Listening today to "Detroit" Gary Wiggins on tenor, one cannot help but notice his sound on this particular album...coarse, rasping, buzzy, & gritty...almost kazoo-like....ABSOLUTELY GORGEOUS.
In an attempt to emulate, I have experimented with reeds & mouthpieces.
My closest attempt, in full growl mode, is with the ever faithful Metalite & a soft Fibracell.
Wiggins' sound appears to be his default whereas my attempt at replication is forced.
We are always being told how to dress reeds in order to improve some aspect, but I wonder is it possible to dress a reed to make it more buzzy? Making it ultra soft perhaps.
Whereas Wiggins' sound seems reed generated I would also welcome any comments from the mouthpiece gurus here.
Try a plasticover on that Metalite I find it really makes it come alive. I think Gary is a member here (though not too active) you might reach out directly, and posting a link to the tune you're talking about would be nice (fun listen)
Thanks for the tip, I have some Plasticovers somewhere.
I scoured YouTube for an example of the sound I admire, but could only find him sounding like any "standard" tenor player.
My wife thinks that his straight playing is a distinct improvement.
My album, of unknown date, is CC The Boogie Man & "Let's go to the Blues Cafe" is a typical track.
Also, try changing the embouchure a bit. If you're not already, try 'pouting' your bottom lip a little, so that the bottom front teeth aren't under the lower lip when you play.
This. The More the reed vibrates the more 'buzz' you can get in your sound. If it's not something you're used to doing it's strange but you get used to it.
I rarely offer playing tips because I'm not sure I'm qualified but The sound you describe is closer to my default sound than anything. (I play dirty, raspy, Jump blues 3+ nights a week, so ive spent a few years cultivating that vibe) When I want a dark, smooth tone I have to regroup and draw in my embouchure around the MPC and focus the air much more than usual (like I'm sucking a lemon) so....I recommend loosening up the embouchure and making the mouth cavity as big as possible without actually blowing air out the sides. Then blow with more force than usual. I use 2.25 Legeres as well. I have noticed that I get even more of the effect you describe on my vintage Conn than my modern Selmer. I also almost unconsciously growl all the time too but much of it is very subtle. The above process / setup gives me a very gritty, raspy tone up and down the sax. On some of the lower notes when overblown it almost has a "motorboat" kind of vibe going on the Conn (Can't quite pull that off on the modern Selmer) that you can feel as well as hear.
The above approach will do the trick even on a very dark MPC like an STM. I recently switched to a JJ DV and the whole "grit" thing is over the top. I get the same results without as much force required.
Fader, from your lucid description you appear eminently qualified to advise.
Filth & gritty is also my default setting. Like you, I find it more exaggerated on mouthpieces without high baffles...eg. My SR Pro works better for this style than my SR Fusion. Someone, no doubt, will be able to explain this.
The JJ DV never worked for me...although the ESP is good....but rather too quiet.
I suggest practicing the singing/humming while playing technique. I used to play in a sax section with an old school tenor player who used to get that raunchy buzz and play in that Illinois Jaquet style to great effect.
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