The Martin "Official Music Man" tenor, Barone black tenor, The Martin baritone, Richards Martin Indiana alto, cheap Chinese soprano, Metalite mouthpieces, Plasticover reeds, Nord Electro 2, bunch of other instruments
Wall Of Blues, youtube video, P-Town All-Stars, get Rich, Cannons (my band in the 60's) and Cannons record
SR Tech Fusion on a Barone Classic Tenor
Brass Ponzol M2
add the PARASCHOS wooden neck, vintage SELMER soloist C*, vandoren blue/zz reed #2.5 (and above) and PARASCHOS wooden ligature. same setup for jazz
Music - His gift, my duty, our fellowship 3Jn2
Yanagisawa A992 Alto, Yamaha YAS-62 Alto & YTS-62 Tenor, Selmer Paris Series II Soprano Sax
Hey AGreen, MitchP,Agent27,saxphil,Buck
You guys are all playing Link type pieces, do you feel that in a rock,rnb setting the piece does all you want? I'm REALLY leaning towards a Link especially after watching this video of AGreene with the PrimeTime horns. Holy crap! fat tone, fat altisimmo, multiphonics and all on a Tenney Slant which I thought wsa a dark piece. AWESOME playing! Solo starts at 3:10!
Wanne Durga 9. Love it.
I have a Tenney Jazzmaster 7* that I would probably use all the time, even for blues/R&R, if I could always be miked perfectly with a reliable soundperson at the helm. Since that's not often the case, when playing in a moderate to higher volume environment, I use an RPC 120B, which has more 'horsepower' without losing body in the tone.
So yeah, I think you can use a link-like mpc for R&R, but ONLY if you are assured of good sound "re-enforcement." Most of all, it's how you play. R&R is a stylistic thing. But I guess that goes without saying.
Like JL said, sound reinforcement is key.
I don't play out regularly any more, so loudness doesn't much matter to me.
A Link like piece gives me the fatness throughout the horn that I like.
I can't stand smaller profile mpcs now.
I've been on the Tenney Jazzmaster 7* for ten months.
It does it all for me.
It is interesting to me that you thought the Tenney Slant was dark, before hearing Tony on it.
I've come to the conclusion that the Tenney Jazzmaster, can be anything one wants it to be.
I tend to blow bright and it is nowhere near dark for me.
I love it because my tenors sound full, everywhere.
If you move air, it can smoke.
Just mess with reeds, to get it where you like.
fwiw, I played my Link STMs mostly, and the Jazzmaster is right down that alley, except for me, better.
My wife, whose ears I trust, said that my sound is much fuller, richer, more powerful and resonant on this set up.
... but really folks... my wife said, " It sounds like a saxophone ".
So it looks like I'm going with some type of Link piece. I've always been comfortable on them and I want a full, fat sound with some buzz, not a piercing thin sound. I'll just make sure the sound guy turns me up.
So far I'm considering all the Phil-Tone offerings(including a NY Metal Link), a Drake NY Jazz(and maybe Son of Slant) and Tenor Madness EB Link. I'll have a Barone Vintage 6* with the Barone horn that I'm waiting for so at least I'll have a starting point with that piece.
SR Tech Fusion 115 on a Grassi tenor.
Occasionally a Metalite M11...not much to choose between them.
Experience is an excellent school....but the fees are high.
I use my ed zentera STM 8 for R&R and everything else. My backup is an off the shelf Tone Edge 7.
Good luck with the sound guy! Assuming you will always have one...
Gary Sugal KW I on this gig: http://www.youtube.com/watch?v=Zi46J...el_video_title
Julius Keilwerth SX90II soprano - Runyon Custom .067 - V16 2 / Cannonball Big Bell Stones Series alto - Beechler Custom Bellite .085 - V16 2.5 / JK SX90R Tenor - Sugal KW II .111" - V16 3 / Taishan baritone - Vandoren V16 B9 - Rico Royal 2.5
I use a Drake Studio #8 (.110) with a Fibracell 2 1/2 on my 1975-76 Couf Superba II.
One friend of mine uses a Jody Jazz DV 7* (.108) and Alexender Superial #4 reeds on his 1954 Mark VI.
Another friend of mine plays a 130/1/M vintage SS Berg Larson with VanDoren blue box 2 1/2 reeds on his Martin Committee III Tenor.
Though we all use different reeds, mouthpieces, and saxes, we all arrive at the same place!
'60s Vito (France) Mo 38 A.Sax; '22 Harwood Professional C(Buescher Stencil); '26 King Bari; '70s H. Couf Superba II Tenor Sax;'20s Beaufort American Curvy Sop (Conn stencil) w/white Roos firstname.lastname@example.org
I play rock on my RPC 115B, but I can get the same sound with my Tenney STM. I just don't have to work as hard for the same sound. The RPC isn't as versatile as the link, though--but it is definitely powerful
Sound guy theory of relativity: E=mc^2 (+or- 3dB)
Sax player theory of relativity: E=mc^2 (+or- .010" at the tip)
"Free jazz is the vegemite of the musical world. It's an acquired taste."-J. Jacques
Drake vintage or contemporary....they pack a real punch...are an easy blow and have a nice overall body to the sound....even when mellow.
For R&B/Funk my Theo Wanne Datta 8 (metal) is perfect. Can sound mellow and also cut like crazy. All of that with a thick meaty sound.
I think it is important to have a well developed tonal concept in your mind, meaning you can clearly hear in your imagination the sound you would like to have. I try to teach this to my students. When I listen to the tone in my head (tone, not voices), I hear something very close to what AGreene gets. AGreene, I think you sound great on this clip. I would love to know what reeds you are using on your Tenney Slant.
I also think it is inportant to note that the mouthpiece here is a medium opening (.100?), and not something super-open.
One of my favorite gigs was on a Tenney Slant. We showed up not really knowing until we arrived that we would be playing all classic rock and R and B stuff. I had two pieces in my case. One was the Tenney Slant, and the other was a metal Vandoren V16 that belonged to a friend. He was trying to sell it and thought that I sounded great on it. I borrowed it to try just for fun. I thought this job would be a good test for it. I played 3 tunes on it and went back to the Tenney Slant. Not bright, but fat, vibrant, and full throughout the horn. Helped that we had good sound re-inforcement that night. Can't remember what mic I had, but it was nothing fancy. Can't remember what reeds I used either, because this was several years ago. I wish I still had that piece.
I think sometimes we (or maybe just me) get caught up in "if it is rock, we need to have a bright sound", but maybe we just need a good saxophone sound - full, fat, vibrant, and resonant with good center and body and presence, regardless of what the EQ is.
If you want to hear another player who gets this type of sound with this style of music on a link, check out Cornelius Bumpus.