| Trumpet: | 1223 |
| Trombone: | 338 |
| Alto Sax: | 237 |
| Tenor Sax: | 121 |
| Baritone Sax: | 17 |
| Other horns: | 4 |
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milkyboy
User |
Posted: 2005-12-03 12:28 CEST | |
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hi.. what do you think about sax sound... who agree with me.. soprano - brighter/sweet tone alto - mellow/sweet tone tenor - mellow/fat tone bari - base/sweet/fantastic/superb tone haha... post your opinion... 
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Kevin
User |
Posted: 2005-12-04 05:18 CEST | |
| I definately agree on the Tenor needing a fat sound. Nice and full. Versatile. Powerfull yet able to put a child to sleep. A good Tenor should also be able rock out with altissimo and growling flowing out like a man speaking in tongues. Atleast thats what I want to achieve on my Tenor. I think those things are more or less the same for all the saxes with minor changes. I don't have much opinion on the Soprano as I do not like it much. Alto should have a mellow sound that carries evenly. The bari should definately have the biggest sound but not an overpowering sound. Providing a fat cussion of sound for everything to built upon. | ||
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marty
Moderator |
Posted: 2005-12-04 22:40 CEST | |
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Why limit yourself? I like a ripping sound on a sax just as much as a sweet mellow tone. I'll give you some examples. Soprano - Check out Coltrane for ripping, especially Afro Blue from the album Live at Birdland. If you want smooth soprano, check out Wayne Shorter on the song Ana Maria. Alto - My favourite alto player is Eric Dolphy. This guy is the epitome of ripping tone. Totally unpredictable. But I also like Paul Desmond. Absolutely beautiful, silky tone. Tenor - The instantly recognizable tone of Stan Getz. If you've ever heard "Girl from Impanema" then you know why it goes under the smooth, mellow tone. For ripping? Well, we have Coltrane, and he definatley rips, but I want to show you the contrast that Wayne Shorter provides. Check out "The Egyptian" from the Art Blakey album Indestructible. Baritone - Every bari player knows Gerry Mulligan. The guy with the cool sound, who played in the pianoless quartet with Chet Baker back in the 50's, and the guy who played bari on The Birth of the Cool. I don't have to describe his sound. But if you want a nice ripping bari, check out Pepper Adams. There was a flurry of "wow" when I told you guys about the Charles Mingus song "Moanin'". Well, Pepper Adams was the guy playing that sweet ass part. I wrote this just to show you guys that the sax has an infinitely mallaeble tone, good for all purposes. |
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Kevin
User |
Posted: 2005-12-05 03:32 CEST | |
| There isn't really one sound and It's all about finding your sound. I picked out my new mouthpiece the other day and oh man, I cannot wait to start wailing on that baby. I am getting an Otto Link 6*. It's so nice. So powerfull yet easily controlled and gracefull. Beautiful tone from that baby. | ||
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milkyboy
User |
Posted: 2005-12-05 04:32 CEST | |
| but... i love kenny g soprano sound... it just sweet n mellow... hehe... izzit the metal selmer paris mouthpiece good for classical player.. and what type reeds and mouthpiece do we need to produce mellow tone? | ||
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marty
Moderator |
Posted: 2005-12-05 05:39 CEST | |
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THIS IS POST 100! Anyway, I'm not a sax player, but I listen to a lot of them, and I talk to a lot of them. It's not the equipment they use. The sound that a certain sax player has has been carved out after years and years of practice. It's all personal preference. You listen to a lot of sax players, you take the things about their sounds that you like, and then you morph that with your own creativity to make a sound that you like. |
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Kevin
User |
Posted: 2005-12-05 23:40 CEST | |
| It's a really strange mix of personal preferance and your natural biology adapting to what you want to hear. It's actually so wickedly awesome when you think about it [I also love scienes and mostly biology] You strive for the sound you like the most whether you realize this conciously or your brain is doing it for you subconciously. You need to first work on your tone and then get a mouthpiece and reeds that complement your tone. I have a really big jazzy-rock kind of sound but also a more reserved darker classy sound so I use Rico Jazz Selects 3S because they help with projection and they have a thicker heart providing a darker sound. My metal mouthpice projects like a mo-fo and it really good at competing with drums and that, making it ideal for my ska band but it will also be amazing in the school jazz band because I can easily blend, due to so much practice [me and the other tenor in cocnert band sound like 1 horn, it's so beautiful and thats why me and her are brothers because we are amazing and are one when it comes to blending] and I have a naturally darker full sound. Metal mouthpieces are generally brighter and bigger than hard rubber but there is always exceptions. Metal is generally not used in classical and a full dark sound is what you want so you can blend. Experiment, develop your sound then test out mouthpieces like mad and find the one that suits you best. Oh and congrats on post 100 Marty. I find that the saxophone disscussion is the most happening place here now. | ||
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