Actually a slide show set to music.  You can pause it to take longer 
looks.  But you get an idea of how he does it.  

Rails look nice and thin.  I dont know why he likes those sharp 
corners at the tip.  There may be a reed tip cut that matches it in 
Europe.  But air leaks out the corners on all the reeds I have here.  
He does not seem to use a glass gage either.  He opts for a dial gage 
with the piece sandwiched between a flat table and the gage. 

http://www.lebayle.com/page2.html

Very interesting, looks like he files the tiprail all the way off, 
then adds it back by opening up the tip again on the facing.  Looks 
like a roundabout way to get to the correct opening but I'm sure he 
knows how to do it. -Ken

--- In MouthpieceWork@yahoogroups.com, "Keith 
Bradbury" <kwbradbury@...> wrote:
>
> Actually a slide show set to music.  You can pause it to take 
longer 
> looks.  But you get an idea of how he does it.  
> 
> Rails look nice and thin.  I dont know why he likes those sharp 
> corners at the tip.  There may be a reed tip cut that matches it in 
> Europe.  But air leaks out the corners on all the reeds I have 
here.  
> He does not seem to use a glass gage either.  He opts for a dial 
gage 
> with the piece sandwiched between a flat table and the gage. 
> 
> http://www.lebayle.com/page2.html
>

Ouch!
  The first thing he did is something always try to avoid.  That transition between the tip rail and side rails is (as we all know) very important.
  Brad Behn
  www.clarinetmouthpiece.com
  

Kenneth Barry <tenorsaxx@...> wrote:
          Very interesting, looks like he files the tiprail all the way off, 
then adds it back by opening up the tip again on the facing. Looks 
like a roundabout way to get to the correct opening but I'm sure he 
knows how to do it. -Ken

--- In MouthpieceWork@yahoogroups.com, "Keith 
Bradbury" <kwbradbury@...> wrote:
>
> Actually a slide show set to music. You can pause it to take 
longer 
> looks. But you get an idea of how he does it. 
> 
> Rails look nice and thin. I dont know why he likes those sharp 
> corners at the tip. There may be a reed tip cut that matches it in 
> Europe. But air leaks out the corners on all the reeds I have 
here. 
> He does not seem to use a glass gage either. He opts for a dial 
gage 
> with the piece sandwiched between a flat table and the gage. 
> 
> http://www.lebayle.com/page2.html
>



         

 		
---------------------------------
How low will we go? Check out Yahoo! Messenger�s low  PC-to-Phone call rates.

I was curious about this mouthpiece design, which looked like a Berg with an
elongated bullet. What does it look like close up - who has seen one of
these?

What is the effect of a baffle like this, compared to a shorter bullet,
compared to a step baffle?

Has anyone played a Lebayle mpc?

Barry Levine

> Ouch!
>   The first thing he did is something always try to avoid.  That transition
> between the tip rail and side rails is (as we all know) very important.
>   Brad Behn
>   www.clarinetmouthpiece.com
>
>
> Kenneth Barry <tenorsaxx@...> wrote:
>           Very interesting, looks like he files the tiprail all the way off,
> then adds it back by opening up the tip again on the facing. Looks
> like a roundabout way to get to the correct opening but I'm sure he
> knows how to do it. -Ken
>
> --- In MouthpieceWork@yahoogroups.com, "Keith
> Bradbury" <kwbradbury@...> wrote:
>>
>> Actually a slide show set to music. You can pause it to take
> longer
>> looks. But you get an idea of how he does it.
>>
>> Rails look nice and thin. I dont know why he likes those sharp
>> corners at the tip. There may be a reed tip cut that matches it in
>> Europe. But air leaks out the corners on all the reeds I have
> here.
>> He does not seem to use a glass gage either. He opts for a dial
> gage
>> with the piece sandwiched between a flat table and the gage.
>>
>> http://www.lebayle.com/page2.html
>>

Did anyone else notice if there was a small roll over at the tip ala dukoff? 




  ----- Original Message ----- 
  From: Barry Levine 
  To: MouthpieceWork@yahoogroups.com 
  Sent: Thursday, October 05, 2006 1:56 PM
  Subject: Re: [MouthpieceWork] Re: Lebayle Video on tip finishing.


  I was curious about this mouthpiece design, which looked like a Berg with an
  elongated bullet. What does it look like close up - who has seen one of
  these?

  What is the effect of a baffle like this, compared to a shorter bullet,
  compared to a step baffle?

  Has anyone played a Lebayle mpc?

  Barry Levine

  > Ouch!
  > The first thing he did is something always try to avoid. That transition
  > between the tip rail and side rails is (as we all know) very important.
  > Brad Behn
  > www.clarinetmouthpiece.com
  >
  >
  > Kenneth Barry <tenorsaxx@...> wrote:
  > Very interesting, looks like he files the tiprail all the way off,
  > then adds it back by opening up the tip again on the facing. Looks
  > like a roundabout way to get to the correct opening but I'm sure he
  > knows how to do it. -Ken
  >
  > --- In MouthpieceWork@yahoogroups.com, "Keith
  > Bradbury" <kwbradbury@...> wrote:
  >>
  >> Actually a slide show set to music. You can pause it to take
  > longer
  >> looks. But you get an idea of how he does it.
  >>
  >> Rails look nice and thin. I dont know why he likes those sharp
  >> corners at the tip. There may be a reed tip cut that matches it in
  >> Europe. But air leaks out the corners on all the reeds I have
  > here.
  >> He does not seem to use a glass gage either. He opts for a dial
  > gage
  >> with the piece sandwiched between a flat table and the gage.
  >>
  >> http://www.lebayle.com/page2.html
  >>


   

Personally I keep my facing curves extremely accurate (within .0002" 
or so), it's hard to see how Lebayle can keep a consistent curve 
there at the tip with doing all that hand filing.  I haven't played 
their pieces but have seen some of the wooden ones at Roberto's in 
NYC - a bit shallow behind the tip rail, seems like it would be 
awfully bright. The bullet chamber reminds me of a Lawton. -Ken
- - 
Ken Barry
Saxscape Mouthpieces
www.saxscape.com


--- In MouthpieceWork@yahoogroups.com, Brad Behn <bradbehn@...> wrote:
>
> Ouch!
>   The first thing he did is something always try to avoid.  That 
transition between the tip rail and side rails is (as we all know) 
very important.
>   Brad Behn
>   www.clarinetmouthpiece.com
>   
> 
> Kenneth Barry <tenorsaxx@...> wrote:
>           Very interesting, looks like he files the tiprail all the 
way off, 
> then adds it back by opening up the tip again on the facing. Looks 
> like a roundabout way to get to the correct opening but I'm sure he 
> knows how to do it. -Ken
> 
> --- In MouthpieceWork@yahoogroups.com, "Keith 
> Bradbury" <kwbradbury@> wrote:
> >
> > Actually a slide show set to music. You can pause it to take 
> longer 
> > looks. But you get an idea of how he does it. 
> > 
> > Rails look nice and thin. I dont know why he likes those sharp 
> > corners at the tip. There may be a reed tip cut that matches it 
in 
> > Europe. But air leaks out the corners on all the reeds I have 
> here. 
> > He does not seem to use a glass gage either. He opts for a dial 
> gage 
> > with the piece sandwiched between a flat table and the gage. 
> > 
> > http://www.lebayle.com/page2.html
> >
> 
> 
> 
>          
> 
>  		
> ---------------------------------
> How low will we go? Check out Yahoo! Messenger's low  PC-to-Phone 
call rates.
>

Hi Michael, first of all one question, are you the person that I bought a Sugal SGI by eBay?
 
Sorry for answer that but, Did you modified the Sugal sold to me? 
regards 
 
 

-----Mensaje original-----
De: MouthpieceWork@yahoogroups.com [mailto:MouthpieceWork@yahoogroups.com]En nombre de michael d. collins (2)
Enviado el: Jueves, 05 de Octubre de 2006 21:03
Para: MouthpieceWork@yahoogroups.com
Asunto: Re: [MouthpieceWork] Re: Lebayle Video on tip finishing.





Did anyone else notice if there was a small roll over at the tip ala dukoff? 
 
 
 
 

----- Original Message ----- 
From: Barry Levine <mailto:barrylevine@...>  
To: MouthpieceWork@ <mailto:MouthpieceWork@yahoogroups.com> yahoogroups.com 
Sent: Thursday, October 05, 2006 1:56 PM
Subject: Re: [MouthpieceWork] Re: Lebayle Video on tip finishing.


I was curious about this mouthpiece design, which looked like a Berg with an
elongated bullet. What does it look like close up - who has seen one of
these?

What is the effect of a baffle like this, compared to a shorter bullet,
compared to a step baffle?

Has anyone played a Lebayle mpc?

Barry Levine

> Ouch!
> The first thing he did is something always try to avoid. That transition
> between the tip rail and side rails is (as we all know) very important.
> Brad Behn
> www.clarinetmouthpiece.com
>
>
> Kenneth Barry < tenorsaxx@yahoo. <mailto:tenorsaxx%40yahoo.com> com> wrote:
> Very interesting, looks like he files the tiprail all the way off,
> then adds it back by opening up the tip again on the facing. Looks
> like a roundabout way to get to the correct opening but I'm sure he
> knows how to do it. -Ken
>
> --- In MouthpieceWork@ <mailto:MouthpieceWork%40yahoogroups.com> yahoogroups.com, "Keith
> Bradbury" <kwbradbury@...> wrote:
>>
>> Actually a slide show set to music. You can pause it to take
> longer
>> looks. But you get an idea of how he does it.
>>
>> Rails look nice and thin. I dont know why he likes those sharp
>> corners at the tip. There may be a reed tip cut that matches it in
>> Europe. But air leaks out the corners on all the reeds I have
> here.
>> He does not seem to use a glass gage either. He opts for a dial
> gage
>> with the piece sandwiched between a flat table and the gage.
>>
>> http://www.lebayle. <http://www.lebayle.com/page2.html> com/page2.html
>>




 

I've been playing a LeBayle Studio and a Jazz model
for a few months and think I'm getting to know them to
the point where I could share impressions fairly
reliably.  What would you like to know?

Tom Mitchell


--- "michael d. collins (2)" <chedoggy@...>
wrote:

> Did anyone else notice if there was a small roll
> over at the tip ala dukoff? 
> 
> 
> 
> 
>   ----- Original Message ----- 
>   From: Barry Levine 
>   To: MouthpieceWork@yahoogroups.com 
>   Sent: Thursday, October 05, 2006 1:56 PM
>   Subject: Re: [MouthpieceWork] Re: Lebayle Video on
> tip finishing.
> 
> 
>   I was curious about this mouthpiece design, which
> looked like a Berg with an
>   elongated bullet. What does it look like close up
> - who has seen one of
>   these?
> 
>   What is the effect of a baffle like this, compared
> to a shorter bullet,
>   compared to a step baffle?
> 
>   Has anyone played a Lebayle mpc?
> 
>   Barry Levine
> 
>   > Ouch!
>   > The first thing he did is something always try
> to avoid. That transition
>   > between the tip rail and side rails is (as we
> all know) very important.
>   > Brad Behn
>   > www.clarinetmouthpiece.com
>   >
>   >
>   > Kenneth Barry <tenorsaxx@...> wrote:
>   > Very interesting, looks like he files the
> tiprail all the way off,
>   > then adds it back by opening up the tip again on
> the facing. Looks
>   > like a roundabout way to get to the correct
> opening but I'm sure he
>   > knows how to do it. -Ken
>   >
>   > --- In MouthpieceWork@yahoogroups.com, "Keith
>   > Bradbury" <kwbradbury@...> wrote:
>   >>
>   >> Actually a slide show set to music. You can
> pause it to take
>   > longer
>   >> looks. But you get an idea of how he does it.
>   >>
>   >> Rails look nice and thin. I dont know why he
> likes those sharp
>   >> corners at the tip. There may be a reed tip cut
> that matches it in
>   >> Europe. But air leaks out the corners on all
> the reeds I have
>   > here.
>   >> He does not seem to use a glass gage either. He
> opts for a dial
>   > gage
>   >> with the piece sandwiched between a flat table
> and the gage.
>   >>
>   >> http://www.lebayle.com/page2.html
>   >>
> 
> 
>    


__________________________________________________
Do You Yahoo!?
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> 
> I've been playing a LeBayle Studio and a Jazz model
> for a few months and think I'm getting to know them to
> the point where I could share impressions fairly
> reliably.  What would you like to know?
>
> Tom Mitchell
>

Even given that player's mouthpiece is another's doorstop, I'm interested to
know how they compare to some other mouthpieces you've played.

What style of music are you playing with them. How are they for subtoning,
altissimo, dynamic range?

Barry

Hello, 
Ricardo, yes I am one and the same and yes to the modification.  If you don't like it let me know and we will do a return exchange. 

michael 

  ----- Original Message ----- 
  From: Lopez,Ricardo,SANTIAGO,Compras 
  To: MouthpieceWork@yahoogroups.com 
  Sent: Friday, October 06, 2006 9:15 AM
  Subject: RE: [MouthpieceWork] Re: Lebayle Video on tip finishing.



  Hi Michael, first of all one question, are you the person that I bought a Sugal SGI by eBay?

  Sorry for answer that but, Did you modified the Sugal sold to me? 
  regards 


    -----Mensaje original-----
    De: MouthpieceWork@yahoogroups.com [mailto:MouthpieceWork@yahoogroups.com]En nombre de michael d. collins (2)
    Enviado el: Jueves, 05 de Octubre de 2006 21:03
    Para: MouthpieceWork@yahoogroups.com
    Asunto: Re: [MouthpieceWork] Re: Lebayle Video on tip finishing.



    Did anyone else notice if there was a small roll over at the tip ala dukoff? 




      ----- Original Message ----- 
      From: Barry Levine 
      To: MouthpieceWork@yahoogroups.com 
      Sent: Thursday, October 05, 2006 1:56 PM
      Subject: Re: [MouthpieceWork] Re: Lebayle Video on tip finishing.


      I was curious about this mouthpiece design, which looked like a Berg with an
      elongated bullet. What does it look like close up - who has seen one of
      these?

      What is the effect of a baffle like this, compared to a shorter bullet,
      compared to a step baffle?

      Has anyone played a Lebayle mpc?

      Barry Levine

      > Ouch!
      > The first thing he did is something always try to avoid. That transition
      > between the tip rail and side rails is (as we all know) very important.
      > Brad Behn
      > www.clarinetmouthpiece.com
      >
      >
      > Kenneth Barry <tenorsaxx@yahoo.com> wrote:
      > Very interesting, looks like he files the tiprail all the way off,
      > then adds it back by opening up the tip again on the facing. Looks
      > like a roundabout way to get to the correct opening but I'm sure he
      > knows how to do it. -Ken
      >
      > --- In MouthpieceWork@yahoogroups.com, "Keith
      > Bradbury" <kwbradbury@...> wrote:
      >>
      >> Actually a slide show set to music. You can pause it to take
      > longer
      >> looks. But you get an idea of how he does it.
      >>
      >> Rails look nice and thin. I dont know why he likes those sharp
      >> corners at the tip. There may be a reed tip cut that matches it in
      >> Europe. But air leaks out the corners on all the reeds I have
      > here.
      >> He does not seem to use a glass gage either. He opts for a dial
      > gage
      >> with the piece sandwiched between a flat table and the gage.
      >>
      >> http://www.lebayle.com/page2.html
      >>




   

Well I been doing modifications since five years ago. Can you explain me what did you do? 
I have glass gage and fillers so I´m gonna check it. I love the sound of brecker, Brilliant in the high and deep on the low tones. The GSII that I had always sounds great.
 
Please tell me about it. You never said that the Sugal had modifications.
 
Regards
 

-----Mensaje original-----
De: MouthpieceWork@yahoogroups.com [mailto:MouthpieceWork@yahoogroups.com]En nombre de michael d. collins (2)
Enviado el: Viernes, 06 de Octubre de 2006 14:55
Para: MouthpieceWork@yahoogroups.com
Asunto: Re: [MouthpieceWork] Re: Lebayle Video on tip finishing.





Hello, 
Ricardo, yes I am one and the same and yes to the modification.  If you don't like it let me know and we will do a return exchange. 
 
michael 
 

----- Original Message ----- 
From: Lopez,Ricardo, <mailto:ricardo.lopez@...> SANTIAGO,Compras 
To: MouthpieceWork@ <mailto:MouthpieceWork@yahoogroups.com> yahoogroups.com 
Sent: Friday, October 06, 2006 9:15 AM
Subject: RE: [MouthpieceWork] Re: Lebayle Video on tip finishing.




Hi Michael, first of all one question, are you the person that I bought a Sugal SGI by eBay?
 
Sorry for answer that but, Did you modified the Sugal sold to me? 
regards 
 
 

-----Mensaje original-----
De: MouthpieceWork@ <mailto:MouthpieceWork@yahoogroups.com> yahoogroups.com [mailto:MouthpieceWork@yahoogroups.com]En nombre de michael d. collins (2)
Enviado el: Jueves, 05 de Octubre de 2006 21:03
Para: MouthpieceWork@yahoogroups.com
Asunto: Re: [MouthpieceWork] Re: Lebayle Video on tip finishing.





Did anyone else notice if there was a small roll over at the tip ala dukoff? 
 
 
 
 

----- Original Message ----- 
From: Barry Levine <mailto:barrylevine@...>  
To: MouthpieceWork@ <mailto:MouthpieceWork@yahoogroups.com> yahoogroups.com 
Sent: Thursday, October 05, 2006 1:56 PM
Subject: Re: [MouthpieceWork] Re: Lebayle Video on tip finishing.


I was curious about this mouthpiece design, which looked like a Berg with an
elongated bullet. What does it look like close up - who has seen one of
these?

What is the effect of a baffle like this, compared to a shorter bullet,
compared to a step baffle?

Has anyone played a Lebayle mpc?

Barry Levine

> Ouch!
> The first thing he did is something always try to avoid. That transition
> between the tip rail and side rails is (as we all know) very important.
> Brad Behn
> www.clarinetmouthpiece.com
>
>
> Kenneth Barry < tenorsaxx@yahoo. <mailto:tenorsaxx%40yahoo.com> com> wrote:
> Very interesting, looks like he files the tiprail all the way off,
> then adds it back by opening up the tip again on the facing. Looks
> like a roundabout way to get to the correct opening but I'm sure he
> knows how to do it. -Ken
>
> --- In MouthpieceWork@ <mailto:MouthpieceWork%40yahoogroups.com> yahoogroups.com, "Keith
> Bradbury" <kwbradbury@...> wrote:
>>
>> Actually a slide show set to music. You can pause it to take
> longer
>> looks. But you get an idea of how he does it.
>>
>> Rails look nice and thin. I dont know why he likes those sharp
>> corners at the tip. There may be a reed tip cut that matches it in
>> Europe. But air leaks out the corners on all the reeds I have
> here.
>> He does not seem to use a glass gage either. He opts for a dial
> gage
>> with the piece sandwiched between a flat table and the gage.
>>
>> http://www.lebayle. <http://www.lebayle.com/page2.html> com/page2.html
>>








 

Please do not continue a private discussion here after making the initial
contact.  Exchange Email addresses and continue privately.

__________________________________________________
Do You Yahoo!?
Tired of spam?  Yahoo! Mail has the best spam protection around 
http://mail.yahoo.com 

I gravitated to the Studio model on the first try and
have remained there, so that's the one that I know
best.   I'm not sure if he's still making this model,
though... and I get the impression that these 'pieces
are kind of one-of-a-kind, that this individual
example of this model may work better than that
example of that model, on Tuesdays only, that kind of
a thing.

That being said, I like this 'piece a lot, mostly
because it just plain feels good to play.  It blows
nice and free and while it can be quite bright when I
want it to be, there is plenty of warmth down below as
well and it is smooth and not that nasty grating kind
of "bark" that is so often present in the more hyped
(high baffle small chamber) modern mouthpieces.

I played the same Super 20 and the same couple of
mouthpieces (Guy Hawkins and later a Ponzol II-V-I)
for nearly 25 years, until stolen a couple of years
ago.  Since then I have been trying nearly everything
out there, catching up on what's come along in that
time while having a very firm idea in my head of what
I'm looking for - so making a very comprehensive yet
focused search - and it's beginning to pay off in that
I can finally make informed decisions about what to
play in what situation, and I have some points of
reference to use when trying to talk about this stuff
with people.  While there's always a risk of starting
to sound like a wine connoisseur, it doesn't hurt to
develop this kind of vocabulary if it helps you find
what you're looking for! 

So, for example, I can tell you that the workmanship
seems very clean and meticulous, and that this has a
very high, broad, and gentle rollover baffle into a
bullet chamber that looks like that of a Berg. (I
think the rollover has the greater effect on how it
plays, because this doesn't play all that much like a
Berg).  As far as tone goes, in terms of other 'pieces
that I know well, I can place the LeBayle Studio
roughly between the Hawkins and a stock Dukoff SPC.  A
bright top end on demand, similar to the Hawkins, but
more complex meat down below, an even nicer subtone,
etc., and that's saying a lot.  Not quite as snarly as
the Dukoff but it blows similar, yet with much more
flexibility for tonal shading.  Altimisso is promising
- it jumps right out but it is taking some work for me
to make it consistently useful, i.e. getting that
"feel" so that this input of chops and breath will
give me this precise, centered pitch and tone every
time. I think there's enough potental there to justify
putting in the time to get the most out of this one.

This piece is also very responsive to ligature changes
and I would advise anyone who tries one to spend some
time with that. 

I think you can tell that I like it but there is one
downside - I have pretty awful pitch problems with it
on one horn and one horn only that have me stumped -
guess these two are allergic to each other somehow -
so, pending a solution, I've learned to avoid this
combination in public.  Otherwise, it seems pretty
consistent from horn to horn. 

After many years spent with a workload that was 90%
big tours, I'm freelancing in S. Florida these days. 
That means big bands, electric-but-not-over-the-top
Top40 bands, R&B and Latin horn section stuff, loud
electric jambands, and some small-group jazz, wish
there was more of that!  The LeBayle can cover the
full spread if it has to.  It is fine in the more
intimate situations - it does change personality with
you as you back off the volume - but acoustic jazz is
a different world from the other stuff that I do and I
find a Link to be a little better-optimized for that.

Sorry to be so verbose, but I hope this at least
covers it!

Tom "TC" Mitchell

__________________________________________________
Do You Yahoo!?
Tired of spam?  Yahoo! Mail has the best spam protection around 
http://mail.yahoo.com 

I appreciate you taking the time to give an accurate impression. Your 
comparison of this mpc with the Berg, attributing the differences largely to
the rollover, is worth thinking about.

> I gravitated to the Studio model on the first try and
> have remained there, so that's the one that I know
> best.   I'm not sure if he's still making this model,
> though... and I get the impression that these 'pieces
> are kind of one-of-a-kind, that this individual
> example of this model may work better than that
> example of that model, on Tuesdays only, that kind of
> a thing.
>
> That being said, I like this 'piece a lot, mostly
> because it just plain feels good to play.  It blows
> nice and free and while it can be quite bright when I
> want it to be, there is plenty of warmth down below as
> well and it is smooth and not that nasty grating kind
> of "bark" that is so often present in the more hyped
> (high baffle small chamber) modern mouthpieces.
>
> I played the same Super 20 and the same couple of
> mouthpieces (Guy Hawkins and later a Ponzol II-V-I)
> for nearly 25 years, until stolen a couple of years
> ago.  Since then I have been trying nearly everything
> out there, catching up on what's come along in that
> time while having a very firm idea in my head of what
> I'm looking for - so making a very comprehensive yet
> focused search - and it's beginning to pay off in that
> I can finally make informed decisions about what to
> play in what situation, and I have some points of
> reference to use when trying to talk about this stuff
> with people.  While there's always a risk of starting
> to sound like a wine connoisseur, it doesn't hurt to
> develop this kind of vocabulary if it helps you find
> what you're looking for!
>
> So, for example, I can tell you that the workmanship
> seems very clean and meticulous, and that this has a
> very high, broad, and gentle rollover baffle into a
> bullet chamber that looks like that of a Berg. (I
> think the rollover has the greater effect on how it
> plays, because this doesn't play all that much like a
> Berg).  As far as tone goes, in terms of other 'pieces
> that I know well, I can place the LeBayle Studio
> roughly between the Hawkins and a stock Dukoff SPC.  A
> bright top end on demand, similar to the Hawkins, but
> more complex meat down below, an even nicer subtone,
> etc., and that's saying a lot.  Not quite as snarly as
> the Dukoff but it blows similar, yet with much more
> flexibility for tonal shading.  Altimisso is promising
> - it jumps right out but it is taking some work for me
> to make it consistently useful, i.e. getting that
> "feel" so that this input of chops and breath will
> give me this precise, centered pitch and tone every
> time. I think there's enough potental there to justify
> putting in the time to get the most out of this one.
>
> This piece is also very responsive to ligature changes
> and I would advise anyone who tries one to spend some
> time with that.
>
> I think you can tell that I like it but there is one
> downside - I have pretty awful pitch problems with it
> on one horn and one horn only that have me stumped -
> guess these two are allergic to each other somehow -
> so, pending a solution, I've learned to avoid this
> combination in public.  Otherwise, it seems pretty
> consistent from horn to horn.
>
> After many years spent with a workload that was 90%
> big tours, I'm freelancing in S. Florida these days.
> That means big bands, electric-but-not-over-the-top
> Top40 bands, R&B and Latin horn section stuff, loud
> electric jambands, and some small-group jazz, wish
> there was more of that!  The LeBayle can cover the
> full spread if it has to.  It is fine in the more
> intimate situations - it does change personality with
> you as you back off the volume - but acoustic jazz is
> a different world from the other stuff that I do and I
> find a Link to be a little better-optimized for that.
>
> Sorry to be so verbose, but I hope this at least
> covers it!
>
> Tom "TC" Mitchell
>
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" I think it would be a good idea."
- Mahatma Gandhi (1869-1948); when asked what he thought of Western
civilization