One mistake that I have made for years is using mouthpieces with a tip opening that was too large. Then I discovered that Baptiste Herbin plays a 5, that Eddie Daniels advises to reduce the tip opening to where it's comfortable and followed Sirvalor's advice to switch to an outer lip embouchure. Less reed bending, less stress on lips and mouth muscles, (somewhat) better playing !
Yeah, there are a lot of variables between tip opening, chamber size, baffles, materials, etc. so it's important to figure out what works best for you and your style.
Same. I have a small mouth, as many dentists have attested to. So, I struggle with putting more of the mouthpiece in my mouth. Which makes a bigger difference for me because I play Bari. Don't get me wrong...I use a Selmer C*. It's a big mouthpiece, but it's closer to a 5 and isn't so far back in my mouth.
Thanks, Scott, great video. Easy for Beginners to fall into these traps. I'm especially guilty of #3. I've spent enough money on the tools. Time to learn how to use them before spending any more.
Spot on advice, Scott. I kept changing set up on my tenor, frustrated with my sound and instrument. Then, I got it properly serviced and all the issues went away. Now I have two setups; one classical, one jazz. Perfect.
Excellent information Scott. Thank you. I'm a lifelong musician, who started on sax 3 years ago, after decades on other non-wind instruments. My development on sax has been rewarding. I've had three years of practice where I was focused on sound/tone as much as I could. I play every day. What I would add to your advice is that the shape of the inside of your mouth, and how your lips address the mouthpiece are very important. For example: when playing low notes (I play soprano), gripping the mouthpiece with both lips rather than lip/teeth is excellent for pitch and tone. But it might have more to do with how I reshape the cavity of the interior of my mouth to get the sound (and pitch) that is needed. But for sure I do get a difference. The shaping of the interior cavity of the mouth is surely a big factor, and the concept of warm air and cold air, as talked about in the classical (at least flute) world is a factor big factor in sound. Here's Johnny Hodges, who played with no teeth touching the mouthpiece, at least some of the time. Caveat: I'm a novice. Comment Scott? Best regards to all my woodwind-playing brothers and sister! th-cam.com/video/18R-EjeKTaE/w-d-xo.html
People think they just have to go to a harder reed as they progress, but my first teacher (who has a degree and ~50 years of playing) was still using a 2. Just said "I don't want to have to work" lol. Did a lot of research when I upgraded mouthpieces bc I wanted it to be a one time expense. Mindset going in was basically: if really good players can make whatever set-up you buy, work for them--then you will be able to, as well (with practice).
Yeah, I can't even begin to tell you how many times I've had to explain that the strength of the reed has nothing to do with your playing level. People are often surprised to hear that I use a soft reed on alto with how big my sound is and how easily my altissimo pops out. It's all about the setup and the air flow.
Great advice. I upgraded my sax & mouthpiece (D6M) around 6 months ago, only the past few weeks I realised I was putting pressure on the reed, closing the tip, confirmed by my tutor, now playing on a smaller tip (C*), but the sound is amazing, with wider range of dynamics. Some players can make a horn scream, and then be playing a delicate classical piece all on the same set up, just shows how important the player & technique is.
Thanks for the info. I started saxophone from scratch about 11 months ago on a soprano. I kept hearing about how "difficult" it is to learn how to play a soprano sax. I can't rate the difficulty of learning to play a soprano since I don't know any other saxophones. I have been having a lot of fun with it and the woman who lives above me says that she likes the "noise" that I make with it. I'm choosing to take that as a compliment. Shortly after I started, I concluded that I didn't like the 4C(S?) mouthpiece that came with the sax so, I went with a Yamaha 5C and have stuck with that since. Shortly, I am going to give an Otto Link 6S a try and see how that works out. Since I've started playing, I've been using Rico (red box) 2.5s. Maybe later, I'll experiment with different reeds. I'm in no hurry.
I haven't tried the 5C. What was the difference in the 2 for you? The 4C has been a really common starting mp for years. Glad to hear that your neighbor is also enjoying your soprano playing 😁
@@ScottPaddock It seems like the 5C is way more easy for me to move air through. With the 4C I felt like I was getting a whole lot of back pressure. The only thing that seemed to help with the 4C was a 2.5 Bb clarinet reed but, it was uncomfortable on my lower lip. It did make a sound, though, that I really liked.
One thing I noticed that was affecting my playing, especially with my Soprano sax was that I was using a reed that was a bit too hard and I didn't really notice that the reed could be the issue. I started on a Selmer Concept with my straight soprano and I played it for a year and ended up using a Legere Signature 3.25 reed but I always felt a bit of resistance (I had tried softer reeds) and notes wouldn't always come out, so I put it down to the narrow tip. A few months ago I upgraded to a Selmer Super Session E. I liked the more open tip, and I tried it with a Legere Signature 2.75 reed on it. I could get a good sound, notes came but I felt a bit of resistance still and noticed going from A to middle D, I would sometimes get a warble/gurgle sound. I had the saxophone checked and it is sealing well. At first I thought it could be the ligature, so I changed to a different one but I found while it played better, it added more resistance, especially to low notes and didn't solve the issues I was having so I went back to the original ligature I was using. Then after a while I thought it could be the reed that was too strong. I actually figured it out as I had sent my alto sax to my repairer to get a full check and overhaul and when I got it back, I played a new reed and found it ever so slightly more resistant than I like, so went down a reed strength and it solved the issue, so I tried the same on my soprano. The only softer reed I had was a Legere Signature 2. I played it and instantly all notes played far more easily with much less resistance. Tuning was good, I didn't haven the warble/gurgle sound anymore and my bottom lip felt fine after an hour of playing. I think the reed is slightly too soft, but I now know the issue and just have to try different reed strengths until I find the one that suits me, then just play with those.
Hey Dave! Yeah, the correct reed size is super important. If it's too hard, you will have all of the problems you described, and if it's too soft notes will come out flat and whiney. Also, worth mentioning - some reeds just work better than others in different setups. For example a legere might work great with a Syos mouthpiece, and not as well with a Theo Wanne. It's all a matter of mixing and matching and seeing what works well together.
This is very good information. I used the same set up for fifty years in the music business, hard rubber Meyer 6 (?) legere #2 signature reed. About a month ago I started feeling that I needed to try a metal mouthpiece. I am now very happily using a Runyon Spoiler metal mouthpiece. When I tried it out in the store I removed the baffler and got a nice sound with more ease in playing altissimo. It was only when I tried using the insert at home that I was amazed by how it made the altissimo range like liquid, it was so smooth and easy. It does require going back to long tones so you can get used to the new air flow requirements, but after a few weeks I am very happy with the change.
I played a doctored Meyer 6 for about 15 years. I never thought I would switch, and a company sent me a high baffle mp, and I loved it - then I made the switch too. It's amazing how much more power those mps can give you!
I've been playing on a steeper, metal roll over baffle for about a year now and I've playing for 7 years now. I've been considering going for a step baffle mouthpiece to go for the sound I want, but after seeing this I was wondering if should wait.
Gear can definitely help you get closer to the sound you want - so if you think a step baffle will help you get there, give it a try! Just don't expect that a step baffle will make you sound the exact same way as someone else who uses that same setup.
Some useful tips here Scott! 😁👍I’ve been sticking with the same cheap tenor until it became unusable recently ,using Legere 2.25 reeds but with a Jody Jazz custom dark mouthpiece (5 *) & power ring which I really love…but now I’ve got the YTS 62 ( only yesterday) but the same reeds don’t seem to work well on it! Had to use D’addario Organic Select 2S as I had some I’d never used, and it worked much better. However, during my songs I was getting high pitched squealing that I just couldn’t account for ( like I’d hit the palm keys) but I know it wasn’t that! Any further tips for me? Do I need to get the sax checked over or do something else? I play alto too with a similar set up on a 2 Legere Reed with Jody Jazz mouthpiece without many issues so am a bit baffled by this! Any help would be appreciated. Thanks. Jilly
The joke's on you; I got the Barkley Kustom based on your sound! Actually, I needed something a little punchier to work through the stringed instruments at church and took your recommendation. 30 seconds into playing my new mouthpiece, my wife came in angrily asking why I was playing so loud, so I think it works! Appreciate your tips.
The Barkley Brazil Kustom mp DEFINITELY projects. Yeah, gear can make you louder or softer for sure, but the sound still comes down to how you are putting air into the sax!
I love to play with soft reeds but it is not possible to play lowest Bb to C with that. I need a reed strength 3 to not have this gurgling sound on the low notes. Do I do something wrong. Do you know what this might be?
Hey, Scott, when you began going over the misconception that same equipment=same/similar sound, though I agree, I do think there is a very small example regarding the sound of somebody like Paul Desmond, he is the only saxophonist that's sound seems to be borderline impossible to properly replicate without almost the exact same equipment. I went through multiple different E. Rousseau mouthpieces (NC4, RC4, etc), multiple different Otto Link mouthpieces (Tone Edge, etc), and more or less 15 different reed brands, with 2/3 reed strengths tested among each brand, all ranging from 4 - 1 (Excluding my Legere reeds considering I don't use anything of theirs beyond 2.5 American Cut), and it seems I can only properly replicated his beautiful sound with an exact replica (The Morgan Dry Martini Model 18). It is obviously an obscure, specific example, but it is just an observation made by myself with no hyper-in depth research. Do you agree, or do you think it is just much easier to replicate his sound with his equipment?
Hey! Gear will help get you in the ballpark when it comes to the sound you are looking for. Desmond is a perfect example! If you want to sound like him, you have to use gear that will move the air similarly to him. His sound is almost a classical jazz sound to me. Another example would be David Sanborn. You would not be able to get close to his sound with a Paul Desmond setup. However, the point was don't expect to sound like another sax player just by using the same gear.
@@ScottPaddock Ohhh, I completely misunderstood, I thought you meant that same gear doesn’t equal same sound, but you meant that you shouldn’t expect the same sound by using the same gear. I am silly, thanks for the reply!
My college professors (all clarinet players) had me change my set up almost weekly. I used different brands/ strengths reeds, a variety of mouthpieces, and different saxophones all trying to fix a tone that sounded like a towel stuck in the horn. They had me play soprano, alto, tenor, and bari - same problem regardless of horn or set up. Never found the problem. Maybe if I stuck with 1 horn/ set up for a few months may have helped.
Agreed. One teacher said the mouthpiece was set too straight between the lips and needed to pull the saxophone back to increase the angle. Another had me curl my upper lip over my upper teeth then pull the corners like I was trying to smile. Of course neither worked.
Great video 👍. Whenever I hear of anyone buying gear to chase someone else's sound, the old drumming adage comes to mind, "To sound like Bonham, first you must play like Bonham!" I've only changed mouthpieces twice and ligature type once. I'm using a Bonade inverted ligature and was surprised it made some difference to the tone (a ligature is just a clamp, right? 😉). I bought a cheap Rico A7 for a laugh just to try a 7 but I really like it for the sound I want. Maybe some time I'll try a "better" 7 but for now it's fun to say the ligature cost more than the mouthpiece! 😀
I've seen some great teachers/players on here do ligature tests and say they don't really hear/feel a difference. For me, I can feel a huge difference when I switch ligatures. I also put a lot of air into the sax, so that might have something to do with it. One of my sax teachers, Chris Vadala, played on a classical Selmer C star as his main jazz soprano mouthpiece. He loved the sound and feel and never switched. Gear is 100% subjective to what sounds and feels great to the player.
Also one of the problems that has happened to me is to be obsessed with wanting to buy different mouthpieces to sound “better”, or to sound like a saxophonist, that makes me not focus on really practicing my instrument for wasting time on it.
When did reed STRENGTH become reed SIZE? Is it an American thing to confuse strength with size? Did that happen the same time people started calling tunes/melodies (instrumental and without lyrics) 'songs'? I've seen this confusion increase over the past decade or so. Reed strength is typically measured in numbers (1 to 5) or abbreviations (S, MS, M, MH and H) and physical size (or dimensions) is dependent on the different instruments the reeds are for (sopranino sax/Eb clarinet through to bari sax/contrabass clarinet).
Strength & Size have been interchangeable terms forever. In the video I specially say " When were talking about reed sizes, we're actually talking about the strength...."
@@chrisperyagh a lot of us assumed, wrongly, that the reeds were different thicknesses based on the strength numbers/references. Too late to change the misperception
@@garyboyd3255 wrong again ..the reeds thickness IS what determines its strength ( a #3 is thicker than a #2 (hence stronger etc) this is 5th grade stuff .. in no way confusing
My test is to just play it 😁 There are suction tests you can do as well as looking at the grain and cut of the reed, but what it comes down to is how it sounds when you play it. If you're using cane reeds, then there may also be some reed work you need to do to bring that reed up to it's fullest potential.
Hmmmm, I generally give a beginner a Yamaha 4C until they figure out the airflow. When I was teaching mainly school-aged kids, I'd often time then step them up to a C star, but with adults - almost none of them want a classical sound, so doing a step up to a classical mp that costs $150 doesn't seem very practical. I usually have them on the 4C until they have a really solid clean sound, and then switch them to a meyer 5m hard rubber. That generally gets most people closer to the sound they are looking for after a beginner mp. After that, they have free reign to try what they want.
As a 70+ year old beginner browsing music information and misinformation on the web, I'm outraged by music instruction I had in K to 12 that is probably still common. A conclusion of music development is presented, that's all. If reading was taught like music You would get Dick and Jane in Kindergarten and in 3rd grade they would introduce the alphabet. That lack of information partially drives the random struggle with changes in equipment. Some more WHY needs to be upfront, along with an asertion of what will be learned later. For self directed adult learning use phone apps and start with sight reading, I like Clefs. Then rhythm training apps. For Kindergarten, start with rhythm and sight reading of rhythm on staffs with brief information that the pitch using more of the lines will be learned later after they learn the alphabet and either the entire alphabet should be learned backwards or at least G through A. Several fundamental music terms pain me greatly. "Music Theory" isn't a theory. "Music Theory" is the music system of 12 Tone Equal Temperament that staff notation and keyboard were developed from and for. English or German are not "theory" they are systems and 12 Tone Equal Temperament is a system, not a "theory". "Natural Notes" absolutely meaning less "overtones" usage of the word is 95% misusage, and the word is seldom used where it's critical in wind instruments, different tones at a particular key selection. The counting of intervals, not once was it ever mentioned that 3rds Etc are not fractions, I was never told, shown, or read anywhere meaning of interval names. "accidentals" "notes between the notes" ???? How about: and now we will beat a few a few small interger numerator and denominator fractions into J.S. Bach favored 12th root of 2. 5th grade "singing" was in a brand new school building with a dedicated room with a brand new piano that we sat in front of that was never touched. Instructor blew a pitch pipe at the beginning. FACE and other stupid mnemonic were a huge stupid hinderance, Flash cards would have been nice. Also seeing all the lines and spaces labeled with C numbered and obvious of octave pointed out that A and B were the highest notes, And done on grand staff. with C4, middle C, pointed out. I took trombone from maybe 4th to 8th grade when I'm in an orchestra and completely lost, not a problem for the instructor, they needed a body in a chair. BTW, I recently found out that big bend at the back of every trombone can be pulled out and removed ? That thing is a tuning slide, I also recently learned the 7 positions, you are never shown exactly where they are, not even once are "1/2 tones" Good thing I was never told that. I would have been institutionalized asking how can there possibly be a 1/2 tone. I auditioned for 12th grade choir and was accepted, it went fine no problems, enjoyed it. If unfamiliar sheet music was dropped in front of me day after I graduated about all I could do would be read the lyrics. As for adult and every obe rlse, get some snall proficiency sight reading both treble and bass cleff of grand staff, and develop some sight reading rhythm precision from a phone app. There are several great rhythm apps and combination rhythm and relative pitch apps, I'm having a surprisingly difficult time with pitch, that is more my deficiency thzn the design of most of the apps, there are a couple where the tones stink, but a Korg tuner gets them right. On beginner equipment. I think they should have 2 different mouth pieces and 2 different reed strengths early so they can have a comparison, anc practice with the easier one. Pros on TH-cam like the electronic saxophones for their own use, but the electronics are not useful for learning talent of embrochure.
One mistake that I have made for years is using mouthpieces with a tip opening that was too large. Then I discovered that Baptiste Herbin plays a 5, that Eddie Daniels advises to reduce the tip opening to where it's comfortable and followed Sirvalor's advice to switch to an outer lip embouchure. Less reed bending, less stress on lips and mouth muscles, (somewhat) better playing !
Yeah, there are a lot of variables between tip opening, chamber size, baffles, materials, etc. so it's important to figure out what works best for you and your style.
I play a 5 opening on Alto
When I switched to tenor I went up to a 7 opening. I’ve always felt it was too large
@@saxophonick6719 I play a size 2.25 reed on alto and a 3.25 on tenor. Alto & tenor are two completely different beasts!
Same. I have a small mouth, as many dentists have attested to. So, I struggle with putting more of the mouthpiece in my mouth. Which makes a bigger difference for me because I play Bari. Don't get me wrong...I use a Selmer C*. It's a big mouthpiece, but it's closer to a 5 and isn't so far back in my mouth.
Thanks, Scott, great video. Easy for Beginners to fall into these traps. I'm especially guilty of #3. I've spent enough money on the tools. Time to learn how to use them before spending any more.
Yeah, searching for a sound through gear can become pretty expensive pretty quick.
Spot on advice, Scott. I kept changing set up on my tenor, frustrated with my sound and instrument. Then, I got it properly serviced and all the issues went away. Now I have two setups; one classical, one jazz. Perfect.
Yeah, two very different sounds require 2 very different setups!
Excellent information Scott. Thank you. I'm a lifelong musician, who started on sax 3 years ago, after decades on other non-wind instruments. My development on sax has been rewarding. I've had three years of practice where I was focused on sound/tone as much as I could. I play every day. What I would add to your advice is that the shape of the inside of your mouth, and how your lips address the mouthpiece are very important. For example: when playing low notes (I play soprano), gripping the mouthpiece with both lips rather than lip/teeth is excellent for pitch and tone. But it might have more to do with how I reshape the cavity of the interior of my mouth to get the sound (and pitch) that is needed. But for sure I do get a difference. The shaping of the interior cavity of the mouth is surely a big factor, and the concept of warm air and cold air, as talked about in the classical (at least flute) world is a factor big factor in sound. Here's Johnny Hodges, who played with no teeth touching the mouthpiece, at least some of the time. Caveat: I'm a novice. Comment Scott? Best regards to all my woodwind-playing brothers and sister!
th-cam.com/video/18R-EjeKTaE/w-d-xo.html
Thank you, Scott Paddock! I have been telling my students the exact same things for 20 years. I will be sharing this video with them.
👍👍
People think they just have to go to a harder reed as they progress, but my first teacher (who has a degree and ~50 years of playing) was still using a 2. Just said "I don't want to have to work" lol.
Did a lot of research when I upgraded mouthpieces bc I wanted it to be a one time expense. Mindset going in was basically: if really good players can make whatever set-up you buy, work for them--then you will be able to, as well (with practice).
Yeah, I can't even begin to tell you how many times I've had to explain that the strength of the reed has nothing to do with your playing level. People are often surprised to hear that I use a soft reed on alto with how big my sound is and how easily my altissimo pops out. It's all about the setup and the air flow.
Great advice. I upgraded my sax & mouthpiece (D6M) around 6 months ago, only the past few weeks I realised I was putting pressure on the reed, closing the tip, confirmed by my tutor, now playing on a smaller tip (C*), but the sound is amazing, with wider range of dynamics. Some players can make a horn scream, and then be playing a delicate classical piece all on the same set up, just shows how important the player & technique is.
Yeah, closing the tip with pressure can definitely cause some issues. Glad to hear you found your mp!
Your second point is apt!!!
Thank you 🙏
👍👍👍👍
Thanks for the info. I started saxophone from scratch about 11 months ago on a soprano. I kept hearing about how "difficult" it is to learn how to play a soprano sax. I can't rate the difficulty of learning to play a soprano since I don't know any other saxophones. I have been having a lot of fun with it and the woman who lives above me says that she likes the "noise" that I make with it. I'm choosing to take that as a compliment. Shortly after I started, I concluded that I didn't like the 4C(S?) mouthpiece that came with the sax so, I went with a Yamaha 5C and have stuck with that since. Shortly, I am going to give an Otto Link 6S a try and see how that works out. Since I've started playing, I've been using Rico (red box) 2.5s. Maybe later, I'll experiment with different reeds. I'm in no hurry.
I haven't tried the 5C. What was the difference in the 2 for you? The 4C has been a really common starting mp for years. Glad to hear that your neighbor is also enjoying your soprano playing 😁
@@ScottPaddock It seems like the 5C is way more easy for me to move air through. With the 4C I felt like I was getting a whole lot of back pressure. The only thing that seemed to help with the 4C was a 2.5 Bb clarinet reed but, it was uncomfortable on my lower lip. It did make a sound, though, that I really liked.
@@HahnJames Hmmm, I'll have to check out that 5C, and see how it compares.
One thing I noticed that was affecting my playing, especially with my Soprano sax was that I was using a reed that was a bit too hard and I didn't really notice that the reed could be the issue. I started on a Selmer Concept with my straight soprano and I played it for a year and ended up using a Legere Signature 3.25 reed but I always felt a bit of resistance (I had tried softer reeds) and notes wouldn't always come out, so I put it down to the narrow tip. A few months ago I upgraded to a Selmer Super Session E. I liked the more open tip, and I tried it with a Legere Signature 2.75 reed on it.
I could get a good sound, notes came but I felt a bit of resistance still and noticed going from A to middle D, I would sometimes get a warble/gurgle sound. I had the saxophone checked and it is sealing well.
At first I thought it could be the ligature, so I changed to a different one but I found while it played better, it added more resistance, especially to low notes and didn't solve the issues I was having so I went back to the original ligature I was using.
Then after a while I thought it could be the reed that was too strong. I actually figured it out as I had sent my alto sax to my repairer to get a full check and overhaul and when I got it back, I played a new reed and found it ever so slightly more resistant than I like, so went down a reed strength and it solved the issue, so I tried the same on my soprano.
The only softer reed I had was a Legere Signature 2. I played it and instantly all notes played far more easily with much less resistance. Tuning was good, I didn't haven the warble/gurgle sound anymore and my bottom lip felt fine after an hour of playing. I think the reed is slightly too soft, but I now know the issue and just have to try different reed strengths until I find the one that suits me, then just play with those.
Hey Dave! Yeah, the correct reed size is super important. If it's too hard, you will have all of the problems you described, and if it's too soft notes will come out flat and whiney. Also, worth mentioning - some reeds just work better than others in different setups. For example a legere might work great with a Syos mouthpiece, and not as well with a Theo Wanne. It's all a matter of mixing and matching and seeing what works well together.
Nice Fender Rhodes! 🙂
Thanks! 😁😁😁
This is very good information. I used the same set up for fifty years in the music business, hard rubber Meyer 6 (?) legere #2 signature reed. About a month ago I started feeling that I needed to try a metal mouthpiece. I am now very happily using a Runyon Spoiler metal mouthpiece. When I tried it out in the store I removed the baffler and got a nice sound with more ease in playing altissimo. It was only when I tried using the insert at home that I was amazed by how it made the altissimo range like liquid, it was so smooth and easy. It does require going back to long tones so you can get used to the new air flow requirements, but after a few weeks I am very happy with the change.
I played a doctored Meyer 6 for about 15 years. I never thought I would switch, and a company sent me a high baffle mp, and I loved it - then I made the switch too. It's amazing how much more power those mps can give you!
@@ScottPaddock
지금사용하시는 피스 리드 궁금해요
I've been playing on a steeper, metal roll over baffle for about a year now and I've playing for 7 years now. I've been considering going for a step baffle mouthpiece to go for the sound I want, but after seeing this I was wondering if should wait.
Gear can definitely help you get closer to the sound you want - so if you think a step baffle will help you get there, give it a try! Just don't expect that a step baffle will make you sound the exact same way as someone else who uses that same setup.
@@ScottPaddock Thank you for the advice!
Some useful tips here Scott! 😁👍I’ve been sticking with the same cheap tenor until it became unusable recently ,using Legere 2.25 reeds but with a Jody Jazz custom dark mouthpiece (5 *) & power ring which I really love…but now I’ve got the YTS 62 ( only yesterday) but the same reeds don’t seem to work well on it! Had to use D’addario Organic Select 2S as I had some I’d never used, and it worked much better. However, during my songs I was getting high pitched squealing that I just couldn’t account for ( like I’d hit the palm keys) but I know it wasn’t that! Any further tips for me? Do I need to get the sax checked over or do something else? I play alto too with a similar set up on a 2 Legere Reed with Jody Jazz mouthpiece without many issues so am a bit baffled by this! Any help would be appreciated. Thanks. Jilly
The joke's on you; I got the Barkley Kustom based on your sound! Actually, I needed something a little punchier to work through the stringed instruments at church and took your recommendation. 30 seconds into playing my new mouthpiece, my wife came in angrily asking why I was playing so loud, so I think it works! Appreciate your tips.
The Barkley Brazil Kustom mp DEFINITELY projects. Yeah, gear can make you louder or softer for sure, but the sound still comes down to how you are putting air into the sax!
I love to play with soft reeds but it is not possible to play lowest Bb to C with that. I need a reed strength 3 to not have this gurgling sound on the low notes. Do I do something wrong. Do you know what this might be?
Hey, Scott, when you began going over the misconception that same equipment=same/similar sound, though I agree, I do think there is a very small example regarding the sound of somebody like Paul Desmond, he is the only saxophonist that's sound seems to be borderline impossible to properly replicate without almost the exact same equipment. I went through multiple different E. Rousseau mouthpieces (NC4, RC4, etc), multiple different Otto Link mouthpieces (Tone Edge, etc), and more or less 15 different reed brands, with 2/3 reed strengths tested among each brand, all ranging from 4 - 1 (Excluding my Legere reeds considering I don't use anything of theirs beyond 2.5 American Cut), and it seems I can only properly replicated his beautiful sound with an exact replica (The Morgan Dry Martini Model 18). It is obviously an obscure, specific example, but it is just an observation made by myself with no hyper-in depth research.
Do you agree, or do you think it is just much easier to replicate his sound with his equipment?
Hey! Gear will help get you in the ballpark when it comes to the sound you are looking for. Desmond is a perfect example! If you want to sound like him, you have to use gear that will move the air similarly to him. His sound is almost a classical jazz sound to me. Another example would be David Sanborn. You would not be able to get close to his sound with a Paul Desmond setup. However, the point was don't expect to sound like another sax player just by using the same gear.
@@ScottPaddock Ohhh, I completely misunderstood, I thought you meant that same gear doesn’t equal same sound, but you meant that you shouldn’t expect the same sound by using the same gear. I am silly, thanks for the reply!
Hello scott many thanks for your info but could u explained what is gear please
Gear is the term used for the type of saxophone equipment you use: sax, mouthpiece, reeds, ligature, etc.
Excellent advice, Scott. Do you have videos you can recommend on airstream or air control?
My college professors (all clarinet players) had me change my set up almost weekly. I used different brands/ strengths reeds, a variety of mouthpieces, and different saxophones all trying to fix a tone that sounded like a towel stuck in the horn. They had me play soprano, alto, tenor, and bari - same problem regardless of horn or set up. Never found the problem. Maybe if I stuck with 1 horn/ set up for a few months may have helped.
Yeah, if you have the same problem on everything that you play, then the gear (or type of horn) usually isn't the problem.
Agreed. One teacher said the mouthpiece was set too straight between the lips and needed to pull the saxophone back to increase the angle. Another had me curl my upper lip over my upper teeth then pull the corners like I was trying to smile. Of course neither worked.
Great video 👍. Whenever I hear of anyone buying gear to chase someone else's sound, the old drumming adage comes to mind, "To sound like Bonham, first you must play like Bonham!"
I've only changed mouthpieces twice and ligature type once. I'm using a Bonade inverted ligature and was surprised it made some difference to the tone (a ligature is just a clamp, right? 😉). I bought a cheap Rico A7 for a laugh just to try a 7 but I really like it for the sound I want. Maybe some time I'll try a "better" 7 but for now it's fun to say the ligature cost more than the mouthpiece! 😀
I've seen some great teachers/players on here do ligature tests and say they don't really hear/feel a difference. For me, I can feel a huge difference when I switch ligatures. I also put a lot of air into the sax, so that might have something to do with it. One of my sax teachers, Chris Vadala, played on a classical Selmer C star as his main jazz soprano mouthpiece. He loved the sound and feel and never switched. Gear is 100% subjective to what sounds and feels great to the player.
Youre preaching the gospel. I wish you was my coach. That 2nd rule definitely made me laugh.
Good advice
Thanks!!
Also one of the problems that has happened to me is to be obsessed with wanting to buy different mouthpieces to sound “better”, or to sound like a saxophonist, that makes me not focus on really practicing my instrument for wasting time on it.
Yeah, that's what the 3rd gear mistake was all about. Besides not being very effective, it can also get expensive, pretty quick!
👀🎷...good information, gracias.
Thanks!!
When did reed STRENGTH become reed SIZE? Is it an American thing to confuse strength with size? Did that happen the same time people started calling tunes/melodies (instrumental and without lyrics) 'songs'? I've seen this confusion increase over the past decade or so. Reed strength is typically measured in numbers (1 to 5) or abbreviations (S, MS, M, MH and H) and physical size (or dimensions) is dependent on the different instruments the reeds are for (sopranino sax/Eb clarinet through to bari sax/contrabass clarinet).
Strength & Size have been interchangeable terms forever. In the video I specially say " When were talking about reed sizes, we're actually talking about the strength...."
@@ScottPaddock Must be an American thing then as that's never been the case here in the UK and Europe until the TH-cam generation.
@@chrisperyagh a lot of us assumed, wrongly, that the reeds were different thicknesses based on the strength numbers/references. Too late to change the misperception
@@garyboyd3255 wrong again ..the reeds thickness IS what determines its strength ( a #3 is thicker than a #2 (hence stronger etc) this is 5th grade stuff .. in no way confusing
@@bluegoose555 no. It is the tensile strength of the reed itself
I blame my mouthpiece. Is there a easy test to see if the reed works well with the mouthpiece. Like Holding the vacum when you suck. Or ?
My test is to just play it 😁 There are suction tests you can do as well as looking at the grain and cut of the reed, but what it comes down to is how it sounds when you play it. If you're using cane reeds, then there may also be some reed work you need to do to bring that reed up to it's fullest potential.
Which mouth piece should i use as a beginner? He doesn,t show which one!
I'd suggest a Yamaha 4C. It's an inexpensive mouthpiece that works great for beginners.
@@ScottPaddock Thank,s for your advice !
If you give a beginner a Selmer C star you will hear the difference right away.
Hmmmm, I generally give a beginner a Yamaha 4C until they figure out the airflow. When I was teaching mainly school-aged kids, I'd often time then step them up to a C star, but with adults - almost none of them want a classical sound, so doing a step up to a classical mp that costs $150 doesn't seem very practical. I usually have them on the 4C until they have a really solid clean sound, and then switch them to a meyer 5m hard rubber. That generally gets most people closer to the sound they are looking for after a beginner mp. After that, they have free reign to try what they want.
As a 70+ year old beginner browsing music information and misinformation on the web, I'm outraged by music instruction I had in K to 12 that is probably still common. A conclusion of music development is presented, that's all. If reading was taught like music You would get Dick and Jane in Kindergarten and in 3rd grade they would introduce the alphabet. That lack of information partially drives the random struggle with changes in equipment. Some more WHY needs to be upfront, along with an asertion of what will be learned later. For self directed adult learning use phone apps and start with sight reading, I like Clefs. Then rhythm training apps. For Kindergarten, start with rhythm and sight reading of rhythm on staffs with brief information that the pitch using more of the lines will be learned later after they learn the alphabet and either the entire alphabet should be learned backwards or at least G through A. Several fundamental music terms pain me greatly. "Music Theory" isn't a theory. "Music Theory" is the music system of 12 Tone Equal Temperament that staff notation and keyboard were developed from and for. English or German are not "theory" they are systems and 12 Tone Equal Temperament is a system, not a "theory". "Natural Notes" absolutely meaning less "overtones" usage of the word is 95% misusage, and the word is seldom used where it's critical in wind instruments, different tones at a particular key selection. The counting of intervals, not once was it ever mentioned that 3rds Etc are not fractions, I was never told, shown, or read anywhere meaning of interval names. "accidentals" "notes between the notes" ????
How about: and now we will beat a few a few small interger numerator and denominator fractions into J.S. Bach favored 12th root of 2. 5th grade "singing" was in a brand new school building with a dedicated room with a brand new piano that we sat in front of that was never touched. Instructor blew a pitch pipe at the beginning. FACE and other stupid mnemonic were a huge stupid hinderance, Flash cards would have been nice. Also seeing all the lines and spaces labeled with C numbered and obvious of octave pointed out that A and B were the highest notes, And done on grand staff. with C4, middle C, pointed out. I took trombone from maybe 4th to 8th grade when I'm in an orchestra and completely lost, not a problem for the instructor, they needed a body in a chair. BTW, I recently found out that big bend at the back of every trombone can be pulled out and removed ? That thing is a tuning slide, I also recently learned the 7 positions, you are never shown exactly where they are, not even once are "1/2 tones" Good thing I was never told that. I would have been institutionalized asking how can there possibly be a 1/2 tone. I auditioned for 12th grade choir and was accepted, it went fine no problems, enjoyed it. If unfamiliar sheet music was dropped in front of me day after I graduated about all I could do would be read the lyrics. As for adult and every obe rlse, get some snall proficiency sight reading both treble and bass cleff of grand staff, and develop some sight reading rhythm precision from a phone app. There are several great rhythm apps and combination rhythm and relative pitch apps, I'm having a surprisingly difficult time with pitch, that is more my deficiency thzn the design of most of the apps, there are a couple where the tones stink, but a Korg tuner gets them right.
On beginner equipment. I think they should have 2 different mouth pieces and 2 different reed strengths early so they can have a comparison, anc practice with the easier one. Pros on TH-cam like the electronic saxophones for their own use, but the electronics are not useful for learning talent of embrochure.
Never mentioned sax necks. Hummm...
I ended up editing that part out of the video because it didn't line up with all of the other info.
Guilty on all counts! And yes, it doesn't work.
🤣 don't worry, you're not alone!!
Thanks, Scott. Always great advice. Only problem I found, finding the right m/p and reed can be an expensive mission !! All sax gear is expensive.
Agreed!!! Mix and matching gear can add up really quick.