I am cross-posting this from Sax On The Web.  It would soon be lost 
since there is no archiving at SOTW.  I do not know the posters, but 
this looks like good info:

*********************************************************
Joe User ID: 1028194  Oct 19th 5:28 PM
It's difficult to say if a sound is bright or dark without first 
defining the terminology. There's 4 different sound characteristics 
which different players consider brightness. There's reed buzz, which 
some consider bright, others buzzy. There's a lot of highs in the 
sound, which most people consider bright. There's a lot of mids in 
the sound, which some consider bright, some live, and some warm. Then 
there's the edge that comes from air turbulence, sort of a gnarliness 
to the sound. To complicate the equation, the more body there is to 
the sound, the less of the brightness of whatever kind you'll hear. 

Trane had an incredibly live sound with lots of gnarliness. His sound 
doesn't have a lot of highs or reed noise. It's a very concentrated, 
focused, and fairly thick by modern standards. It's not the thin, 
brittle sound with screaching highs that many of todays "bright" 
players get from their Guardalas. 

Trane used no wedge. He got that effect, though, from his focused and 
overblown air stream. He played a NY Link Tone Master with a 6* (96) 
tip opening and he used Rico 3 1/2 reeds. He later switched to a 7 
(100) tip. I've also heard he later changed to Rico 4 reeds but can't 
confirm this. I've got his lay schedules for both mouthpieces. Also 
remember that the Rico reeds of the 50's and early 60's play nothing 
like the ones today.

*********************************************************** 
chedoggy User ID: 2929904  Oct 20th 7:03 PM
joe -- thank you for the reply; i hear coltrane's sound as very 
bright, thick and full of all the harmonics; when you used the 
word "gnarliness" i think that was what i meant by a sound that could 
peel paint; he had such a great sound in the palm keys; i'm no 
traditionalist, but am resisting moving to a high baffled mpc to get 
a bright sound; it seems to me that Coltrane's sound is relevant and 
meaningful to so-called "contemporary" concepts of saxophone; would 
love to know his lay schedules if you are willing to share, 
especially the length of the lay -- short? long? or did he have his 
mpc refaced to the type of reeds he was using? old ricos? 

***********************************************************
Joe User ID: 1028194  Oct 21st 7:46 PM
Chedoggy, I don't mind sharing. Trane's mouthpieces were refaced by 
Claude Humber, who taught me how to reface. Claude's mouthpiece book 
was always open to anyone that wanted to see, so sharing is in 
keeping with Claude's tradition, memory, and generous spirit. 

John Coltrane Tenor Otto Link TM 
96 tip 26-20-15-12-8 

100 tip 27-20-15-12-8 
Rico 3 1/2 reed 

Trane's facings were slightly long for the tip openings by modern 
standards, but this is in keeping with the old large chambered, low 
baffled Links. They were no where near as long as the Gonzalves 
facings, which were 30 (basically a bari sax facing). 

In addition to Trane and Gonzalves, Claude did mouthpieces for 
Hawkins, Hodges, Getz, Parker, Bill Perkins, Herb Geller, Art Pepper, 
Harry Carney, Desmond, Lester Young, Phil Woods, Larry Teal, Benny 
Goodman, Buddy DeFranco, Pete Fountain, and Peanuts Hucko, just to 
name a few. 

Claude was a kind and and giving man that was almost universally 
loved. Unfortunately, worn gauges and some strokes caused his later 
work to suffer. Still, his knowledge and facing work (before the 
1980's) were second to none.  

******************************************************

Another cross-posting from SOTW "Joe":

I've got Gonsalves' facing memorized because I used it for years. 
Metal Link 9* 
125 tip 
30-22-17-15-11 

I believe Claude said he used Rico 3 reeds.

(Anyone know who Joe is?)

Do you have the email address for the guy that was taught by the guy 
that did Coltrane's mouthpieces? Since he also did mpc's for Getz, 
I'm *extremely* interested!!! I would ***LOVE*** to know what Getz 
had done to his mouthpieces! I think I'm kinda between 98% and 100% 
there for the Getz tone, depending on where I am on the sax, and how 
loudly I'm playing, but I want it to be 100%, all over the horn. If 
he doesn't want to give his email address out willy-nilly, if you 
could *please* pass on my email address to him, I would be greatly 
appreciative!

My email address is:

danny_tb@...

If that didn't come out (because of email filtering, etc), try:

"danny_tb" at "yahoo" dot "com"

I'm particularly interested in the Getz set-up during the bossa nova 
era, and if he has any info on the specific set-up that Getz used 
during the recording of the "Getz Au Go Go" album at Cafe Au Go Go, 
it would be even more helpful (this is the only example of his tone 
that I've come across where I think he betters my current tone - with 
all other examples of his tone that I've come across, I think that my 
tone is now either equal to, or better than his tone - as far as my 
ear is concerned anyway). 

Thanks in advance.

Regards,

Danny.


--- In MouthpieceWork@y..., "Keith Bradbury" <kwbradbury@y...> wrote:
> I am cross-posting this from Sax On The Web.  It would soon be lost 
> since there is no archiving at SOTW.  I do not know the posters, 
but 
> this looks like good info:
> 
> *********************************************************
> Joe User ID: 1028194  Oct 19th 5:28 PM
> It's difficult to say if a sound is bright or dark without first 
> defining the terminology. There's 4 different sound characteristics 
> which different players consider brightness. There's reed buzz, 
which 
> some consider bright, others buzzy. There's a lot of highs in the 
> sound, which most people consider bright. There's a lot of mids in 
> the sound, which some consider bright, some live, and some warm. 
Then 
> there's the edge that comes from air turbulence, sort of a 
gnarliness 
> to the sound. To complicate the equation, the more body there is to 
> the sound, the less of the brightness of whatever kind you'll hear. 
> 
> Trane had an incredibly live sound with lots of gnarliness. His 
sound 
> doesn't have a lot of highs or reed noise. It's a very 
concentrated, 
> focused, and fairly thick by modern standards. It's not the thin, 
> brittle sound with screaching highs that many of todays "bright" 
> players get from their Guardalas. 
> 
> Trane used no wedge. He got that effect, though, from his focused 
and 
> overblown air stream. He played a NY Link Tone Master with a 6* 
(96) 
> tip opening and he used Rico 3 1/2 reeds. He later switched to a 7 
> (100) tip. I've also heard he later changed to Rico 4 reeds but 
can't 
> confirm this. I've got his lay schedules for both mouthpieces. Also 
> remember that the Rico reeds of the 50's and early 60's play 
nothing 
> like the ones today.
> 
> *********************************************************** 
> chedoggy User ID: 2929904  Oct 20th 7:03 PM
> joe -- thank you for the reply; i hear coltrane's sound as very 
> bright, thick and full of all the harmonics; when you used the 
> word "gnarliness" i think that was what i meant by a sound that 
could 
> peel paint; he had such a great sound in the palm keys; i'm no 
> traditionalist, but am resisting moving to a high baffled mpc to 
get 
> a bright sound; it seems to me that Coltrane's sound is relevant 
and 
> meaningful to so-called "contemporary" concepts of saxophone; would 
> love to know his lay schedules if you are willing to share, 
> especially the length of the lay -- short? long? or did he have his 
> mpc refaced to the type of reeds he was using? old ricos? 
> 
> ***********************************************************
> Joe User ID: 1028194  Oct 21st 7:46 PM
> Chedoggy, I don't mind sharing. Trane's mouthpieces were refaced by 
> Claude Humber, who taught me how to reface. Claude's mouthpiece 
book 
> was always open to anyone that wanted to see, so sharing is in 
> keeping with Claude's tradition, memory, and generous spirit. 
> 
> John Coltrane Tenor Otto Link TM 
> 96 tip 26-20-15-12-8 
> 
> 100 tip 27-20-15-12-8 
> Rico 3 1/2 reed 
> 
> Trane's facings were slightly long for the tip openings by modern 
> standards, but this is in keeping with the old large chambered, low 
> baffled Links. They were no where near as long as the Gonzalves 
> facings, which were 30 (basically a bari sax facing). 
> 
> In addition to Trane and Gonzalves, Claude did mouthpieces for 
> Hawkins, Hodges, Getz, Parker, Bill Perkins, Herb Geller, Art 
Pepper, 
> Harry Carney, Desmond, Lester Young, Phil Woods, Larry Teal, Benny 
> Goodman, Buddy DeFranco, Pete Fountain, and Peanuts Hucko, just to 
> name a few. 
> 
> Claude was a kind and and giving man that was almost universally 
> loved. Unfortunately, worn gauges and some strokes caused his later 
> work to suffer. Still, his knowledge and facing work (before the 
> 1980's) were second to none.  
> 
> ******************************************************

PS:...
I'm also a Paul Desmond fan (I play tenor now, but my tone has been 
described at times as being like "Paul Desmond on the tenor"), and my 
two "soul mates" are both Desmond fans too (one of which, my teacher, 
was given his Gregory 5A20M "Master" mouthpiece by Desmond - I think 
it was a spare mouthpiece that he (Desmond) had that he didn't like 
the tone of as much as the model "A" that he always used). So, 
needless to say, if there is any Desmond information out there, I 
know that there are a couple of people that would be very interested 
in it...

Thanks again.

DB

--- In MouthpieceWork@y..., "Danny Barrett" <danny_tb@y...> wrote:
> Do you have the email address for the guy that was taught by the 
guy 
> that did Coltrane's mouthpieces? Since he also did mpc's for Getz, 
> I'm *extremely* interested!!! I would ***LOVE*** to know what Getz 
> had done to his mouthpieces! I think I'm kinda between 98% and 100% 
> there for the Getz tone, depending on where I am on the sax, and 
how 
> loudly I'm playing, but I want it to be 100%, all over the horn. If 
> he doesn't want to give his email address out willy-nilly, if you 
> could *please* pass on my email address to him, I would be greatly 
> appreciative!
> 
> My email address is:
> 
> danny_tb@y...
> 
> If that didn't come out (because of email filtering, etc), try:
> 
> "danny_tb" at "yahoo" dot "com"
> 
> I'm particularly interested in the Getz set-up during the bossa 
nova 
> era, and if he has any info on the specific set-up that Getz used 
> during the recording of the "Getz Au Go Go" album at Cafe Au Go Go, 
> it would be even more helpful (this is the only example of his tone 
> that I've come across where I think he betters my current tone - 
with 
> all other examples of his tone that I've come across, I think that 
my 
> tone is now either equal to, or better than his tone - as far as my 
> ear is concerned anyway). 
> 
> Thanks in advance.
> 
> Regards,
> 
> Danny.
> 
> 
> --- In MouthpieceWork@y..., "Keith Bradbury" <kwbradbury@y...> 
wrote:
> > I am cross-posting this from Sax On The Web.  It would soon be 
lost 
> > since there is no archiving at SOTW.  I do not know the posters, 
> but 
> > this looks like good info:
> > 
> > *********************************************************
> > Joe User ID: 1028194  Oct 19th 5:28 PM
> > It's difficult to say if a sound is bright or dark without first 
> > defining the terminology. There's 4 different sound 
characteristics 
> > which different players consider brightness. There's reed buzz, 
> which 
> > some consider bright, others buzzy. There's a lot of highs in the 
> > sound, which most people consider bright. There's a lot of mids 
in 
> > the sound, which some consider bright, some live, and some warm. 
> Then 
> > there's the edge that comes from air turbulence, sort of a 
> gnarliness 
> > to the sound. To complicate the equation, the more body there is 
to 
> > the sound, the less of the brightness of whatever kind you'll 
hear. 
> > 
> > Trane had an incredibly live sound with lots of gnarliness. His 
> sound 
> > doesn't have a lot of highs or reed noise. It's a very 
> concentrated, 
> > focused, and fairly thick by modern standards. It's not the thin, 
> > brittle sound with screaching highs that many of todays "bright" 
> > players get from their Guardalas. 
> > 
> > Trane used no wedge. He got that effect, though, from his focused 
> and 
> > overblown air stream. He played a NY Link Tone Master with a 6* 
> (96) 
> > tip opening and he used Rico 3 1/2 reeds. He later switched to a 
7 
> > (100) tip. I've also heard he later changed to Rico 4 reeds but 
> can't 
> > confirm this. I've got his lay schedules for both mouthpieces. 
Also 
> > remember that the Rico reeds of the 50's and early 60's play 
> nothing 
> > like the ones today.
> > 
> > *********************************************************** 
> > chedoggy User ID: 2929904  Oct 20th 7:03 PM
> > joe -- thank you for the reply; i hear coltrane's sound as very 
> > bright, thick and full of all the harmonics; when you used the 
> > word "gnarliness" i think that was what i meant by a sound that 
> could 
> > peel paint; he had such a great sound in the palm keys; i'm no 
> > traditionalist, but am resisting moving to a high baffled mpc to 
> get 
> > a bright sound; it seems to me that Coltrane's sound is relevant 
> and 
> > meaningful to so-called "contemporary" concepts of saxophone; 
would 
> > love to know his lay schedules if you are willing to share, 
> > especially the length of the lay -- short? long? or did he have 
his 
> > mpc refaced to the type of reeds he was using? old ricos? 
> > 
> > ***********************************************************
> > Joe User ID: 1028194  Oct 21st 7:46 PM
> > Chedoggy, I don't mind sharing. Trane's mouthpieces were refaced 
by 
> > Claude Humber, who taught me how to reface. Claude's mouthpiece 
> book 
> > was always open to anyone that wanted to see, so sharing is in 
> > keeping with Claude's tradition, memory, and generous spirit. 
> > 
> > John Coltrane Tenor Otto Link TM 
> > 96 tip 26-20-15-12-8 
> > 
> > 100 tip 27-20-15-12-8 
> > Rico 3 1/2 reed 
> > 
> > Trane's facings were slightly long for the tip openings by modern 
> > standards, but this is in keeping with the old large chambered, 
low 
> > baffled Links. They were no where near as long as the Gonzalves 
> > facings, which were 30 (basically a bari sax facing). 
> > 
> > In addition to Trane and Gonzalves, Claude did mouthpieces for 
> > Hawkins, Hodges, Getz, Parker, Bill Perkins, Herb Geller, Art 
> Pepper, 
> > Harry Carney, Desmond, Lester Young, Phil Woods, Larry Teal, 
Benny 
> > Goodman, Buddy DeFranco, Pete Fountain, and Peanuts Hucko, just 
to 
> > name a few. 
> > 
> > Claude was a kind and and giving man that was almost universally 
> > loved. Unfortunately, worn gauges and some strokes caused his 
later 
> > work to suffer. Still, his knowledge and facing work (before the 
> > 1980's) were second to none.  
> > 
> > ******************************************************

--- In MouthpieceWork@y..., "Danny Barrett" <danny_tb@y...> wrote:
> Do you have the email address for the guy that was taught by the 
guy that did Coltrane's mouthpieces? 

No, I do not have a contact for "Joe".  He has been posting on the 
Sax On The Web forum.  You might try posting a message there to 
contact him.

OK. Thanks for that. I'll give it a try.

--- In MouthpieceWork@y..., "Keith Bradbury" <kwbradbury@y...> wrote:
> --- In MouthpieceWork@y..., "Danny Barrett" <danny_tb@y...> wrote:
> > Do you have the email address for the guy that was taught by the 
> guy that did Coltrane's mouthpieces? 
> 
> No, I do not have a contact for "Joe".  He has been posting on the 
> Sax On The Web forum.  You might try posting a message there to 
> contact him.

There has been some follow-up on SOTW that Claude Humber may not 
refaced all a famous pieces attributed to him.  It is tough to 
substantiate claims that "this is the facing" some famous player used.