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  1. #181
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    This is excellent news, especially because of the passing of Ralph Morgan. Thanks for the update!
    Current setups:
    Yamaha YSS-875EX, Rousseau RC3 (refaced by Joe Giardullo), Ishimori lig,Hemke 3.5
    Yamaha YAS-875EXS, Rousseau RC4 (refaced by Brian Powell), Ishimori lig,Hemke 3.5
    Yamaha YTS-875EX, Rousseau NC4, Ishimori lig, Hemke 3.5
    Unison Black Nickel Bari, Rousseau NC4, BG Tradition lig, Hemke 3.5

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  3. #182
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    I have a question which has probably already been covered. I am playing alto in the local community concert band. I am using a Hite with a Rovner light lig and all is well. I have tried several other m/p's from WW & BW to see how they compare but the Hite still seems to do the best job for me. Has anyone compared a Hite to a Selmer Paris Larry Teal or Meyer Hard Rubber alto m/p? If so did you find that either one of these responded better than the Hite? Thanks.

  4. #183
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    Quote Originally Posted by John Laughter
    I have a question which has probably already been covered. I am playing alto in the local community concert band. I am using a Hite with a Rovner light lig and all is well. I have tried several other m/p's from WW & BW to see how they compare but the Hite still seems to do the best job for me. Has anyone compared a Hite to a Selmer Paris Larry Teal or Meyer Hard Rubber alto m/p? If so did you find that either one of these responded better than the Hite? Thanks.
    I like Hites. The Larry Teal will be a darker piece, but it will have a much closer facing than the Hite. The Hite will probably have a much more even facing than the Meyer as well. The Meyer and the Hite (the Hite is based on the old Meyers) will have a similar sound, assuming that we are talking about the Hite Artist and not the Hite Classic (which, ironically, is similar to the Larry Teal. It's based on the metal Selmer pieces.)
    Current setups:
    Yamaha YSS-875EX, Rousseau RC3 (refaced by Joe Giardullo), Ishimori lig,Hemke 3.5
    Yamaha YAS-875EXS, Rousseau RC4 (refaced by Brian Powell), Ishimori lig,Hemke 3.5
    Yamaha YTS-875EX, Rousseau NC4, Ishimori lig, Hemke 3.5
    Unison Black Nickel Bari, Rousseau NC4, BG Tradition lig, Hemke 3.5

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  6. #184
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    J. Max, I appreciate the insight! Very helpful.

  7. #185
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    I've been reading at some posts in the forum how the Rousseau New Classic works well with the Yamaha 875. I was wondering if it's the same for the 82/62II as they are a different design compared to the 875. Should the old Classic model be better in this case?

  8. #186
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    The NC series was designed and tested around the 875 series of horns. That being said, I've known plenty of people who have used them on a variety of instruments successfully, and yes, they do work very well with the 62s. Never tried one or known anyone who uses them on a Z, but the basic design of the 82Z is based on the 62, so I see no reason why they shouldn't work well together.

    The old classic models were built around the original 62s, so obviously they work very well. (And several of Dr. Rousseau's albums were recorded on just that combination!) I'd suggest trying a couple of each and seeing which ones work better for you.
    Current setups:
    Yamaha YSS-875EX, Rousseau RC3 (refaced by Joe Giardullo), Ishimori lig,Hemke 3.5
    Yamaha YAS-875EXS, Rousseau RC4 (refaced by Brian Powell), Ishimori lig,Hemke 3.5
    Yamaha YTS-875EX, Rousseau NC4, Ishimori lig, Hemke 3.5
    Unison Black Nickel Bari, Rousseau NC4, BG Tradition lig, Hemke 3.5

  9. #187
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    So the 62II with the G1 neck should be in between the 2 mouthpieces

    Now I have to find some place to try them here in Japan. Nobody seems to have these pieces here! But this is another issue...

    Thank you J.Max

  10. #188
    Distinguished SOTW Member nitrosax's Avatar
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    I recently tried the AL4 piece again for giggles...I really liked the sound of the piece...it was still not quite flexible enough for my taste AND more importantly on my Reference Alto the low B warlbles.....There was a post earlier about reference horns and the AL optimum series pieces...try for yourself and see what happens...

    Vandoren just needs to make an AL 4* or something--tweak it, make it a tad more projecting and more flexible...then it'd be perfect!

    Cheers,

    PS...I also tried a Rousseau NC5 soprano piece and it was AMAZING...very full and VERY smooth sound...intonation was rock solid...My recommedation for a legit sop piece...

  11. #189

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    Just thought I'd chime in and offer my own (perhaps unique, perhaps not) perspective.

    I primarily use a Caravan large chamber. I love the warm, round and rich sound it offers on my Cannonball. However... (uh-oh, he howevered!) I try to choose the appropriate sound for the style of the piece in question. It seems to me, that if a piece was written for, and dedicated to Mr. Rascher, then that is the sound concept that the composer had in mind. Another piece, say "Fuzzy Bird" was perhaps written with a different tonal concept. IMHO, we are trying to allow our audience to hear what the composer heard in his head. I don't believe that I'd be comfortable playing a late 20th century piece, dedicated to Sinta, on my Caravan, any more than I'm comfortable playing an earlier piece dedicated to Rascher on my C*.

    I don't mean to start a war of the "schools" here, just offering an opinion.
    Cheers all!
    Rick Steuart

    My Hobby


    _________________
    Cannonball Raven Curved Soprano, Caravan, 3.5 Hemke
    Cannonball Raven Alto, Caravan Large Chamber, 3 Brancher Opera
    Cannonball Raven Tenor, Caravan, 3.5 Vandoren
    Cannonball Raven Bari, Caravan, 3.5 Vandoren
    __________________

  12. #190
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    Quote Originally Posted by rsteuart
    Just thought I'd chime in and offer my own (perhaps unique, perhaps not) perspective.

    I primarily use a Caravan large chamber. I love the warm, round and rich sound it offers on my Cannonball. However... (uh-oh, he howevered!) I try to choose the appropriate sound for the style of the piece in question. It seems to me, that if a piece was written for, and dedicated to Mr. Rascher, then that is the sound concept that the composer had in mind. Another piece, say "Fuzzy Bird" was perhaps written with a different tonal concept. IMHO, we are trying to allow our audience to hear what the composer heard in his head. I don't believe that I'd be comfortable playing a late 20th century piece, dedicated to Sinta, on my Caravan, any more than I'm comfortable playing an earlier piece dedicated to Rascher on my C*.

    I don't mean to start a war of the "schools" here, just offering an opinion.
    If you can do that, great. I've always found it better to settle on one mouthpiece and build your embrouchure around it than to try and switch around all the time. If you have a tonal concept that you can be flexible with, this shouldn't be a problem. I'm curious if a teacher encouraged the approach that you use; I've never heard of anyone doing that before.
    Current setups:
    Yamaha YSS-875EX, Rousseau RC3 (refaced by Joe Giardullo), Ishimori lig,Hemke 3.5
    Yamaha YAS-875EXS, Rousseau RC4 (refaced by Brian Powell), Ishimori lig,Hemke 3.5
    Yamaha YTS-875EX, Rousseau NC4, Ishimori lig, Hemke 3.5
    Unison Black Nickel Bari, Rousseau NC4, BG Tradition lig, Hemke 3.5

  13. #191

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    I, and many of us, switch to the jazz mouthpiece (mine is a Meyer 5m) and change our approach to suit that style. I have just carried it a little further. We wouldn't play "What is this thing called love" on the classical setup, though I suppose one could, and unless it was an emergency, wouldn't play the Glaz on the Meyer. This is my own solution and opinion, btw.
    Cheers all!
    Rick Steuart

    My Hobby


    _________________
    Cannonball Raven Curved Soprano, Caravan, 3.5 Hemke
    Cannonball Raven Alto, Caravan Large Chamber, 3 Brancher Opera
    Cannonball Raven Tenor, Caravan, 3.5 Vandoren
    Cannonball Raven Bari, Caravan, 3.5 Vandoren
    __________________

  14. #192
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    Quote Originally Posted by rsteuart
    I, and many of us, switch to the jazz mouthpiece (mine is a Meyer 5m) and change our approach to suit that style. I have just carried it a little further. We wouldn't play "What is this thing called love" on the classical setup, though I suppose one could, and unless it was an emergency, wouldn't play the Glaz on the Meyer. This is my own solution and opinion, btw.
    I play jazz on a different mouthpiece too, and I think most people do, but that's mostly to get better projection and a different idiomatic sound. I've just never heard of anyone doing it with different classical pieces like you're describing. That's just a very different approach, and I'm curious how you came up with it. I mean, I suppose you could even take it a step further by using diffeent horns to play pieces written for, say, Rascher on a Buescher Aristocrat, and ones written for Sinta on a Selmer Mark VI. And what happens if you play a piece written for Elise Hall?

    I'm being a little facetious, I guess, but this isn't meant as an attack. I'm just curious as to how you came up with this idea.

    And BTW, your piano CDs are very good!
    Current setups:
    Yamaha YSS-875EX, Rousseau RC3 (refaced by Joe Giardullo), Ishimori lig,Hemke 3.5
    Yamaha YAS-875EXS, Rousseau RC4 (refaced by Brian Powell), Ishimori lig,Hemke 3.5
    Yamaha YTS-875EX, Rousseau NC4, Ishimori lig, Hemke 3.5
    Unison Black Nickel Bari, Rousseau NC4, BG Tradition lig, Hemke 3.5

  15. #193

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    Gracias on the CD's! I really appreciate that. I mostly play jazz piano, but I teach woodwinds. I would LOVE to have a Buescher Aristocrat to play my Rascher style pieces on... but I don't (yet), and while I'm not a huge fan of the Mark VI (I know that is the horn God played) I might be satisfied with an 875ex. My Cannonball actually serves nicely, as the 2 necks provide vastly different sounds, and I do use them in that way.

    I always stress with my students that playing the music is what is important. Not what is on the page, as that is just an approximation. Anyone who's ever composed, or arranged, understands the limitations imposed by our notational system. You can't really get what is in your head onto the page. You can get close, but if you get too specific, you run the risk of overwhelming the performer. At any rate, I'm all for interpreting the music, but I feel it is incumbent on us to interpret it, to the best of our ability, as the composer heard it in their head. It is, after all, their music. So... (I know I'm rambling, sorry) in the interest of serving the composer and his/her wishes, it just seemed natural to me that sound concept was a part of that. The composer had an idea of what a saxophone sounds like, and elected to write for that instrument in lieu of any other. Having a vastly different tone than what he had in mind seems almost like playing it on another instrument entirely. Agreed that you can have a flexibility in your tone, and can brighten or darken, etc. This just seemed like a good solution to me. I'm not advocating it, necessarily, for anyone else, just offering my thoughts. As to Elise Hall... not sure. I don't as much look at the dedicatee as I look at the music. The music can usually tell me what to do. If it seems contemporary, jazz influenced, whatever. Another question might be "What about transcriptions?
    What might one use on the Eccles for example. I don't have an answer to that one yet.

    Again, thanks for the conversation! It is a treat!
    Cheers all!
    Rick Steuart

    My Hobby


    _________________
    Cannonball Raven Curved Soprano, Caravan, 3.5 Hemke
    Cannonball Raven Alto, Caravan Large Chamber, 3 Brancher Opera
    Cannonball Raven Tenor, Caravan, 3.5 Vandoren
    Cannonball Raven Bari, Caravan, 3.5 Vandoren
    __________________

  16. #194
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    Quote Originally Posted by rsteuart
    Just thought I'd chime in and offer my own (perhaps unique, perhaps not) perspective.

    I primarily use a Caravan large chamber. I love the warm, round and rich sound it offers on my Cannonball. However... (uh-oh, he howevered!) I try to choose the appropriate sound for the style of the piece in question. It seems to me, that if a piece was written for, and dedicated to Mr. Rascher, then that is the sound concept that the composer had in mind. Another piece, say "Fuzzy Bird" was perhaps written with a different tonal concept. IMHO, we are trying to allow our audience to hear what the composer heard in his head. I don't believe that I'd be comfortable playing a late 20th century piece, dedicated to Sinta, on my Caravan, any more than I'm comfortable playing an earlier piece dedicated to Rascher on my C*.

    I don't mean to start a war of the "schools" here, just offering an opinion.
    Rick,

    I didn't realize you posted on the forum as well. I should pay attention, since you have been on the forum for almost four years.

    I feel that you should use the equipment you are comfortable with. Last fall I performed the Fuzzy Bird and the Harley Duo (written for Sinta) with my caravan setup, it worked pretty well. I like the open chamber mouthpiece sound as well, but this is onpinion I also don't want to start a "schools" war either

    Chris

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    Hey, Chris. I hope you are well. I am, of course, in the same "school" you are. I love my caravans, and play them on all my horns. I am also fairly comfortable with the selmer mp, just as I am with the meyer. I use what makes me comfortable with the music I am playing. That was the point. I think you can be comfortable on more than one setup. Most of us are. It is the music that is important. BTW, I think it is great that we have these kinds of choices, and that we play an instrument that is capable of such an infinite variety of sounds. I think I'll have a beer (another beer) and toast Mr. Sax.
    Cheers all!
    Rick Steuart

    My Hobby


    _________________
    Cannonball Raven Curved Soprano, Caravan, 3.5 Hemke
    Cannonball Raven Alto, Caravan Large Chamber, 3 Brancher Opera
    Cannonball Raven Tenor, Caravan, 3.5 Vandoren
    Cannonball Raven Bari, Caravan, 3.5 Vandoren
    __________________

  18. #196
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    Quote Originally Posted by rsteuart
    Hey, Chris. I hope you are well. I am, of course, in the same "school" you are. I love my caravans, and play them on all my horns. I am also fairly comfortable with the selmer mp, just as I am with the meyer. I use what makes me comfortable with the music I am playing. That was the point. I think you can be comfortable on more than one setup. Most of us are. It is the music that is important. BTW, I think it is great that we have these kinds of choices, and that we play an instrument that is capable of such an infinite variety of sounds. I think I'll have a beer (another beer) and toast Mr. Sax.
    Rick,

    Well said, I agree completely. It is great that we have all of these choices. Enjoy that beer and I'll see you this summer.

    Chris

  19. #197
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    Default Re: Index of classical mouthpieces

    This thread needs updating.

    I'm going to do it, but it will take me a little while. Stay tuned.
    Current setups:
    Yamaha YSS-875EX, Rousseau RC3 (refaced by Joe Giardullo), Ishimori lig,Hemke 3.5
    Yamaha YAS-875EXS, Rousseau RC4 (refaced by Brian Powell), Ishimori lig,Hemke 3.5
    Yamaha YTS-875EX, Rousseau NC4, Ishimori lig, Hemke 3.5
    Unison Black Nickel Bari, Rousseau NC4, BG Tradition lig, Hemke 3.5

  20. #198
    Seeker Of A Clever Title. zxcvbnm's Avatar
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    Default Re: Index of classical mouthpieces

    Don't forget to add some vintage pieces, like soloists, and vintage stock pieces (Buescher, Conn, Martin, Selmer, etc.).
    Buescher curved soprano silver plate high F/Jicaino custom large chamber sop piece
    Buescher Aristocrat 140 silver plate /Jicaino refaced Buescher piece

  21. #199
    Seeker Of A Clever Title. zxcvbnm's Avatar
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    Default Re: Index of classical mouthpieces

    Please ?
    Buescher curved soprano silver plate high F/Jicaino custom large chamber sop piece
    Buescher Aristocrat 140 silver plate /Jicaino refaced Buescher piece

  22. #200
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    Default Re: Index of classical mouthpieces

    Quote Originally Posted by zxcvbnm View Post
    Don't forget to add some vintage pieces, like soloists, and vintage stock pieces (Buescher, Conn, Martin, Selmer, etc.).
    I probably won't add too many vintage pieces. The idea is to discuss pieces that are readily available to students and other players, and most of the vintage pieces can be hard to get. I have to be able to get my hands on a particular piece to be able to test them too, so it's very difficult to list vintage pieces because you can't just try them from a place like WWBW. I will put the ones in that I can get my hands on (or that I've owned myself and already "noted") but that isn't really the point of this thread.
    Current setups:
    Yamaha YSS-875EX, Rousseau RC3 (refaced by Joe Giardullo), Ishimori lig,Hemke 3.5
    Yamaha YAS-875EXS, Rousseau RC4 (refaced by Brian Powell), Ishimori lig,Hemke 3.5
    Yamaha YTS-875EX, Rousseau NC4, Ishimori lig, Hemke 3.5
    Unison Black Nickel Bari, Rousseau NC4, BG Tradition lig, Hemke 3.5

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