, Rock and Roll, Soul, etc. The piece has a tremendous lower register but it takes a correct, not loosened, embouchure throughout the entire range. A lot of players, not saying you are included in this arena, have a tendency to loosen on the lower range on a lot of pieces. On this one a firm embouchure and strong wind support makes it respond greatly…

I have a tendency to loosen my embouchure in the lower register. I’ll be more careful about that in further trials.

…I think after you play with it a little bit you will see what I am talking about especially on the street where you are playing into the wide open world I believe that then you will see the true advantage of this piece and response in the lower register--maybe not!…

I didn’t have the chance yet to try the mouthpiece outside because of the weather here that’s been very cold lately. As I stated earlier, I do believe that the mouthpiece has potential in the outdoor. The temperature should get warmer next week, hopefully I’ll have the chance to give that a try.

I have a number of sax playing friends interested in trying-out the BBQ, so other reviews could be on their way.

[Bob M]

Charlie A. - What's the ETA for the BBQ? It sounds like a terrific mouthpiece for R&R tenor!

[Charlie A.]

Hi Bob!
Thanks for the inquiry about the BBQ. THINGS HAVE MOVED ALONG and I have decided to fully go ahead with the project. This is primarily due to the responses from those that have and are trying the prototypes.
I had a problem here as the most open tip openings that I had for review were about .103 on the Erik Brand scale. I found that the larger percentage of the players interested in this type piece wanted .110's to .130's.
I have some of these in the works now and will have some of the smaller tep openings as well. Due to the nature of this piece, it is a powerhouse, as stated by Greg Zobac of Canton, Il, a well schooled player, most of those that this piece will satisfy are players of "Power" but it has a nice "soft side as well".
If you will send me a personal e mail at charliea@watervalley.net I will explain more about the production. Each piece will be hand crafted for the individual player. I don't think that it will ever be a production mouthpiece as such.
Thanks and regards,
Charlie A.

[Mark R]

I met Charlie yesterday and got the chance to check out a couple of proto types of his new BBQ mouthpiece. In a word Delicious! I tried a .103 and .116 (I think it was a .116). Now realize I went with the intention of proving to myself that my current mouthpiece (SR Technologies Fusion) was the end all for a player like me that wants the power needed to gig with Rock and R&B groups but also like to have a full bodied tone without a lot of buzz.

My first impression was rather than something brand new it evolked a throwback to a sweet, soulful sound in the vein of guys like Dexter Gordon, Houston Person and Stanley Turrntine and early Johnny Griffin. The shape reminded me kinda of a Dukoff Hollywood or a Guardala without having the slight swell in the biteplate area that the Guardala has. Baffle was kinda high and long too. Usually high baffles are more of a short step thing. The fit/embousure was very comfortable and natural and felt like it allowed for my airstream placement to be most efficient.

Heck I think Charlie ought to reconsider naming it Charlie's Angel because it is shapley, sexy, smooth on the exterior but can kick major butt in addition to giving me a heavenly sound. On second thought BBQ is appropriate because the sonic pleasure I derived from playing on this mouthpiece was thick, meaty, juicy, flavorful with just the right amount of sizzle,spice and sweetness.

I was taken aback at the ease of command I had with this mouthpiece the moment I started playing it.....I was able to waltz all over the horn very smoothly and felt no dead zones in any of the ranges. A very versatile mouthpiece that had great huge power yet no problem in backing off it and playing whisper soft. The overtone series in my tone became more focused and thicker. It delivers plenty of edge for contemporary playing without the nasal tone or buzz that usually comes with a mouthpiece with this kind of projection potential.

I preferred the .103 but got the same results with a bit more struggle on the .116 and found the .116 a tad darker...still played with great ease considering most pieces I play on tenor are in the .110 range. I can see myself using this mouthpiece for any gig from hotel lobby tubby tone ballad duo/trio setting to flat out honkers and bar walker playing in a roadhouse. From tux to jeans and all things in between. Also it plays real nice, especially the high range when using the removable wedge spoiler. Now the ones that come with BBQ are a bit more contoured and look to be more custom finished than what would come with a Runyon mouthpiece......BTW just because Charlie sells Runyon mouthpieces do not mistake this BBQ to be similar to Runyons...it is a whole different animal.

I did my level best to get Charlie to part with the .103 but I couldn't get him to budge since it is the prototype. Like I stated before I went over with the idea that I was going to demonstrate to Charlie what I felt a good mouthpiece my SR Tech Fusion is for a guy like me that plays with casino and bar bands.....ie usually the only acoustic instrument in a electric setting and man oh man was I flabbergasted....I am sure Charlie was amused at my facial expression after playing the first few phrases on it. I swear for a player like me that consider the saxophone to be my voice and love good soul music. Not just Motown but the great Muscle Shoals, Stax, Atlantic type of sound and all that sweet soul music ala Memphis school Sam and Dave, Al Green, Clarence Carter, Staple Singers and the like this is the mouthpiece for this and really any other soul, neosoul, acid jazz, application. Not that ya' can't play jazz but honestly if you are after say a Joe Henderson, or slant/sig Link kinda vibe this is not the piece you are going to want. But if you play old soul classics, rock and modern stuff I think this is at least for me a super responsive piece that plays with great ease and for a guy like me that has to play 6 nights a week 5 and 6 sets a night this piece is like a smooth, smokey, slow cooked slab of beef that is tender and doesn't even require a knife to cut....just like the name implies BBQ.

Seriously I like this mouthpiece so much once I have one I plan to sell my other mouthpieces so I can finance buying another for back-up. Charlie the only thing I didn't like about this mouthpiece is that you didn't let me take it with me. I think you really have a great mouthpiece that I can imagine reflects the quality and care that use to go into pieces in the 50's vs what most modern pieces that are turned out these days. Great work Charlie.....super mouthpiece