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  1. View Conversation
    Mr. Aldridge,

    I noticed you posted a while ago about a new aristocrat tenor you had, is it still for sale?

    Thanks,
    Andrew
  2. View Conversation
    Hello,Roger! As I know you have G.H.Huller sax. Please,advice me, (if you know how) where I can find information about my instrument (G.H.Huller too). I am interesting about it's "birthday" and about this manufacturer.
  3. For what it's worth, I tried smaller tip sizes on my c-melodies and I felt that I got the best results with a 6C. I liked the feeling of being able to put more air through the horn. Then, you can always make adjustments with your set up with different reed cuts and strengths to fine tune the resistance and tonal color.

    Good luck!
  4. View Conversation
    Well, I'm not sure that I "really love" a 5 on tenor, as opposed to a 6. It's just the one I've been using, and haven't tried a 6 in a while, and I think a little more open might be a good thing for me for tenor (slightly less restrictive, perhaps). Either way though, it seems like the c-mel being slightly smaller that using a 5 on it might be like using a 6 on tenor. Since you use a 6 on both maybe it would be smart for me to start with a 5....Anyway, I'll let you know what I think of the Aquilasax when I get to play it. Thanks again!
  5. Let me know how the Aquilaxax c-mel works for you. I'm not familiar with that brand.

    I tried a lot of experimentation with mouthpieces and I found that I got the best results with a 6 facing. However, if you really love a 5 on tenor it might make sense to try a 5 on c-mel.

    Sorry, I don't have any clips yet. Just the scores and leadsheets posted at the AMC. I'm looking forward to having some recordings.
  6. View Conversation
    Thank you again!

    Actually, I'm going to try out a modern (Aquilasax) c-mel on Friday to see how that goes. If it works, the whole modern ergonomics thing is pretty enticing.

    The point you make about the c-mel really being its own horn - yeah, personally that's what I find appealing. I've just never quite felt that the sound I hear in my head quite comes out on tenor or alto, so that's the cause of serious interest in a c-melody.

    Why do you recommend a 6 for the mouthpiece? I was thinking a 5, as that's what I've been using on tenor. Just curious.

    By the way, is there anywhere online that you have clips either of your compositions being played or of your own playing?

    Lukas
  7. I need to mention another thing....

    I highly recommend that you get as late of a model (serial number/year of production) as your budget allows. The 2 C Melodies I had were early horns -- 1919 and 1920. Both of them than intonation issues. I'd expect late 20's or early 30's horns to have better intonation. I'd also think that a Buescher C Melody would tend to have better intonation than a Conn...as a generalized statement. It usually comes down to the individual horn.

    Have you found a C Melody yet?
  8. The c-melody's tone color is between the tenor and alto.

    The Morgan mouthpiece has a darkish, round, clear sound with no buzz or edge.

    Yes, I would describe the c-melody has having more resistance than what we're used to on alto or tenor. Frankly, I don't think that it's going to be as loud as the other saxes. In large measure, the original concept of the c-melody was for it to be an orchestral (rather than band) instrument and it was often played at home with piano and other C instruments. The bore of the C melody is smaller than the other saxes. This is an extremely important point! The smaller bore of the C melody makes it rather like the french horn of the brass family. The C melody has a beautiful sound. To do the horn justice we need to approach it on its own terms as a unique saxophone and not try to turn it into a smaller tenor or a larger alto.

    I suggest that you get a Morgan in a 6 facing.
  9. View Conversation
    Hi again. Thank you for responding!

    So if you don't mind my asking a follow-up...

    I guess then the question is - if the C is somewhat brighter than the tenor, is it also somewhat darker than an alto?

    It might also be helpful to clarify exactly what I mean by bright; to me, brightness (at least on tenor) is more or less synonymous with "edge" and/or "buzz." As you no doubt noticed from the soundclips, I have worked my face off trying to eliminate as much buzz and edge as possible from my tenor sound.

    I just don't want to go through the process of getting a decent c-mel and setup just to find that they play with lots of edge...and that hasn't been the case with alto, for me, so far.

    The other concern is that many folks find them stuffy/resistant, and have to resort to bright setups to make them speak easily. I would like to avoid that, too...do you have any thoughts or experience with this issue?

    Thank you very much for your time. Your help is much appreciated!

    Lukas
  10. Hi Lukas,

    Beautiful sound!

    It's important to understand the c-melody and tenor are different horns. Yes, there are those who call the c-melody a C tenor. However, that's not exactly right. The c-melody has a lighter sound than a tenor. Think of it as being between an alto and tenor in its sound.

    A Morgan c-melody mouthpiece will be excellent. However, even with it, a C-melody will not sound as dark as a tenor. At least, this has been my experience with the c-melody.

    Roger
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About Roger Aldridge

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About Roger Aldridge
Location:
Maryland, USA

Signature


1936 G.H. Huller alto saxophone, Ralph Morgan 6C mouthpiece, #3 1/2 Legere Signature reeds, Theo Wanne ligature
1969 Couesnon Monopole Bb clarinet, Walter Grabner K14 mouthpiece, #3 Legere (old) Quebec, Klassik string ligature
Yamaha bass clarinet, Walter Grabner LB mouthpiece, #3 1/2 Legere standard tenor, Optimum ligature
Yamaha flute, diMedici alto flute

Visit my website and listen to my originals: http://www.rogeraldridge.com

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