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Thread: Whats your Alto Setup?

  1. #81
    Forum Contributor 2007 jacobeid's Avatar
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    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.
    Alto-Mark VI 118xxx, Mouthpiece Cafe New York Cafe Bros., Hemke 3, bonade inverted.
    Backup: Mark VII 284xxx
    Tenor-Yanagisawa T991, Mouthpiece Cafe Bergonzi Slant Supreme, RJS filed 3S, FL brass.
    Soprano-Yanagisawa S991, Yanagisawa HR 5, La Voz MH

  2. #82

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    Quote Originally Posted by jacobeid
    It supposedly helps stabilize the notes.\
    For me, only slightly. It still sucks...no control down there.

  3. #83

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    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.

    my setup will all come together eventually.

  4. #84

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    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...

  5. #85

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    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

  6. #86
    Forum Contributor 2010 & Distinguished SOTW Member qwerty's Avatar
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    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
    Without music to decorate it, time is just a bunch of boring production deadlines or dates by which bills must be paid. -- F.Z.

  7. #87

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    Brancher Mouthpiece
    Selmer Super Action 80 series 2
    Rico jazz select filed reeds

    I'm not getting on with my super action 80 - I think I must have a bad one.

    www.functionband.com

  8. #88

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    S80II
    Rousseau NC4/Vandoren A17/AL3/S80C** I should really pick a mouthpiece
    Blue Box 3.5

  9. #89

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    1963 Mark VI with a Morgan 7EL and a single screw inverted Clarinet ligature. Rico Royal # 3 reeds. I have owned and played the horn since 1978...my mouthpiece choice has changed a couple of times over the years.

  10. #90

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    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
    Andrew Francisco
    www.andrewfrancisco.com

  11. #91
    E-mail problem devinmac2k08's Avatar
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    Selmer Series III

    Classical

    Rousseau NC5 refaced by Todd Gentzel
    Lebayle Scala Ligature
    Gonzalez 3 3/4 reeds

    Jazz

    Meyer G 7M
    Rovner Dark Ligature
    Rico Jazz Select 3S
    Series III Alto, Regular Lacquer
    Jazz:
    Meyer G 7M
    Vandoren Classic 2 1/2
    Oleg Olegature

    Classical:
    Selmer C*
    Vandoren Classic 3 1/2
    Lebayle "Scala" Ligature

    My Music Myspace

  12. #92

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    Ok I got the conn so my new set up is as follows:

    Jazz: Conn New Wonder series I
    60's(?) Florida link 5 refaced to a 7* by Ralph Morgan
    Vandoren V16 3 1/2 reeds

    Legit: Yamaha 52
    Rousseau 4R
    Vandoren blue box 4s

  13. #93
    Distinguished SOTW Member tinpalaceroach's Avatar
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    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.
    Jazz don't sleep...

  14. #94
    Forum Contributor 2007 pc1234's Avatar
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    Quote Originally Posted by Andrew
    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.

  15. #95
    Distinguished SOTW Member/Forum Contributor 2010 harmonizerNJ's Avatar
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    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.
    Last edited by harmonizerNJ; 05-20-2009 at 11:12 PM. Reason: update

  16. #96

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    #1 Buescher Bu-4
    Meyer
    Vandoren Optimum Ligature
    Vandoren V16's 2.5 reeds sometimes 3
    Strap Cannonball

    #2 Lyric Vintage
    Berg Larsen .95 0 baffel
    2 1/2 Rico Royal
    Last edited by RegSopAlto; 07-16-2008 at 05:00 AM. Reason: new equipment!
    RegSopAlto: Soprano-Alto -Tenor-Flute
    Band I am in - J.P.D Project ft. Lady Roya http://www.jpdproject.com
    My site -http://www.bandmix.com/reg-parham/

  17. #97
    Alexk's Avatar
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    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.

  18. #98
    Distinguished SOTW Member/MKVII fanatic/Forum Contributor 2010 AG's Avatar
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    Mark VII alto M255XXX

    early Meyer NY USA 7 (Zentera tweaked)
    Pompano Beach STM 6*

    La Voz med hard

  19. #99

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    Mark VI (53.XXX)
    Meyer 7M
    Bay Ligature
    Superial/ Superial DC #3

  20. #100

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    Quote Originally Posted by pc1234
    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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