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Whats your Alto Setup?

439K views 1K replies 804 participants last post by  rhythmisking 
#1 ·
After seeing how popular this thread was in the Tenor section. Why don't we give it a shot here?
My alto setup is as follows:
Selmer Mark VI Alto
Early Babbit Otto Link 6* mouthpiece
Francois Louis "Ultimate" ligature and smart cap
Runyon Palm Key Risers
Vandoren or Rigotti Reeds
Oleg Ergonomic Sax strap.
 
#77 ·
Although my main axe is a YTS 82Z, I do have 3 altos:

1928 Conn Chu - unlacquered that really has a fat sound and a brand new Kessler Custom Deluxe that I just got today. Having spent a couple of hours on the horn tonight I find myself really, really digging the sound and feel of the Kessler. (This one is going to be my son's when he starts band this fall. ) I have not found the mouthpiece yet that fits me. Like Paul Simon says in the song "still crazy, (and still looking) after all these years! Just for kicks, I have a 1920 silver plated Rudy Weidcroft Holton that was given to me. It is not a bad playing horn just has funky ergos. That one may be on the block for sale before long.:cool:
 
#78 · (Edited)
Yanagisawa A880
Brancher BRL19AH mpce and lig. BRJ19AG mpce. and lig.
Brancher Classic 2 1/2 reeds
 
#81 ·
Some people put things in their bell (commonly mouthpiece caps) if they experience any gurgling of the low notes. It supposedly helps stabilize the notes. I'd be afraid to leave it in there though and have the cap go up into the body and getting stuck.
 
#83 ·
I don't notice any difference when I put a mouthpiece cap or wine cork in my bell.

But currently I'm playing a yamaha YAS 52 with a 7* ralph morgan refaced florida link. For classical, I just switch to a Rousseau 4R

And I have a Conn NW one coming in right now with a rousseau 5* metal jazz I think.

I'm kind of having a spending spree lately, I just bought the florida link a couple months ago, and the new sax, and a couple months before that I bought a link stm for tenor as well. :D

my setup will all come together eventually.
 
#84 ·
I had a reference 54 that on a low C quietly it did that "gurgle" or "warble" thing people talk about, putting a mouthpiece cap in the bell some how worked, but it took out something in the sound I liked...but I think it's a matter of too loose of an embouchure...some horns deal with it some won't...
 
#85 ·
Dropping a cork or a body cap into the Mark VI bell helps stabilize low notes because Mark VI altos typically had bells with large interior volume and the cap, etc. lessened it. I recently dropped a champagne cork into the bell. That works well also. But none of it is really essential. Extended practice on low-note long tones will eventually eliminate the warble and you'll be the better player for it.

ATJ
 
#86 ·
Selmer MKVI Alto 140,xxx

Classical:
60's Selmer C* Scroll Shank perfected by Ed Zentera
Vandoren blue box 3.5's
Vandoren Optimum Ligature

Jazz/Show:
RPC 90
Link opened to .095 (mild baffle too) by Ed Zentera
Vandoren Java 2.5's
Vandoren Optimum Ligature

Steve
 
#90 ·
NY USA Meyer refaced by JVW (.083) w/Vandoren Java 3.
Selmer Mark VI Original Silver Plate (89,xxx)

I use this set up for everything from big band, to cover band gigs, to classical gigs. Why learn to use more than one mouthpiece when you can just learn all the styles on one mouthpiece :)
 
#93 ·
Most of the time Brilhart hr Personalines in a .85 tip. i have a nice Zentera Meyer .85 tip. Two Selmer Soloists one is an .88 tip and the other a .90 tip all refaced. Reeds are always La Voz mediums and an occaisional Alexander's Superial yellow tin. works for me but the Selmer's seem more free blowing.
 
#94 ·
Andrew said:
NY USA Meyer refaced by JVW (.083) w/Vandoren Java 3.
Selmer Mark VI Original Silver Plate (89,xxx)

I use this set up for everything from big band, to cover band gigs, to classical gigs. Why learn to use more than one mouthpiece when you can just learn all the styles on one mouthpiece :)
Yay! I agree with you. There's too much dogma out there to the effect of "you must used a closed, stuffy piece for classical music..." I think if a good player can control a more open piece, his/her opportunities for expression in a classical context should be much greater.
 
#95 · (Edited)
Here is my setup:

Selmer Mark VI 238,xxx.
Meyer 10M hard rubber mpc (update: in July 2008 replaced this with an RPC 90R)
"Harrison" ligature (thin "H"-shaped piece of metal is all that contacts the reed).
(update: in April 2009 changed to a Rico H lig, after my Harrison lig broke after 30 years of use).
LaVoz Medium reeds.
(update: switched to RJS 2H in early 2008, then to RJS 2M filed after I got the RPC 90R).

As of March 2009, I am using a Barone neck.

Funny story: When I was a teenager, just a year or two after having gotten my VI (new), I was in one of the region bands in NJ, sitting next to another guy who had a Mark VI Alto whose serial number was less than 10 off from mine (probably made on the same day). *Both* of our horns had gotten the same defect, where one of the welds holding the protective metal "fence" over the low C key had failed. The repair weld was visible on his horn, just as it is with mine.
 
#97 ·
Alto - Buescher 400, purchased new in 1974
Mpc - Lawton 6B
Reeds- Vandoren ZZ 2.5
Strap - some cheap old thing that has a really secure catch type hook

Music styles - Jazz, blues, covers

No facility for recording at home.
 
#100 ·
pc1234 said:
Yay! I agree with you. There's too much dogma out there to the effect of "you must used a closed, stuffy piece for classical music..." I think if a good player can control a more open piece, his/her opportunities for expression in a classical context should be much greater.
i want to agree with you, because i'm lazy and take as little effort as possible to do things effectively.... but it's simply not possible to have the level of control on a .80 tip opening that you can have on a .70 or less tip opening. therefore, despite how good you might get on that meyer, you could still be more stable on a classical piece. i think the inability to produce clear, precise articulation is the biggest problem if you try to use a more open piece. it's also much more difficult to play softly....and if you're a serious classical player you need to be able to play as soft as a clarinet or strings can play, with perfect tone and intonation of course. good luck with that on a meyer.!

on the other hand, if you aren't trying to perform on a high level, it won't matter. in that case, meyer it up.
 
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