Hi there.

I would like to try a tenor wood mp. I have done some research online but I am a bite confused.
For a dark, warm big sound, what brand/type of wood tenor mp would anyone sugest me to try?

thanks
julian

"Eighty percent of success is showing up"
Woody Allen


      

Check out the Brancher pieces.  'L' chamber in ebony...

--- In MouthpieceWork@yahoogroups.com, Julian Herrero <julianccd@...> wrote:
>
> 
>  Hi there.
> 
> I would like to try a tenor wood mp. I have done some research online but I am a bite confused.
> For a dark, warm big sound, what brand/type of wood tenor mp would anyone sugest me to try?
> 
> thanks
> julian
> 
> "Eighty percent of success is showing up"
> Woody Allen
>

What gives a mouthpiece its characteristic tonal response is its geometry -
its facing curve and the shape of its chamber and baffle.
Whether made of ebony, hard rubber, delrin, acrylic, pewter, brass or
stainless steel.



> 
> Check out the Brancher pieces.  'L' chamber in ebony...
> 
> --- In MouthpieceWork@yahoogroups.com
> <mailto:MouthpieceWork%40yahoogroups.com> , Julian Herrero <julianccd@...>
> wrote:
>> >
>> > 
>> >  Hi there.
>> > 
>> > I would like to try a tenor wood mp. I have done some research online but I
>> am a bite confused.
>> > For a dark, warm big sound, what brand/type of wood tenor mp would anyone
>> sugest me to try?
>> > 
>> > thanks
>> > julian
>> > 
>> > "Eighty percent of success is showing up"
>> > Woody Allen
>> >
> 
> 
> 
> 

I have some very old stock of true ebony wood seasoned I think for 60 years or more. It is covered by wax in order to protect it. The person who gave it to me was a clarinets maker who doesn't work anymore. I think a few very good looking and I hope well playing mouthpieces can be made out of it. Anyway it is just the feeling, it will play more or less as any other mouthpiece made with any other material. If you are interested please contact me in pvt.

Dan

--- In MouthpieceWork@yahoogroups.com, Barry Levine <barrylevine@...> wrote:
>
> What gives a mouthpiece its characteristic tonal response is its geometry -
> its facing curve and the shape of its chamber and baffle.
> Whether made of ebony, hard rubber, delrin, acrylic, pewter, brass or
> stainless steel.
> 
> 
> 
> > 
> > Check out the Brancher pieces.  'L' chamber in ebony...
> > 
> > --- In MouthpieceWork@yahoogroups.com
> > <mailto:MouthpieceWork%40yahoogroups.com> , Julian Herrero <julianccd@>
> > wrote:
> >> >
> >> > 
> >> >  Hi there.
> >> > 
> >> > I would like to try a tenor wood mp. I have done some research online but I
> >> am a bite confused.
> >> > For a dark, warm big sound, what brand/type of wood tenor mp would anyone
> >> sugest me to try?
> >> > 
> >> > thanks
> >> > julian
> >> > 
> >> > "Eighty percent of success is showing up"
> >> > Woody Allen
> >> >
> > 
> > 
> > 
> >
>

Hi Barry, thanks for your input. 

I have been using a metal Sugal SG I tenor mp for years. (that's the only mp I use) this mp has a huge tip opening and a big chamber too. I like it big fat sound, and how easy is to do subtones, but I think it missing the 'woody touch' (of course it is a metal one) That is why I'm looking for a wood piece. What would you suggest?

I saw online many names and brands for wood mps. All of them advertise themselves as the ultimate great sound... etc. But i prefer to hear opinions from individuals players/experts rather than hear the opinion of the company's marketing manager

thanks again for your expertise.

julian

 
"Eighty percent of success is showing up"
Woody Allen




________________________________
From: Barry Levine <barrylevine@norwoodlight.com>
To: MouthpieceWork@yahoogroups.com
Sent: Thu, February 25, 2010 11:38:22 PM
Subject: Re: [MouthpieceWork] Re: tenor wood mp

  
What gives a mouthpiece its characteristic tonal response is its geometry - its facing curve and the shape of its chamber and baffle.   
Whether made of ebony, hard rubber, delrin, acrylic, pewter, brass or stainless steel.



>
>
>Check out the Brancher pieces.  'L' chamber in ebony...
>
>--- In MouthpieceWork@ yahoogroups. com <mailto:MouthpieceWo rk%40yahoogroups .com> , Julian Herrero <julianccd@.. .> wrote:
>>
>> 
>>  Hi there.
>> 
>> I would like to try a tenor wood mp. I have done some research online but I am a bite confused.
>> For a dark, warm big sound, what brand/type of wood tenor mp would anyone sugest me to try?
>> 
>> thanks
>> julian
>> 
>> "Eighty percent of success is showing up"
>> Woody Allen
>>
>
>
>
>



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

Hello Julian,

My point was, I don't think you'll get a "woody" sound from a mouthpiece
just because it was made of wood.  Personally, I think it's all advertising
hype.

As another example, you'll also see ads saying that gold-plated mouthpieces
have the "warm tone of gold" .  I doubt there is anyone who has worked on
mouthpieces who believes that.

When we file or add material to the baffle, or get the facing curve right,
or adjust the tip rail width, etc, THAT makes all the difference in how the
mouthpiece plays.  Metal, plastic, hard rubber - doesn't seem to make much
of a difference.  Why should it be any different with wood?

* * *

Re what you're looking for,  I'm not sure what a "woody" sound means to you.
Can you name some players who have the kind of tone you like?

I'm not familiar with the Sugal SG I.

But if you basically like your mpc, maybe you should consider trying
different brands of reeds to get a bit of a different tone. Different reeds
have different tonal characteristics depending on their cut. Moreover, a
reed's tonal response can be altered by adjustments.

For example, for more "buzz", try sanding the rails of the reed, or thinning
the reed at zones 2 and 3 (referring to the Larry Teal reed adjustment
chart). Fibracells are pretty buzzy by nature.  So is the $20 synthetic Hahn
reed.

If you're looking for less buzz, what some call a darker sound, that also
can be obtained somewhat by choice of reed. I don't know which cane reeds
are less buzzy (it's not a quality I look for, I like a bit of buzz), but
the Legere reeds synthetic reeds are darker sounding (indeed, to my taste,
they are a bit dead, even their jazz cut). Clipping a bit off the tip of a
reed darkens the sound also, although it also makes the reed a bit harder to
play. 

Barry


> From: Julian Herrero <julianccd@...>
> Reply-To: MouthpieceWork@yahoogroups.com
> Date: Mon, 1 Mar 2010 08:54:55 -0800 (PST)
> To: MouthpieceWork@yahoogroups.com
> Subject: Re: [MouthpieceWork] Re: tenor wood mp
> 
> 
>  
> Hi Barry, thanks for your input.
>  
> I have been using a metal Sugal SG I tenor mp for years. (that's the only mp I
> use) this mp has a huge tip opening and a big chamber too. I like it big fat
> sound, and how easy is to do subtones, but I think it missing the 'woody
> touch' (of course it is a metal one) That is why I'm looking for a wood piece.
> What would you suggest?
>  
> I saw online many names and brands for wood mps. All of them advertise
> themselves as the ultimate great sound... etc. But i prefer to hear opinions
> from individuals players/experts rather than hear the opinion of the company's
> marketing manager
>  
> thanks again for your expertise.
>  
> julian
> 
>  
> "Eighty percent of success is showing up"
> 
> Woody Allen
> 
> 
> 
> 
> 
> From: Barry Levine <barrylevine@...>
> To: MouthpieceWork@yahoogroups.com
> Sent: Thu, February 25, 2010 11:38:22 PM
> Subject: Re: [MouthpieceWork] Re: tenor wood mp
> 
>   
> What gives a mouthpiece its characteristic tonal response is its geometry -
> its facing curve and the shape of its chamber and baffle.
> Whether made of ebony, hard rubber, delrin, acrylic, pewter, brass or
> stainless steel.
> 
> 
> 
>> 
>> Check out the Brancher pieces.  'L' chamber in ebony...
>> 
>> --- In MouthpieceWork@ yahoogroups. com <mailto:MouthpieceWo rk%40yahoogroups
>> .com> , Julian Herrero <julianccd@.. .> wrote:
>>> >
>>> > 
>>> >  Hi there.
>>> > 
>>> > I would like to try a tenor wood mp. I have done some research online but
>>> I am a bite confused.
>>> > For a dark, warm big sound, what brand/type of wood tenor mp would anyone
>>> sugest me to try?
>>> > 
>>> > thanks
>>> > julian
>>> > 
>>> > "Eighty percent of success is showing up"
>>> > Woody Allen
>>> >
>> 
>> 
>> 
>> 
>> 
> 
> __________________________________________________
> Do You Yahoo!?
> Tired of spam?  Yahoo! Mail has the best spam protection around
> http://mail.yahoo.com
> 
> 
> 
> 

Hi again,
I see... it's mostly a marketing thing then...what I have supposed...

Name of players I like: I wish I could get close to the great Ben Webster's tone. Although nowadays no one try-es to imitate him.. for me Ben is who I always look for... I guess I'm getting older...prehistorically older...

My mp is a Sugar Super Gonz and it's already 'retouched' by sugal. http://www.gis.net/~schwartz/Sugal%20Mpcs2.htm. the reeds I like are vandoren java #4.


I will follow your suggestion and check different reeds. Never tried a synthetic ones, I might now.

Barry, thanks for your help.
Julian



 
"Eighty percent of success is showing up"
Woody Allen




________________________________
From: Barry Levine <barrylevine@...>
To: MouthpieceWork@yahoogroups.com
Sent: Mon, March 1, 2010 3:35:09 PM
Subject: Re: [MouthpieceWork] Re: tenor wood mp

  
Hello Julian,

My point was, I don't think you'll get a "woody" sound from a mouthpiece just because it was made of wood.  Personally, I think it's all advertising hype.

As another example, you'll also see ads saying that gold-plated mouthpieces have the "warm tone of gold" .  I doubt there is anyone who has worked on mouthpieces who believes that.

When we file or add material to the baffle, or get the facing curve right, or adjust the tip rail width, etc, THAT makes all the difference in how the mouthpiece plays.  Metal, plastic, hard rubber - doesn't seem to make much of a difference.  Why should it be any different with wood?  

* * *

Re what you're looking for,  I'm not sure what a "woody" sound means to you. Can you name some players who have the kind of tone you like?

I'm not familiar with the Sugal SG I. 

But if you basically like your mpc, maybe you should consider trying different brands of reeds to get a bit of a different tone. Different reeds have different tonal characteristics depending on their cut. Moreover, a reed's tonal response can be altered by adjustments.

For example, for more "buzz", try sanding the rails of the reed, or thinning the reed at zones 2 and 3 (referring to the Larry Teal reed adjustment chart). Fibracells are pretty buzzy by nature.  So is the $20 synthetic Hahn reed.

If you're looking for less buzz, what some call a darker sound, that also can be obtained somewhat by choice of reed. I don't know which cane reeds are less buzzy (it's not a quality I look for, I like a bit of buzz), but the Legere reeds synthetic reeds are darker sounding (indeed, to my taste, they are a bit dead, even their jazz cut). Clipping a bit off the tip of a reed darkens the sound also, although it also makes the reed a bit harder to play. 

Barry



From: Julian Herrero <julianccd@yahoo. com>
>Reply-To: MouthpieceWork@ yahoogroups. com
>Date: Mon, 1 Mar 2010 08:54:55 -0800 (PST)
>To: MouthpieceWork@ yahoogroups. com
>Subject: Re: [MouthpieceWork] Re: tenor wood mp
>
>


>Hi Barry, thanks for your input. 
> 
>I have been using a metal Sugal SG I tenor mp for years. (that's the only mp I use) this mp has a huge tip opening and a big chamber too. I like it big fat sound, and how easy is to do subtones, but I think it missing the 'woody touch' (of course it is a metal one) That is why I'm looking for a wood piece. What would you suggest?
> 
>I saw online many names and brands for wood mps. All of them advertise themselves as the ultimate great sound... etc. But i prefer to hear opinions from individuals players/experts rather than hear the opinion of the company's marketing manager
> 
>thanks again for your expertise.
> 
>julian
>
> 
>"Eighty percent of success is showing up"
>
>Woody Allen
>
>
>
>
>From: Barry Levine <barrylevine@ norwoodlight. com>
>To: MouthpieceWork@ yahoogroups. com
>Sent: Thu, February 25, 2010 11:38:22 PM
>Subject: Re: [MouthpieceWork] Re: tenor wood mp
>
>  
>What gives a mouthpiece its characteristic tonal response is its geometry - its facing curve and the shape of its chamber and baffle.   
>Whether made of ebony, hard rubber, delrin, acrylic, pewter, brass or stainless steel.
>
>
>
>
>
>>Check out the Brancher pieces.  'L' chamber in ebony...
>>
>>--- In MouthpieceWork@ yahoogroups. com <mailto:MouthpieceWo rk%40yahoogroups .com> , Julian Herrero <julianccd@.. .> wrote:
>>>
>>> 
>>>  Hi there.
>>> 
>>> I would like to try a tenor wood mp. I have done some research online but I am a bite confused.
>>> For a dark, warm big sound, what brand/type of wood tenor mp would anyone sugest me to try?
>>> 
>>> thanks
>>> julian
>>> 
>>> "Eighty percent of success is showing up"
>>> Woody Allen
>>>
>>
>>
>>
>>
>>
>>
>____________ _________ _________ _________ _________ __
>Do You Yahoo!?
>Tired of spam?  Yahoo! Mail has the best spam protection around 
>http://mail. yahoo.com 
>
>
>
>
________________________________


Hi Again,


      

Thanks for the man made reed camparisons! I bought Fibracells a size too hard and came up with 6 new answers to "How are bari, alto and tenor saxophones different than a chain saw?" (I might pay to hear a live chainsaw concerto!) They do buzz, especially when one is too hard, so look at the comparison chart first. I know their site says just buy the right size, do not adjust. But is there a way to adjust them? A sharp knife leaves a rough surface with Aramid sticking out.

Any one else have an opinion of Legere reeds? a local director who is a C* and Vandoren fan thinks they are all right, not super, but "better than Ricos". Thanks!

 E v e r e t t  F i d l e r


--- In MouthpieceWork@yahoogroups.com, Barry Levine <barrylevine@...> wrote:
>
> Hello Julian,
 Fibracells are pretty buzzy by nature.  So is the $20 synthetic Hahn
> reed. .......
but
> the Legere reeds synthetic reeds are darker sounding (indeed, to my taste,
> they are a bit dead, even their jazz cut). ...> 
> Barry
> 

I can only speak for Legere clarinet reeds, but a month back I decided to give them a try. I picked up one from my local distributor, and since I normally play a 2.5 Vandoren or a 3 Rico Royal, I got a 2.5 Signature. Legere offer a once-only 30 day replacement program if you're not satisfied with your initial choice, and I found the first reed a bit hard and buzzy. I exchanged it for a 2.25 with no problems, and this one was just right.

After a month, I can say only good things about it. They have excellent tone, and for me they are better than Rico and as good as Vandoren. They seem to soften slightly after some use, and this one did. By then I had some more, so after a bit of soul-searching I clipped it a hair. Problem fixed, and the tone has, if anything, improved. 

I can't think of anything that would persuade me to go back to cane. The Legere reeds don't care if they're wet or dry, they play the same when you pick the horn up as when you put it down at the end of the day. I think they are the way of the future. I haven't tried them on sax, but I have heard one negative report, but only from 1 user. I plan to try them on sax over the next few weeks.

Tony F.


  ----- Original Message ----- 
  From: fidlershorns 
  To: MouthpieceWork@yahoogroups.com 
  Sent: Tuesday, March 02, 2010 1:54 PM
  Subject: [MouthpieceWork] Re: tenor wood mp


    
  Thanks for the man made reed camparisons! I bought Fibracells a size too hard and came up with 6 new answers to "How are bari, alto and tenor saxophones different than a chain saw?" (I might pay to hear a live chainsaw concerto!) They do buzz, especially when one is too hard, so look at the comparison chart first. I know their site says just buy the right size, do not adjust. But is there a way to adjust them? A sharp knife leaves a rough surface with Aramid sticking out.

  Any one else have an opinion of Legere reeds? a local director who is a C* and Vandoren fan thinks they are all right, not super, but "better than Ricos". Thanks!

  E v e r e t t F i d l e r

  --- In MouthpieceWork@yahoogroups.com, Barry Levine <barrylevine@...> wrote:
  >
  > Hello Julian,
  Fibracells are pretty buzzy by nature. So is the $20 synthetic Hahn
  > reed. .......
  but
  > the Legere reeds synthetic reeds are darker sounding (indeed, to my taste,
  > they are a bit dead, even their jazz cut). ...> 
  > Barry
  > 



  

I have been playing for 48yrs .  Fulltime pro for 40.   I had Francois Louis  make a rubber and wood piece as close to identical as possible, and he is good at it.  I have Lambersons in wood and rubber for tenor and sop that are visually identical.  The wood sounds different from in back of it and in front of it-period  and it feels different.  Wood is my choice when I don't have to do pop or elevator "jazz".   Quite anecdotal, I agree,but I've tweeked alot of mouthpieces too.  Ralph Morgan(Bless his soul) told me that he felt the material didn't make a difference, and he was a master.  As a player, however, I don't agree and even if it is only perception, that in itself will change your playing dramatically.
On Mar 1, 2010, at 10:35 AM, Barry Levine wrote:

> Hello Julian,
> 
> My point was, I don't think you'll get a "woody" sound from a mouthpiece just because it was made of wood.  Personally, I think it's all advertising hype.
> 
> As another example, you'll also see ads saying that gold-plated mouthpieces have the "warm tone of gold" .  I doubt there is anyone who has worked on mouthpieces who believes that.
> 
> When we file or add material to the baffle, or get the facing curve right, or adjust the tip rail width, etc, THAT makes all the difference in how the mouthpiece plays.  Metal, plastic, hard rubber - doesn't seem to make much of a difference.  Why should it be any different with wood?  
> 
> * * *
> 
> Re what you're looking for,  I'm not sure what a "woody" sound means to you. Can you name some players who have the kind of tone you like?
> 
> I'm not familiar with the Sugal SG I. 
> 
> But if you basically like your mpc, maybe you should consider trying different brands of reeds to get a bit of a different tone. Different reeds have different tonal characteristics depending on their cut. Moreover, a reed's tonal response can be altered by adjustments.
> 
> For example, for more "buzz", try sanding the rails of the reed, or thinning the reed at zones 2 and 3 (referring to the Larry Teal reed adjustment chart). Fibracells are pretty buzzy by nature.  So is the $20 synthetic Hahn reed.
> 
> If you're looking for less buzz, what some call a darker sound, that also can be obtained somewhat by choice of reed. I don't know which cane reeds are less buzzy (it's not a quality I look for, I like a bit of buzz), but the Legere reeds synthetic reeds are darker sounding (indeed, to my taste, they are a bit dead, even their jazz cut). Clipping a bit off the tip of a reed darkens the sound also, although it also makes the reed a bit harder to play. 
> 
> Barry
> 
> 
>> From: Julian Herrero <julianccd@...>
>> Reply-To: MouthpieceWork@yahoogroups.com
>> Date: Mon, 1 Mar 2010 08:54:55 -0800 (PST)
>> To: MouthpieceWork@yahoogroups.com
>> Subject: Re: [MouthpieceWork] Re: tenor wood mp
>> 
> 
>> 
>> Hi Barry, thanks for your input. 
>>  
>> I have been using a metal Sugal SG I tenor mp for years. (that's the only mp I use) this mp has a huge tip opening and a big chamber too. I like it big fat sound, and how easy is to do subtones, but I think it missing the 'woody touch' (of course it is a metal one) That is why I'm looking for a wood piece. What would you suggest?
>>  
>> I saw online many names and brands for wood mps. All of them advertise themselves as the ultimate great sound... etc. But i prefer to hear opinions from individuals players/experts rather than hear the opinion of the company's marketing manager
>>  
>> thanks again for your expertise.
>>  
>> julian
>> 
>>  
>> "Eighty percent of success is showing up"
>> Woody Allen
>> 
>> 
>> 
>> From: Barry Levine <barrylevine@...>
>> To: MouthpieceWork@yahoogroups.com
>> Sent: Thu, February 25, 2010 11:38:22 PM
>> Subject: Re: [MouthpieceWork] Re: tenor wood mp
>> 
>>   
>> What gives a mouthpiece its characteristic tonal response is its geometry - its facing curve and the shape of its chamber and baffle.   
>> Whether made of ebony, hard rubber, delrin, acrylic, pewter, brass or stainless steel.
>> 
>> 
>> 
>>> 
>>> Check out the Brancher pieces.  'L' chamber in ebony...
>>> 
>>> --- In MouthpieceWork@ yahoogroups. com <mailto:MouthpieceWo rk%40yahoogroups .com> , Julian Herrero <julianccd@.. .> wrote:
>>> >
>>> > 
>>> >  Hi there.
>>> > 
>>> > I would like to try a tenor wood mp. I have done some research online but I am a bite confused.
>>> > For a dark, warm big sound, what brand/type of wood tenor mp would anyone sugest me to try?
>>> > 
>>> > thanks
>>> > julian
>>> > 
>>> > "Eighty percent of success is showing up"
>>> > Woody Allen
>>> >
>>> 
>>> 
>>> 
>>> 
>>> 
>> 
>> __________________________________________________
>> Do You Yahoo!?
>> Tired of spam?  Yahoo! Mail has the best spam protection around 
>> http://mail.yahoo.com 
>> 
>> 
>> 
> 
> 
> 

Try a carefully opened tonemaster (NY) mouthpiece.  Not super tonemaster.  I have one that Jon Van Wie did for me that can do Coltrane or Webster.  He told me never to sell it-I won't JZ
On Mar 1, 2010, at 12:02 PM, Julian Herrero wrote:

> 
> Hi again,
> I see... it's mostly a marketing thing then...what I have supposed...
>  
> Name of players I like: I wish I could get close to the great Ben Webster's tone. Although nowadays no one try-es to imitate him.. for me Ben is who I always look for... I guess I'm getting older...prehistorically older...
>  
> My mp is a Sugar Super Gonz and it's already 'retouched' by sugal. http://www.gis.net/~schwartz/Sugal%20Mpcs2.htm. the reeds I like are vandoren java #4.
>  
>  
> I will follow your suggestion and check different reeds. Never tried a synthetic ones, I might now.
>  
> Barry, thanks for your help.
> Julian
>  
>  
> 
>  
> "Eighty percent of success is showing up"
> 
> Woody Allen
> 
> 
> 
> From: Barry Levine <barrylevine@...>
> To: MouthpieceWork@yahoogroups.com
> Sent: Mon, March 1, 2010 3:35:09 PM
> Subject: Re: [MouthpieceWork] Re: tenor wood mp
> 
>  
> Hello Julian,
> 
> My point was, I don't think you'll get a "woody" sound from a mouthpiece just because it was made of wood.  Personally, I think it's all advertising hype.
> 
> As another example, you'll also see ads saying that gold-plated mouthpieces have the "warm tone of gold" .  I doubt there is anyone who has worked on mouthpieces who believes that.
> 
> When we file or add material to the baffle, or get the facing curve right, or adjust the tip rail width, etc, THAT makes all the difference in how the mouthpiece plays.  Metal, plastic, hard rubber - doesn't seem to make much of a difference.  Why should it be any different with wood?  
> 
> * * *
> 
> Re what you're looking for,  I'm not sure what a "woody" sound means to you. Can you name some players who have the kind of tone you like?
> 
> I'm not familiar with the Sugal SG I. 
> 
> But if you basically like your mpc, maybe you should consider trying different brands of reeds to get a bit of a different tone. Different reeds have different tonal characteristics depending on their cut. Moreover, a reed's tonal response can be altered by adjustments.
> 
> For example, for more "buzz", try sanding the rails of the reed, or thinning the reed at zones 2 and 3 (referring to the Larry Teal reed adjustment chart). Fibracells are pretty buzzy by nature.  So is the $20 synthetic Hahn reed.
> 
> If you're looking for less buzz, what some call a darker sound, that also can be obtained somewhat by choice of reed. I don't know which cane reeds are less buzzy (it's not a quality I look for, I like a bit of buzz), but the Legere reeds synthetic reeds are darker sounding (indeed, to my taste, they are a bit dead, even their jazz cut). Clipping a bit off the tip of a reed darkens the sound also, although it also makes the reed a bit harder to play. 
> 
> Barry
> 
> 
> 
> From: Julian Herrero <julianccd@yahoo. com>
> Reply-To: MouthpieceWork@ yahoogroups. com
> Date: Mon, 1 Mar 2010 08:54:55 -0800 (PST)
> To: MouthpieceWork@ yahoogroups. com
> Subject: Re: [MouthpieceWork] Re: tenor wood mp
> 
> 
> 
> Hi Barry, thanks for your input. 
>  
> I have been using a metal Sugal SG I tenor mp for years. (that's the only mp I use) this mp has a huge tip opening and a big chamber too. I like it big fat sound, and how easy is to do subtones, but I think it missing the 'woody touch' (of course it is a metal one) That is why I'm looking for a wood piece. What would you suggest?
>  
> I saw online many names and brands for wood mps. All of them advertise themselves as the ultimate great sound... etc. But i prefer to hear opinions from individuals players/experts rather than hear the opinion of the company's marketing manager
>  
> thanks again for your expertise.
>  
> julian
> 
>  
> "Eighty percent of success is showing up"
> Woody Allen
> 
> 
> 
> 
> From: Barry Levine <barrylevine@ norwoodlight. com>
> To: MouthpieceWork@ yahoogroups. com
> Sent: Thu, February 25, 2010 11:38:22 PM
> Subject: Re: [MouthpieceWork] Re: tenor wood mp
> 
>   
> What gives a mouthpiece its characteristic tonal response is its geometry - its facing curve and the shape of its chamber and baffle.   
> Whether made of ebony, hard rubber, delrin, acrylic, pewter, brass or stainless steel.
> 
> 
> 
> 
> 
> Check out the Brancher pieces.  'L' chamber in ebony...
> 
> --- In MouthpieceWork@ yahoogroups. com <mailto:MouthpieceWo rk%40yahoogroups .com> , Julian Herrero <julianccd@.. .> wrote:
> >
> > 
> >  Hi there.
> > 
> > I would like to try a tenor wood mp. I have done some research online but I am a bite confused.
> > For a dark, warm big sound, what brand/type of wood tenor mp would anyone sugest me to try?
> > 
> > thanks
> > julian
> > 
> > "Eighty percent of success is showing up"
> > Woody Allen
> >
> 
> 
> 
> 
> 
> 
> ____________ _________ _________ _________ _________ __
> Do You Yahoo!?
> Tired of spam?  Yahoo! Mail has the best spam protection around 
> http://mail. yahoo.com 
> 
> 
> 
> 
> 
> Hi Again,
> 
> 
> 

I can also chime in on Legere reeds. I use one regularly for soprano. The tone is absolutely acceptable on this instrument. However, I find them too bright for alto, and just godawful on tenor. If you wanted to play rock 'n roll tenor, I suppose it would be alright, but it does not produce a pleasing tone on tenor, in my opinion. But I am very happy that it works so well on soprano, which means I don't have to worry about keeping a stable of cane reeds for another saxophone. Alto and tenor are enough. I used to play Fibracell on tenor, but everyone who heard me said that the Fibracell reeds lacked core in comparison to when I played cane. So I am back to cane on tenor. JT


--- In MouthpieceWork@yahoogroups.com, "Tony F." <tfairbri@...> wrote:
>
> I can only speak for Legere clarinet reeds, but a month back I decided to give them a try. I picked up one from my local distributor, and since I normally play a 2.5 Vandoren or a 3 Rico Royal, I got a 2.5 Signature. Legere offer a once-only 30 day replacement program if you're not satisfied with your initial choice, and I found the first reed a bit hard and buzzy. I exchanged it for a 2.25 with no problems, and this one was just right.
> 
> After a month, I can say only good things about it. They have excellent tone, and for me they are better than Rico and as good as Vandoren. They seem to soften slightly after some use, and this one did. By then I had some more, so after a bit of soul-searching I clipped it a hair. Problem fixed, and the tone has, if anything, improved. 
> 
> I can't think of anything that would persuade me to go back to cane. The Legere reeds don't care if they're wet or dry, they play the same when you pick the horn up as when you put it down at the end of the day. I think they are the way of the future. I haven't tried them on sax, but I have heard one negative report, but only from 1 user. I plan to try them on sax over the next few weeks.
> 
> Tony F.
> 
> 
>   ----- Original Message ----- 
>   From: fidlershorns 
>   To: MouthpieceWork@yahoogroups.com 
>   Sent: Tuesday, March 02, 2010 1:54 PM
>   Subject: [MouthpieceWork] Re: tenor wood mp
> 
> 
>     
>   Thanks for the man made reed camparisons! I bought Fibracells a size too hard and came up with 6 new answers to "How are bari, alto and tenor saxophones different than a chain saw?" (I might pay to hear a live chainsaw concerto!) They do buzz, especially when one is too hard, so look at the comparison chart first. I know their site says just buy the right size, do not adjust. But is there a way to adjust them? A sharp knife leaves a rough surface with Aramid sticking out.
> 
>   Any one else have an opinion of Legere reeds? a local director who is a C* and Vandoren fan thinks they are all right, not super, but "better than Ricos". Thanks!
> 
>   E v e r e t t F i d l e r
> 
>   --- In MouthpieceWork@yahoogroups.com, Barry Levine <barrylevine@> wrote:
>   >
>   > Hello Julian,
>   Fibracells are pretty buzzy by nature. So is the $20 synthetic Hahn
>   > reed. .......
>   but
>   > the Legere reeds synthetic reeds are darker sounding (indeed, to my taste,
>   > they are a bit dead, even their jazz cut). ...> 
>   > Barry
>   >
>

I use Legeres on clarinet, particularly for doubling work.  I have Fibracells on my clarinet and alto "tester" mouthpieces I use in repair work and they sound fine.  But I have never found a synthetic tenor reed that sounded like anything but piece of plastic flapping in the breeze.
Sent from my Verizon Wireless BlackBerry

-----Original Message-----
From: "jdtoddjazz" 
Date: Tue, 02 Mar 2010 16:06:00 
To: 
Subject: [MouthpieceWork] Re: tenor wood mp

I can also chime in on Legere reeds. I use one regularly for soprano. The tone is absolutely acceptable on this instrument. However, I find them too bright for alto, and just godawful on tenor. If you wanted to play rock 'n roll tenor, I suppose it would be alright, but it does not produce a pleasing tone on tenor, in my opinion. But I am very happy that it works so well on soprano, which means I don't have to worry about keeping a stable of cane reeds for another saxophone. Alto and tenor are enough. I used to play Fibracell on tenor, but everyone who heard me said that the Fibracell reeds lacked core in comparison to when I played cane. So I am back to cane on tenor. JT


--- In MouthpieceWork@yahoogroups.com, "Tony F."  wrote:
>
> I can only speak for Legere clarinet reeds, but a month back I decided to give them a try. I picked up one from my local distributor, and since I normally play a 2.5 Vandoren or a 3 Rico Royal, I got a 2.5 Signature. Legere offer a once-only 30 day replacement program if you're not satisfied with your initial choice, and I found the first reed a bit hard and buzzy. I exchanged it for a 2.25 with no problems, and this one was just right.
> 
> After a month, I can say only good things about it. They have excellent tone, and for me they are better than Rico and as good as Vandoren. They seem to soften slightly after some use, and this one did. By then I had some more, so after a bit of soul-searching I clipped it a hair. Problem fixed, and the tone has, if anything, improved. 
> 
> I can't think of anything that would persuade me to go back to cane. The Legere reeds don't care if they're wet or dry, they play the same when you pick the horn up as when you put it down at the end of the day. I think they are the way of the future. I haven't tried them on sax, but I have heard one negative report, but only from 1 user. I plan to try them on sax over the next few weeks.
> 
> Tony F.
> 
> 
>   ----- Original Message ----- 
>   From: fidlershorns 
>   To: MouthpieceWork@yahoogroups.com 
>   Sent: Tuesday, March 02, 2010 1:54 PM
>   Subject: [MouthpieceWork] Re: tenor wood mp
> 
> 
>     
>   Thanks for the man made reed camparisons! I bought Fibracells a size too hard and came up with 6 new answers to "How are bari, alto and tenor saxophones different than a chain saw?" (I might pay to hear a live chainsaw concerto!) They do buzz, especially when one is too hard, so look at the comparison chart first. I know their site says just buy the right size, do not adjust. But is there a way to adjust them? A sharp knife leaves a rough surface with Aramid sticking out.
> 
>   Any one else have an opinion of Legere reeds? a local director who is a C* and Vandoren fan thinks they are all right, not super, but "better than Ricos". Thanks!
> 
>   E v e r e t t F i d l e r
> 
>   --- In MouthpieceWork@yahoogroups.com, Barry Levine  wrote:
>   >
>   > Hello Julian,
>   Fibracells are pretty buzzy by nature. So is the $20 synthetic Hahn
>   > reed. .......
>   but
>   > the Legere reeds synthetic reeds are darker sounding (indeed, to my taste,
>   > they are a bit dead, even their jazz cut). ...> 
>   > Barry
>   >
>




------------------------------------

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Tom Ridenour's method of adjusting reeds works well on Fibracells.


on 3/1/10 9:54 PM, fidlershorns at grassinospam@... wrote:

> Thanks for the man made reed camparisons! I bought Fibracells a size too hard
> and came up with 6 new answers to "How are bari, alto and tenor saxophones
> different than a chain saw?" (I might pay to hear a live chainsaw concerto!)
> They do buzz, especially when one is too hard, so look at the comparison chart
> first. I know their site says just buy the right size, do not adjust. But is
> there a way to adjust them? A sharp knife leaves a rough surface with Aramid
> sticking out.
> 
> Any one else have an opinion of Legere reeds? a local director who is a C* and
> Vandoren fan thinks they are all right, not super, but "better than Ricos".
> Thanks!
> 
> E v e r e t t  F i d l e r
> 
> 
> --- In MouthpieceWork@yahoogroups.com, Barry Levine <barrylevine@...> wrote:
>> 
>> Hello Julian,
> Fibracells are pretty buzzy by nature.  So is the $20 synthetic Hahn
>> reed. .......
> but
>> the Legere reeds synthetic reeds are darker sounding (indeed, to my taste,
>> they are a bit dead, even their jazz cut). ...>
>> Barry
>> 
> 
> 
> 

I wanted these for bench testing. I loose many more reeds to splitting while they are not being played in my tool chest drawer in a good reed holder than I ever have playing. I wonder if they dry out too fast in a less confined space that is not as temperature controlled as the inside of a woodwind case? The bigger reeds split more often than the clarinet ones. Does this sound familiar?

So sanding does not leave the fibers sticking out?

--- In MouthpieceWork@yahoogroups.com, Barry Levine <barrylevine@...> wrote:
>
> Tom Ridenour's method of adjusting reeds works well on Fibracells.
> 
> 
> on 3/1/10 9:54 PM, fidlershorns at grassinospam@... wrote:
> 
> > Thanks for the man made reed camparisons! I bought Fibracells a size too hard
> > and came up with 6 new answers to "How are bari, alto and tenor saxophones
> > different than a chain saw?" (I might pay to hear a live chainsaw concerto!)
> > They do buzz, especially when one is too hard, so look at the comparison chart
> > first. I know their site says just buy the right size, do not adjust. But is
> > there a way to adjust them? A sharp knife leaves a rough surface with Aramid
> > sticking out.
> > 
> > Any one else have an opinion of Legere reeds? a local director who is a C* and
> > Vandoren fan thinks they are all right, not super, but "better than Ricos".
> > Thanks!
> > 
> > E v e r e t t  F i d l e r
> > 
> > 
> > --- In MouthpieceWork@yahoogroups.com, Barry Levine <barrylevine@> wrote:
> >> 
> >> Hello Julian,
> > Fibracells are pretty buzzy by nature.  So is the $20 synthetic Hahn
> >> reed. .......
> > but
> >> the Legere reeds synthetic reeds are darker sounding (indeed, to my taste,
> >> they are a bit dead, even their jazz cut). ...>
> >> Barry
> >> 
> > 
> > 
> >
>

No, Tom Ridenour's method leaves a very smooth surface, even on Fibracells -
I've been using it for a few years now. (I resurrected a bunch of old
Fibracells that never played well with his method.  But now they are wearing
out, and the new ones... yuck.)
> 
> So sanding does not leave the fibers sticking out?
> 
> --- In MouthpieceWork@yahoogroups.com, Barry Levine <barrylevine@...> wrote:
>> 
>> Tom Ridenour's method of adjusting reeds works well on Fibracells.
>> 
>> 
>> on 3/1/10 9:54 PM, fidlershorns at grassinospam@... wrote:
>> 
>>> Thanks for the man made reed camparisons! I bought Fibracells a size too
>>> hard
>>> and came up with 6 new answers to "How are bari, alto and tenor saxophones
>>> different than a chain saw?" (I might pay to hear a live chainsaw concerto!)
>>> They do buzz, especially when one is too hard, so look at the comparison
>>> chart
>>> first. I know their site says just buy the right size, do not adjust. But is
>>> there a way to adjust them? A sharp knife leaves a rough surface with Aramid
>>> sticking out.
>>> 
>>> Any one else have an opinion of Legere reeds? a local director who is a C*
>>> and
>>> Vandoren fan thinks they are all right, not super, but "better than Ricos".
>>> Thanks!
>>> 
>>> E v e r e t t  F i d l e r
>>> 
>>> 
>>> --- In MouthpieceWork@yahoogroups.com, Barry Levine <barrylevine@> wrote:
>>>> 
>>>> Hello Julian,
>>> Fibracells are pretty buzzy by nature.  So is the $20 synthetic Hahn
>>>> reed. .......
>>> but
>>>> the Legere reeds synthetic reeds are darker sounding (indeed, to my taste,
>>>> they are a bit dead, even their jazz cut). ...>
>>>> Barry
>>>> 
>>> 
>>> 
>>> 
>> 
> 
> 
> 

Thanks - I'll try it out.

DT

--- On Tue, 3/2/10, Barry Levine <barrylevine@...> wrote:

From: Barry Levine <barrylevine@...m>
Subject: Re: [MouthpieceWork] Re: tenor wood mp
To: MouthpieceWork@yahoogroups.com
Date: Tuesday, March 2, 2010, 11:37 AM







 



  


    
      
      
      Tom Ridenour's method of adjusting reeds works well on Fibracells.



on 3/1/10 9:54 PM, fidlershorns at grassinospam@ gmail.com wrote:



> Thanks for the man made reed camparisons! I bought Fibracells a size too hard

> and came up with 6 new answers to "How are bari, alto and tenor saxophones

> different than a chain saw?" (I might pay to hear a live chainsaw concerto!)

> They do buzz, especially when one is too hard, so look at the comparison chart

> first. I know their site says just buy the right size, do not adjust. But is

> there a way to adjust them? A sharp knife leaves a rough surface with Aramid

> sticking out.

> 

> Any one else have an opinion of Legere reeds? a local director who is a C* and

> Vandoren fan thinks they are all right, not super, but "better than Ricos".

> Thanks!

> 

> E v e r e t t  F i d l e r

> 

> 

> --- In MouthpieceWork@ yahoogroups. com, Barry Levine <barrylevine@ ...> wrote:

>> 

>> Hello Julian,

> Fibracells are pretty buzzy by nature.  So is the $20 synthetic Hahn

>> reed. .......

> but

>> the Legere reeds synthetic reeds are darker sounding (indeed, to my taste,

>> they are a bit dead, even their jazz cut). ...>

>> Barry

>> 

> 

> 

> 





    
     

    
    


 



  

On Tenor I use Bari plastic reeds almost exclusively. My favorite Alexander
Superial may be a better reed but I find one or max two usable in a box of
five. Also their life span is much shorter. In refacing mouthpieces you need
a reed that plays always and always the same, category in which plastic
excels.

On Tue, Mar 2, 2010 at 7:15 PM, fidlershorns <grassinospam@gmail.com> wrote:

>
>
> I wanted these for bench testing. I loose many more reeds to splitting
> while they are not being played in my tool chest drawer in a good reed
> holder than I ever have playing. I wonder if they dry out too fast in a less
> confined space that is not as temperature controlled as the inside of a
> woodwind case? The bigger reeds split more often than the clarinet ones.
> Does this sound familiar?
>
> So sanding does not leave the fibers sticking out?
>
>
> --- In MouthpieceWork@yahoogroups.com <MouthpieceWork%40yahoogroups.com>,
> Barry Levine <barrylevine@...> wrote:
> >
> > Tom Ridenour's method of adjusting reeds works well on Fibracells.
> >
> >
> > on 3/1/10 9:54 PM, fidlershorns at grassinospam@... wrote:
> >
> > > Thanks for the man made reed camparisons! I bought Fibracells a size
> too hard
> > > and came up with 6 new answers to "How are bari, alto and tenor
> saxophones
> > > different than a chain saw?" (I might pay to hear a live chainsaw
> concerto!)
> > > They do buzz, especially when one is too hard, so look at the
> comparison chart
> > > first. I know their site says just buy the right size, do not adjust.
> But is
> > > there a way to adjust them? A sharp knife leaves a rough surface with
> Aramid
> > > sticking out.
> > >
> > > Any one else have an opinion of Legere reeds? a local director who is a
> C* and
> > > Vandoren fan thinks they are all right, not super, but "better than
> Ricos".
> > > Thanks!
> > >
> > > E v e r e t t F i d l e r
> > >
> > >
> > > --- In MouthpieceWork@yahoogroups.com<MouthpieceWork%40yahoogroups.com>,
> Barry Levine <barrylevine@> wrote:
> > >>
> > >> Hello Julian,
> > > Fibracells are pretty buzzy by nature. So is the $20 synthetic Hahn
> > >> reed. .......
> > > but
> > >> the Legere reeds synthetic reeds are darker sounding (indeed, to my
> taste,
> > >> they are a bit dead, even their jazz cut). ...>
> > >> Barry
> > >>
> > >
> > >
> > >
> >
>
>  
>