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Bass players! What're you playing?

7K views 31 replies 16 participants last post by  sax0naut 
#1 ·
I recently acquired a Beuscher Bass a few months ago and while I'm in the planning stages to get it restored I figured this is a good time to indulge my GAS since mine didn't come with a mouthpiece. :twisted:

So what kind of setups are you guys using?
 
#2 ·
I tested a Buescher, but ended up with a Noblet (short wrap French style, so here's a case where "YMMV" really applies).

George Bundy true bass MP, plays best in tune (due to huge chamber and thus positioned much further on the neck) - but sound is very blah and wooly. Middle D best response I think.

Meyer #8 bari with a small wedge and enlarged chamber - good sound, some edge but not too much - palm keys flattisimo when middle G in tune. Middle D not good response. Contemplating getting another Meyer and then lengthening the facing on this one to the recommended 27-29 mm. Have not done yet, because this is my baritone backup.

Runyon model 88 with lengthened facing, as recommended on a number of sites - didn't really like the sound that well, less depth than what I am currently using (see below) - tuning not improved over Meyer, middle D not good response.

Finally temporarily settled on King "B" baritone mouthpiece, facing lengthened, and opened to about 0.090". Better sound than the Runyon, though I liked the slight additional projection of the Meyer. Plays better in tune than Meyer but not as well as the true bass MP. Anyway, I have no trouble being heard over a 16 piece big band, so I'm not sure how much more projection I need.

I will probably try some of the current production true bass MPs that are available.

I use only LaVoz med. hard bari reeds (scraped some) since a friend gave me something like 25 unopened boxes about 15 years ago.

I used a Rovner std. lig I had lying around. I don't believe in ligature voodoo anyway as long as the MP table and the back of the reed are flat.

Give it a blow with any large chamber bari MP and you'll be able to get started.
 
#10 ·
Since early December I added two more to my list of trials.

Jody Jazz Bass - plays very easy, seems one of the better in-tune pieces I have tried. The window is extremely long; I wonder if he uses this to gain some chamber volume. I think the tone is a wee bit one-dimensional.

Selmer S80 C* bass - also plays very easy, needed a stiffer reed (relatively close facing). Rich sound, reasonable intonation, but hard to play loud at this stage. I expect that if I practice a lot of long tones with it I will be able to play louder.

George Bundy true bass MP, plays best in tune (due to huge chamber and thus positioned much further on the neck) - but sound is very blah and wooly. Middle D best response I think.

Meyer #8 bari with a small wedge and enlarged chamber - good sound, some edge but not too much - palm keys flattisimo when middle G in tune. Middle D not good response. Contemplating getting another Meyer and then lengthening the facing on this one to the recommended 27-29 mm. Have not done yet, because this is my baritone backup.

Runyon model 88 with lengthened facing, as recommended on a number of sites - didn't really like the sound that well, less depth than what I am currently using (see below) - tuning not improved over Meyer, middle D not good response.

Finally temporarily settled on King "B" baritone mouthpiece, facing lengthened, and opened to about 0.090". Better sound than the Runyon, though I liked the slight additional projection of the Meyer. Plays better in tune than Meyer but not as well as the true bass MP. Anyway, I have no trouble being heard over a 16 piece big band, so I'm not sure how much more projection I need.

I will probably try some of the current production true bass MPs that are available.

I use only LaVoz med. hard bari reeds (scraped some) since a friend gave me something like 25 unopened boxes about 15 years ago.

I used a Rovner std. lig I had lying around. I don't believe in ligature voodoo anyway as long as the MP table and the back of the reed are flat.

Give it a blow with any large chamber bari MP and you'll be able to get started.
 
#3 ·
I have a Lyon & Healy (circa early 1920s made by Buescher) which was totally overhauled a few years back (but still with original silver lacquer with patina). It sounds and plays great from bottom to top including above range (<Eb)

I use an very old Buescher bass MP (with original ligature and large metal MP cap which I'm lucky to own). I prefer the tubby old style sound on the bass rather than using a bari MP that puts to much edge on the sound for my taste. But some players sound great with this set-up for sure. I use Marca 2.5 and 2.0 reeds (cutoff slightly) with good results

I suggest you try a modern true bass MP as you comment above with bass reeds. I do not do any section work with mine but get lots of compliments on my sound playing melody and bass lines in a combo setting. I also own an original Conn bass MP
but prefer the Buescher.

good luck in getting the right set-up. You will have lots fun playing bass for sure.
 
#4 ·
Ever use anything with a larger tip? I tend to play larger tips - tenor pieces in my case are all .110, and my bari pieces are all .120 so I wonder will that be a trend I keep with on bass, something similar in size to the bari opening? Vandoren JAVA or ZZ 2.5 or a Fibracell all around.

What modern bass pieces are out there besides the Jody Jazz?
 
#7 ·
Conn 14M to high F, #291xxx (1940), Naked Lady in original lacquer
Woodwind Co. New York baritone B6
Standard barrel chamber vintage bari ligature
Rico 3
 
#9 ·
I use an old Conn bass sax mouthpiece opened to about .100" by Erik Greiffenhagen. For a little more edge I use a Zinner 7B bass sax moiuthpiece. For a lot more edge I use an old Otto Link slant signature 6* baritone mouthpiece. I use large tips on tenor and baritone (.110" - .120") but I use bass sax mouthpieces with a little smaller tip, usually around .100"
 
#11 ·
I had a refacer clean up my original Conn "Eagle" and it has an unbeatable warm, dark and huge sound. Beautiful with classical music.
For more punch and power, Bill Street's jazz bass mouthpiece works wonderfully well for me & makes the Conn speak clearly throughout.
 
#12 ·
On tip opening -- the mouthpiece that came with my H Couf bass looks like about .094 in, or less since I seem to show high measurements. Likely made by Zinner, I suppose.

I play a Claude Lakey Apollo on tenor, opening .120 in. But my "sound concept", as it were, isn't similar at all. Bass, tenor, utterly different instruments. Bari mouthpiece is a .110 RPC, but that's a different instrument also.
 
#16 ·
Keilwerth SX 90 with two alternate necks (original & a neck ordered by the first owner at Keilwerth for marching), JodyJazz DV 7 or Steamer "The Giant" that was made by H. W. Peters for an old Martin Typewriter Baritone.

I prefer to use bass reeds on both mouthpieces.

Pictures of the Steamer (which is a piece of art for ist own) below.
 

Attachments

#17 ·
1924 Buescher with stock Vandoren mp and Marca 2.5 bass reeds - not a very exciting setup, but it did get the horn up to pitch, and lets me get down to mp on low notes. The sound is glorious, but I wish I had another octave key - g is difficult.
 
#18 ·


As an update, I'm enjoying playing the horn for sure, 1924 Beuscher Tru-Tone Bass. Most shocking, the altissimo is easier than on any other horn I've ever played. Did not expect that on bass. Played it with a Jody Jazz ESP 8, only bari piece I've kept around anymore.
 
#20 ·
I recently purchased a silver-plated Selmer Super Action 80 Series II bass that had hardly been used because the previous owner died briefly after buying it. His relatives kept the saxophone because the poor guy had saved over ten years to buy this beauty. After more than ten years they decided to sell it, and my wife was kind enough to let me buy it.
Prior to trying and buying this bass, I have tried a Selmer Mark VI and an old Keilwerth. I liked the sound of the Mark VI, but was not too happy about the key work. The Keilwerth was in pretty bad shape considering the asking price of 5,000 euros.
The SA80 is a very nice bass, but I'm not terribly impressed by the volume that the Selmer S80 mouthpiece produces, so I ordered a Jody Jazz DV 7 bass. To be continued....
 
#21 ·
Hey "Collector", please post your impressions once you get the Jody Jazz bass MP. I have a setup that's pretty similar, I think: an older Noblet sax (the short wrap French style, rather than the tall American style), and I have both the Selmer C* S80 bass MP and the Jody Jazz.

Unfortunately hardly anyone has one of these Noblet basses (they were also sold under the "Vito" name as well as the actual manufacturer, Beaugnier), so it's hard to find out about other people's experiences. Most of what you read is people with the old Bueschers or Conns.
 
#23 ·
Hey "Collector", please post your impressions once you get the Jody Jazz bass MP. I have a setup that's pretty similar, I think: an older Noblet sax (the short wrap French style, rather than the tall American style), and I have both the Selmer C* S80 bass MP and the Jody Jazz.
My first impression is absolutely positive. As compared to the Selmer MP, the JodyJazz adds an "edge" to the sound that makes the bass stand out instead of going under when playing in the lower registers. I also like the fact that the Jody is smaller - in fact it feels quite like my all-time favorite baritone MP, a metal Yanagisawa 8. Having said that, my teacher still manages to get more grunt out of his Conn bass with an Eagle-like ebonite mouthpiece than I manage with my Selmer/Jody combination. That may say more about me as a relatively inexperienced bass player than about the Selmer or the Jody.

Demand for bass mouthpieces is so small that I had to wait about 7 weeks to get mine, and could not try it before buying it. I'm lucky because I like the Jody, but encourage you to make sure that you try it before you buy it because a hit-and-miss is kind of expensive with this type of stuff.

One interesting observation: the JodyJazz came with a Rico Select Jazz 3M reed. I checked D'Addario's (why on earth did they change their name?) and only see the standard orange box for bass, so I guess that this is a baritone reed - not one for bass. Strange...
 
#32 ·
Sorry turf3, I missed your question.

I remember he used old rubber blanks, e.g. from Woodwind Company. Don`t know how he got them.

Then he cut the back of the blank and made a kind of hybrid piece by mounting a lathed sleeve (don´t know, if the term is correct) of massive brass on/inside it. Of course he formed the chamber, facing curve, etc. to the individual needs of his customers.

The pieces are extremely well made and very heavy....

Here my two baritone "Steamer" in comparison to my Ed Pillinger sopranino piece:

Wood Office supplies Metal Natural material Art


Tool Wood Household hardware Hardwood Metal
 
#24 ·
I've been playing bass for about a year now, and it's fast becoming my main instrument (well, let's call it a three-way tie with Bass, Tenor, and Soprano). My bass is not in great shape and needs significant work, but with the Zinner Mouthpiece (model #54), I have been able to coax a great sound out of the beast, and put off getting the work done. It's a really phenomenal piece that retains the depth and warmth of the bass saxophone, while giving just the right amount of edge and brightness to be heard (felt?). I can't wait to try it out on a well-regulated bass! Here's a link to the piece for all those interested. Note that I am US-based, but ordering from Thomann was not only easier, but cheaper than trying to deal directly with Zinner:

https://www.thomann.de/gb/zinner_basssaxophon_mundstueck_54.htm
 
#26 ·
My bass is this one-of-a-kind low A, high F# made by Martin Grunewald based on a Keilwerth: http://www.shwoodwind.co.uk/Reviews/Saxes/Bari/Keilwerth_SX90_special_bass.htm

It's a monster horn. I have tried many, many mouthpieces on it, including lots of baritone pieces with either bari or bass reeds. I preferred the bass reeds for added weight of sound and bass mouthpieces seem to tune a bit better. I have settled on a Pillinger bass mouthpiece and a Zinner bass with a bit of extra baffle for some cutting edge. Both of them I play with a Legere reed, but only when my back isn't in a bad way, as this is one heavy instrument.

Rhys
 
#29 ·
Hey Reeddoubler, great to see another Noblet bass player. These are pretty rare animals. I would like to ask you some questions, if you don't mind?

Is yours one of the later ones with two low C holes and keyed to high F, or one of the older ones? How long have you been playing it? I've only had mine about a year, and I really haven't put a lot of heavy time in on it yet.

I noticed two tuning issues: 1) low D and C# were sharpissimo and I have brought them down with crescents in the tone holes (easily reversible); 2) palm key notes flat, even with a giant chamber true bass mouthpiece shoved way way onto the neck. Have you noticed either of these?

How's the middle D?

I didn't know RPC even made a bass MP. Do you think he's still doing those?

What are you using for a case? I have the original case, but it seems kind of cramped inside and poorly padded. I know there are some new well-made cases out there, but it seems like all the references are to the long wrap Buescher/Conn style horns.

What are you doing about the neckstrap/harness thing? I have a Neotech harness which is fairly comfortable, but I can't get it up high enough.

What are you using the bass for? I have done a bit of bass line playing in Dixie/Trad jazz, but so far I am not able to do good walking lines in 4. Roaring out those traditional tuba lines in 2, the bass sax sounds really good. I have also experimented with big band baritone parts played on bass, with generally good results. But my transposition isn't yet up to the point where I could play the whole book on bass only, so I was carrying both horns (bari for the stuff that I couldn't transpose well at sight), and then I took the bass out of service for some minor repairs, and I haven't tried it again yet.

Wow, that's a lot of questions. Hope it doesn't put you off too much, but I'm excited to see someone else playing the same rare beast as mine.
 
#31 ·
I didn't know RPC even made a bass MP. Do you think he's still doing those?
When I got my bari mouthpiece a few years ago, I mentioned that I also have a bass, and he seemed enthused about the idea of making a mouthpiece for it. I think the way he works, there wouldn't be a whole lot of tool up and employee training to put a bass saxophone mouthpiece into production, he'd just get your story and whomp something up. Which would be great for me, because my bass saxophone isn't a whole lot like others, and in general I think the range of variation among bass saxophones is pretty broad. I guess I'd be sending him a mouthpiece that fits OK, which is one of the eccentricities. I imagine he'd start with the same blank he uses for bari mouthpieces and the result would be playable with an ordinary bari reed - that's what I'd want, anyway, but I'm just guessing, he may have blanks specifically for bass. If I were in the market for a mouthpiece, I'd sure call him up.
 
#30 ·
Mouthpiece update. After my 14M was adjusted to take out a bunch of (invisible) leaks, I found my Link STM 7 bari piece - modern, un-refaced - works great for a swing sound. Not overly bright but punchy.

I also found a NY WWCo B4* true bass piece that is wonderfully rich and mellow but needs a reed that's wider than any bari reed. Vandoren contra clarinet reeds work best.
 
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