Your Classic Saxophone set-up :) - Page 6

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  1. #101
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    Well I used to have a silver nickel one. I still have it actually, I'm hoping to sell it off to someone heheheh. I got my current one last December. They're great horns after you make a bunch of adjustments to them lol.
    http://www.manaquartet.com
    baritone saxophonist, Mana Quartet
    soprano saxophonist, Project Fusion

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  3. #102

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    Yep, my old 90R's required some tweaking. I'd personally love to see some photos of your gold nickel alto man....

    Steve P

  4. #103

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    I use these for both classical and improvised music:

    Buescher 1920 TT alto Gold Plate, Amaz-o-pads, original mpc., ebony Selmer mpc refaced by self, Conn Standard Steelay refaced by self, oak Amaz-o-lig lacquered with C-37 Lack, Van Blu #5

    Buescher 1927 TT Tenor Silver Plate, Ebony Buffet mouthpiece refaced by self, oak Amaz-o-lig, Van Blu #5

    Buescher 1923 TT Bari Gold Plate, getting Amaz-o-pads, late 1800's early 1900's rosewood mouthpiece refaced by self, oak Amaz-o-lig, Van Blu #5

    Buescher TT Soprano waiting in the wings Silver Plate, Buescher mpc, oak amaz-o-lig, Van Blu #4

    Noblet Bass, Conn Steelay mpc refaced by self, oak Amaz-o-lig, Van Blu #4 & 5
    Last edited by wilsaxo; 09-28-2007 at 02:02 AM.

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  6. #104

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    Amaz-o-pads?? Never heard of them... could you provide manufacturers info please?

    Steve P

  7. #105
    BlueLight's Avatar
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    my new and improved setup:
    YAS875EXB + Selmer S90 180 MOUTHPIECE + Bay or BG Ligature (I can't tell which is better yet) + Vandoren Blue Box Str. 3

    "He who would learn to fly one day must first learn to stand and walk and run and climb and dance; one cannot fly into flying." -Friedrich Nietzsche

  8. #106
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    Quote Originally Posted by BlueLight
    Bay or BG Ligature (I can't tell which is better yet)
    Neither is better. Each help the player do different things better.

    Angel
    Concert Saxophonist ~ Artisan Barman
    YSS875EXHGLAS • SG2RS • S27 • M/O • 4
    YAS875EXS • AV1AG • A28 • M/O • 3

  9. #107

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    Amaz-o -pads are custom made by me and made to the specific horn that I am overhauling. I don't sell them to anyone at the time and have no plans to soon. They are available, installed, to my overhaul and C. O. A. customers. They seal airtight, are dimensionally stable, long lasting, and are the quietest pads available. I'll have at least one horn with them at the Rascher Archive Opening if you happen to be attending, or you can check them out in Charlottesville, VA.

    PM me if you would like to know anything further

    David Wilson
    A. B. Repair Service, Inc.

  10. #108
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    Quote Originally Posted by Angel
    Neither is better. Each help the player do different things better.

    Angel
    That's true, on my AL3 I got a much easier response from the Bay, so I stuck to it. But with the BG Traditional I had to work a bit more but got a slightly darker sound (I think, or maybe it was in my head ;o)

    The AL3 was too stuffy for me, but it seems to work for Fourmeau and Murphy ;o.

    "He who would learn to fly one day must first learn to stand and walk and run and climb and dance; one cannot fly into flying." -Friedrich Nietzsche

  11. #109
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    Quote Originally Posted by BlueLight
    The AL3 was too stuffy for me.
    Me too, actually. However, my mouthpiece tech Bob Scott (of Sinta-facing fame) recently said in an email that he's had success re-facing the AL3's. I'm really tempted to buy an AL3 just to send it to him (translated: this will probably happen soon...).

    Edited to add that my Bob Scott refaced alto mouthpieces are really quite magical. Response all of a sudden is super easy without sacrificing tone color. It almost feels sometimes like you're out walking a big dog that's really almost pulling you off your feet.

    Angel
    Concert Saxophonist ~ Artisan Barman
    YSS875EXHGLAS • SG2RS • S27 • M/O • 4
    YAS875EXS • AV1AG • A28 • M/O • 3

  12. #110

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    The problem with refacing an AL3 or any vandoren piece is the table/rails. If you look at one under light, you will noice what looks like record (LP) grooves. Vandoren designes them to have these grooves, and the reed actually rests slightly above the table due to this. I'm not sure what an AL3 would play like if this were smoothed out. It probably would not make a huge difference, but it is certainly something to be considered. Also, from piece to piece, AL3's vary quite a bit. I would recommend having someone test a few if you order them from a store...

    I played an AL3 most of the summer after I was finished recording , and went back to my NC4 this week. I sound great on the AL3, but its not 'my' sound. It pushes me in the opposite direction of what I look for tonally.

    Steve P

  13. #111

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    Quote Originally Posted by Angel
    Me too, actually. However, my mouthpiece tech Bob Scott (of Sinta-facing fame) recently said in an email that he's had success re-facing the AL3's. I'm really tempted to buy an AL3 just to send it to him (translated: this will probably happen soon...).
    Angel
    Bob Scott will sell you a Vandoren Optimum refaced to your standards. I bought a bari BL-3 from him which he opened up to a similar tip opening to a Selmer C* but "voiced" (in his words, he revoiced the rest of the facing where he described voicing as "balancing"). I had never been satisfied with my bari C*, described my issues to him, and once I received his BL-3 the C* has never been back on the horn.

    As an aside, I had him reface an alto mouthpiece to the facing he described as having learned from Don Sinta and Larry Teal. I had played on a Selmer LT since the early 1970s (my sax professor was a Teal student). While I liked the mouthpiece Bob did, it was a little more open than I was used to. I was in the process of adjusting to it when I tried out a Yamaha 875EX at a trade show and loved it. While there, I attended an Otis Murphy lecture and talked with him afterwards about his experience with the AL3. His experience with this mouthpiece led me to try it. Shortly afterward, I had switched to the 875EX and the AL3 and love the combination. It's very similar to the LT facing I had always used (in terms of resistance) but combined with the 875EX it is so much easier to produce the sound I like. I'll probably return to the Bob Scott alto mpc at some point as I felt it had some attributes I'd learn to love. For now, the AL3 is giving me what I need with less effort (read: I'm lazy).
    Eddie Jennings

  14. #112
    trane in training's Avatar
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    well as I'm a new student with Harvey Pittel...I'm still in transition...but as of now

    Tenor:
    YTS-62 (the main thing in transition...haha)
    s-80 C*
    simple Selmer Ligature
    Vandoren 5

    when I played alto I used a Larry Teal and a Bonade lig...but I haven't played alto in a long time....so when that day comes we'll see what im playing on!

  15. #113

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    Whats in transition with the 62? They are one of the finest tenors around!!

    Vandoren 5?! You must have chops of steel!!

    Steve P

  16. #114
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    Eh? Harvey Pittel makes all his students play on Vandoren Str. 5s worked down to about 3s (a friend of mine told me) he says that it makes it easier for high tones and stuff. He also makes all his students play on Mark VIs if I'm not mistaken.
    As true as that may be I'd rather spend the time working on reeds practicing my altissimo/long tones ;o.

    "He who would learn to fly one day must first learn to stand and walk and run and climb and dance; one cannot fly into flying." -Friedrich Nietzsche

  17. #115
    trane in training's Avatar
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    the main idea behind using the 5s is that there is much less heart in the 3 1/2s, so by working in a good 5 you get a much richer high and middle register. And it wasn't that hard to make the switch (i played on 3 1/2s until about three weeks ago)...you just need to push some more air....and then once you get it down they still seem just as thin as a bad box of 3 1/2s.

    And Pittel doesn't make us play on VIs, but he does push selmer hard core, and tells you why the VI is simply better than anything...haha. But hey, I wouldn't mind having a real nice VI

  18. #116
    trane in training's Avatar
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    oh and with the 62....it's just that selmers have a much bigger sound...and frankly I think they sound better. I've had the 62 for a while and really liked it....but now that im here and the only one in the studio with a yamaha, I can really tell the difference, and prefer what they sound like. For me it's a matter of taste, and over the past year I've come to like the selmer sound a lot more

  19. #117
    BlueLight's Avatar
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    Yeah I didn't really mean he "MAKES" you guys play MKVIs, since they're pretty hard to come by compared to a Ref54 or whatnot. And Ref54s cost so much that you'd pretty much rather buy a used MKVI!!

    "He who would learn to fly one day must first learn to stand and walk and run and climb and dance; one cannot fly into flying." -Friedrich Nietzsche

  20. #118
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    ive never played on a reference...Ive heard talk about them, but as you said, I'd rather pay that much...or less if you're lucky, for a mark VI, or even an original super action 80. (my girlfriend has an alto that im trying to get her to sell me....but she's being stubborn about it)

  21. #119
    Forum Contributor 2007 pc1234's Avatar
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    Quote Originally Posted by Ryan427
    I just don't think it's what they're made for.
    You're entitled to your opinion, but it's not historically accurate. Adolphe Sax invented his instrument in the 1840's. Clearly he wasn't thinking "this is made for jazz," which didn't yet exist.

  22. #120
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    correction, he patented the saxophone in the 1840s ('46, i believe) but invented it in the 1830s. But everything else i agree with you. there's no such thing as a jazz horn.

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