This SO cheered me up! I’ve recently returned to the sax after more than 55 years elsewhere (clarinet & viola), now reside on a pitching sailboat, and bought myself the very cheapest of cheap altos in the shop (but good reeds). I’m reassured that it’s all about me, not my shiny new sax.
Jack’s comments are spot on. 55 years ago I was playing as a student on my mother’s 1920’s Martin with recent overhaul and pads. That’s when I bought my Mark VI. The sound was about the same! The ergonomics and keywork feel was worlds better, though. I am still playing the same VI which I have cared for ever since… it has no dents or dings and has 99% lacquer. My sound is better now, no matter what sax, but the VI is getting as hard to play as an old mid-school student horn. The reason is old hard, splitting, leaking pads. I am about to have a phenomenal repairman remove all the original pads and readjust everything. I expect that in a month or so my old friend VI will come back playing and sounding exactly as he did in 1969! Perhaps you should review technicians and how to find good ones next! Keep up the great content, Jamie!
I recently switched from a Yamaha YS-62iii to a Selmer ref. 54. Using the SAME Theo Wanne mouthpiece, ligature and Vandoren reeds, there really is a noticeable difference in the tone across all registers and particularly in the altissimo. To make sure it wasn't just my ears playing tricks on me, I recorded several pieces of jazz using both horns, and it confirmed my initial aural suspicions. There also was the added benefit of the switch in that the Selmer key action is a lot smoother and it's much easier to play in tune across all registers.
Thx Jamie! So helpful. We are always tempted to change gear to sound better but the only thing we really need to do is practice, practice and practice! 👋 from Belgium 🇧🇪
Thanks Jamie- that releases so much doubts of myself. When I don’t have a good day playing I’m always asking if the mouthpiece,reed or ligature are off. I now can put closure to that. I’ll stay on my reeds.
Congratulations on another very useful contribution. If only I had seen it a year ago, I wouldn't waste a whole year experimenting with different reeds, especially cheap ones Chinese reeds. Every once in a while you come across one that plays well, but the search is tough, it reminds me of the story of a friend of mine, who went to Amsterdam in the seventies of last century and visited a hippy commune. A local guru asked him, "My friend, what brings you here and what is your goal?". The friend told him laconically: "Honestly, I am in search for a young (female?) virgin!". The Guru laughed and replied, "Brother, this is the last place you would find her! Perhaps only Jesus could restore one, but even that one would be very short-lived." So much about cheap Chinese reeds... But the saxophone? That's a completely different story! Maybe the material doesn't play a big role, maybe the type of lacquer (gold, silver, nickel-plated, unlacquered) is not so important, but it is important how long is saxophone played. It takes at least a few months for the new instrument to acquire the right tone color. Some 40 years ago, I bought an Amati tenor silver plated saxophone. After 10 weeks I stopped by the local city brass band, where there was also an older saxophonist who asked if he could try that shiny new tenor of mine. Sure, I said. At the same time, he offered his alto sax to me. I wasn't really interested, but it wouldn't be polite to refuse. And so, i took that silver alto (which was last shiny in the second world war), dirty and doubtful bacteriological correctness. It seemed incredibly light to me, compared to my tenor, and somehow it looked like a toy to me; doesn't it seem frivolous for a grown man to play on such a small instrument? And then a shock: I only tried the C major scale, because that's the only one and knew after my initial 10-15 hours of practice. But that tone... Something very close to Johnny Hodges sound! I even received a compliment that I had excellent tone, better than very experienced owner of the instrument. I came home with my great shiny Amati tenor, which meant nothing to me anymore. Soon I sold it, and my career as a tenor saxophonist was over. It's been 40 years ago. I'm now retired. At the age of 66, the desire to play again seized me and I bought new Yamaha alto YAS-280. I practice on it for an hour a day on average, for about a year. I've bought about 15 different mouthpieces, but I still haven't gotten even 20% of that beautiful sound on the old alto, which no longer exists. So, I'm sorry, but the instrument is also very important!
Jamie I as well use Nexus reeds I find them the most consistent quality. I have recently moved to #3. Been playing 18 months and like your information very much thanks Kale
Very interesting video. I’m just starting to learn how to play an alto sax. The part concerning beginners was a great point. Made a lot of sense to me. I bought a student model sax and also bought a nice mouthpiece and reeds.
all the things mentioned about the importance of the saxophones material, lacquer and so on, I do notice differences between my YAS25 or my Keilwerth Toneking Exclusive, using the same mouthpiece and reed, the Keilwerth has a big bell compared to the Yas25
I also have a theory regarding synthetic reeds, specifically Legere. Once you’ve worked out the correct strength for you, that reed will probably last you 4 to 6 month with very little change. The reason some people go back to cane reeds is because they can’t handle the fact that the sound they are getting is down to them and they can’t blame the reed anymore. 🤷🏻♂️ For a very long time I thought it was the reed that was effecting my sound on a day to day basis but it has far more to do with my physical state or well being. I’ve been playing on the same horns and mouthpiece for decades, I’ve tried new equipment out but always go back to where I started. I think the interesting thing about the interview with Jack is he seems to be telling people that gear makes little difference which seems to be in conflict with his business. 🤷🏻♂️
I can't see how anyone can blame a reed without looking like an idiot. I adjust my reeds and if a reed can't be made playable it goes in the compost bin, not on my mouthpiece! 😎
A couple cons on synthetic reeds. A) They can be difficult to position correctly since they blend in with the mouthpiece edges. B) They can get slick quick and allow your bottom lip to move around. C) They run consistently stiffer than the same numbered cane reed. Pros: A) They don't need to be kept moist. B) They don't get damaged unless you're an idiot. Oh, and I did get a box with bad reeds. I sent photo to Vandoren and they replaced them all.
Great information! It sounds like Jack tested his theories at least, somewhat before coming to his conclusions. I've always felt that, when it boils down to it, the most important part of the saxophone is the person playing it.
Hi Jamie, very interesting, thank you. In my view, the most important thing is to play the instrument. The more we play, the easier it becomes to breathe properly, use the embouchure and throat. Our techniques of tonguing, vibrato and phrasing improve, this leads to us developing our sound. Poor instruments don't encourage playing, therefore we don't improve. This is evident to me with guitars. A well set up guitar, from any manufacturer, is easier to play and results in playing more often and for longer. In other words, practicing. Best wishes.
First - Full disclosure - I'm new at this. Really new. BUT - the reason that this makes my opinion worth something, is that my memory of working up to a sound I like (I'm almost there), is built on very recent events. I bought a VOS ( very old sax ) that came with a QOM (quite old mouthpiece ). My sound started out sounding a lot more like a goat being led to the abattoir than like Parker or Desmond, my goals. Aside from making sure the mechanics of the horn were working properly, leaks, proper openings, etc, getting closer to my goal has been entirely up to me gaining embouchure strength and stability, air control, diaphragm strength, posture, how I hold the sax, working rigorously on reed placement, and in a smaller part, buying better reeds. For a while, I was thinking about trading up the horn. I took the horn in once for some valve adjusting. The tech played it after working it. Sounded great! Then my tooter ( I probably shouldn't call her that, but it's better than calling her my Sax therapist ) would play my horn and it sounded awesome! So self guilt trip. So it's mine. I'm keeping it as long as it works. Just have to get me to work as well as it does.
Very interesting insights! 👍🏻 As I‘ve started very late (with 53) playing Sax, I realized after some 2 years of playing literally every day that jumping too early towards a too big tip-opening doesn’t help getting a better sound - it rather throws you back, since after 10-15 min you‘re done in terms of air & tired muscles in your face. Now, after 2 ½ years of playing I can blow the Otto Link 6* (with still a 2.0 reed) for an hour or so without problems.
Great interview. In my view, the big thing about gear is intonation. The setup (mpc, reed, neck, horn) all affect your ability to get the notes in tune. An experienced pro can get anything to sound in tune (well, almost anything). The beginner will struggle with intonation on a bad setup and this distraction interferes with getting the good sound they want. The gear most definitely affects intonation. Take home: get a setup that is easy to play in tune, then you can work on getting the most amazing sound you imagine!
Ligature absolutely makes a diff. I had to swap my fancy lig to a cheap traditional generic one when I switched from a cheap horn (1st generation walstein when they were still in business, a bit of a copy of a yani) to a yamaha customZ because my tone became way too bright. When i went to buy a new lig, a few sax technicians in the shop noticed the same without me prompting their opinion.
Great myth busting! I started out playing a Jody Jazz HR but found it just too big in my mouth so switched to a Theo Wanne Durga and it felt so much better! I also use legere signature reeds for their longevity and durability, but the down side of this combo of metal and synthetic is an excessive accumulation of condensation that I have to regularly shake out! 😂 Still my preferred combo and it can sound plenty warm if I want it to.
I tried a similar experiment with the Theo metal mouthpiece and had the same result. However, the problem didn't appear on the Theo HR Gaia mouthpiece.
thx! finally some sanity in all the weird superstition around saxes. the major differences between rubber and metal mouthpicesis how the vibrations are felt by the player...
And the ergonomics make a huge difference as well. I love playing my '36 Selmer Balanced Action alto but live in fear of hitting the D palm key as it sticks out and know I feel a subtle tension playing it, while my Couesnon alto and King Zephyr tenor fit my small hands like a glove and therefore no tension
Great video! Recently picked up my tenor sax again after a long time (Bandmaster - East German made by B&S factory) . However, although still happy with it, I just wanted to have something new (sax and mouth piece) and I was looking at Yamaha. It became the YTS-280 since the reviews were so positive. I have it now 2 weeks, no need for me as amateur to buy a more expensive instrument and this video confirms it. Next stop: mouth piece 🙂. Should have been the other way around but there was a good opportunity.
Yes. I always wonder why pros rest and review beginner horns. Their technique, even inadvertently, smoothes over much of the flaws. I never understood why plastic mouthpieces would sound different. I always thought that it was their tip opening that makes the difference, not the material. Graet video to remind us that the only real way to improve our sound is to practice!
Amazing interview. I guess goes the same with sports like golf (well, almost everything in life). They keep on blaming the gear thereby upgrading it and costing them more rather than working out and investing on the basics. On most blind tests of new sax, you can hear the signature sound of the player and less on the sax itself.
Being a middle school band director, I think you are overlooking one thing in suggesting that beginners need the best reeds. Kids, especially middle school kids, have so little physically awareness that they destroy reeds constantly. Nice reeds make sense, but kids go through so many damn reeds that it doesn’t make sense to go with anything other than something like a Rico orange box. After they’ve been playing for a few years, it’s a different story. Same goes for high end mouthpieces. I see so many dropped mouthpieces, or kids bumping into things, that I’d never feel comfortable with a beginner playing on a Theo Wanne or something. After they develop a kinesthetic awareness while walking around with their sax or clarinet, then we can talk about upgrading.
Thank you for this video, I always hated the argument of materials. I mean, listen to recordings done with the Grafton plastic saxophone. It sounds great and pretty indistinguishable from brass saxes. And if the difference between soft plastic and acoustic brass is sooooo small, how do you expect the alloy to make any difference? It's the same with mouthpieces. When a manufacturer wants to sell a loud and bright mouthpiece, he will likely make it out of metal because manufacturers sometimes also subscribe to this idea, give it a high step baffle, wide tip opening and a small chamber. And the reason the mouthpiece is loud and bright will be the tip opening, baffle and chamber, not the material.
I agree with these comments. There is, however a subtle difference between my Yamaha and my Buescher but I think it's down to the design rather than any difference in the alloys used. The Buescher is more flexible in pitch whereas the Yamaha says "you asked for an F# and that's what you're gonna get!" Having traded my first Buescher for the Yamaha decades ago I tracked down another one last year to get back that ability to more easily bend and blend notes.
I think the design can make a large difference.. I think that's why the old Conn tenors are said to have a big, dark sound. Compare the size of the bell on one of those with a modern tenor.
@@GetYourSaxTogether This site was helpful. He had several vid on forearm, writst, carpel tunnel etc. on youtube SpineCare Decompression and Chiropractic Center
Why was Jack badmouthing the Rovner ligature?? What’s your opinion Jamie and if you share Jack’s opinion, what do you recommend to an intermediate player? Ty
He wasn't bad rapping Rovner ligatures, I think he meant some Rovner ligatures can have more of an effect on the sound than other manufacturers ligatures. Ex. the Rovner Dark.
I completely agree, 95% of the sound is the player. Gear simply makes it easier to get to the place you want to be. The time spent earning the money to buy all the mouthpieces would be better spent practicing.
Interesting info! I suspected that mouthpiece material and filed/unfiled reeds make very little difference in the sound, but I was surprised about the saxophone material not making any difference.
@@thomashunt2905 They insist, but yet when they are the subjects of a scientific double blind study, they were never able to consistently differentiate between materials...expectation bias is waaaay to real with musicians.
Something they didn't mention is the ergonomics (feel) of saxophones and how they affect your fingering. For example, my Yamaha T-62 sounded great but was uncomfortable to play (after 5 years of trying). Same with a Selmer bari, it didn't fit my hands. I find Yanagisawa saxes feel great under my fingers. Being pro horns they are probably overkill to my skill set (advanced intermediate) but the benefits in comfort and ease of fingering is worth it.
Different people prefer different brands. For some people it's about consistency - they want all the reeds in the box to sound the same. For me it's about a certain tone that more refined brands seem to eliminate during quality control. I'll happily spend an evening with a box of Rico Orange reeds trying them and tweaking them. Yes, some end up in the compost bin but I expect that. I've occasionally acquired them for free from people giving them away because they found a brand that suited them better.
Hi! how are you all? did somebody try to perform any changes on reed? if yes, you were MUST to feel a difference between how easy(heavy) you get low notes with filed and not filed(I mean filed strong enough) reeds. reed forced by ligature quite LOWER then filed or not filed part. also, you can HEAR the difference between YANAGISAWA sax and it's replica even here on youtube with two-penny speakers(it's matherials about) so, good luck, Jack!
The plastic and wooden saxophones literally sounded different🤣🤣 If material why are saxes made of wood and sold for cheaper?! I know the answer and everyone else heard the answer🤣
@@GetYourSaxTogether Ive been to the Pmauriat factory in Taiwan and tried two of the EXACT same model sax same finish then two of another finish. Same with Ishimori in Japan. Different saxes play differently sure but its the same difference as chocolate ice cream from one company taste different than other yet still tastes like chocolate! Concepts are fairytales and facts are facts.
hey jamie have you made a video about properly tonguing certain notes on the saxophone cause im having issues with that im not sure if its my embouchere i put my tongue inside the mouthpiece and my teacher says your blowing too much air into it i think i need to stick my tongue out and in that way it sounds like im tonguing properly and my breathing im always having issues i constantly breathe my cheeks blow up while playing im trying not to thanks.
So good to hear Jack ‘fess up to being opinionated! He does have very valid opinions, but that’s what they are and it doesn’t mean that any myths were actually “busted” today. For example: All the mouthpieces that Joel Frahm played in shop had already been vetted by Joel. If he’d compared some old “pickle” hard rubber mouthpiece with a tiny tip opening dug up from the bottom of a drawer to a #10 Dukoff Super Power Chamber you know there would’ve been a noticeable difference! And if somebody feels better playing something that LOOKS cool then that’s part of the art, right? My $0.02.
Metal mouthpieces can be made much smaller than rubber/plastic and still be as structurally sound as a larger rubber mouthpiece therefore they tend to be made with much smaller chambers and also any baffles are much much harder to carve away so that's why, in my opinion, metal mouthpieces seem to be perceived as being Brighter
Very enjoyable video that reminds us not to get caught up with G.A.S. (Gear Acquisition Syndrome). All that an aspiring player needs is solid gear with a playable reed. Everything else is very subtle nuance. Joel Frahms probably dumped all those mouthpieces not because they didn’t sound right but because they didn’t feel “right” to Joel.
At some point, a soft enough material would have to dampen the sound. You wouldn't make a saxophone or mouthpiece out of soft rubber. The reed does contact the mouthpiece, especially at louder volumes. However small the difference is, a metal mouthpiece should be brighter.
2 cents from a nobody: From an engineering standpoint, there has to be a reason why large instruments were initially made with these materials. The more you play, the warmer it gets and that variation in temperature of metal must add to the dynamics of the instrument.
Two things. First I gotta mention the clarinet legend (myth!). The clarinet will play better and better in tune if you line up the trademarks on the barrel, upper joint, bell, or wherever. If it was made from one piece of wood (it wasn't) and the marks were put on while it was one piece of wood (they weren't) then aligning it as was originally would improve things. IF! On the sax the reed has to "fit" the mouthpiece. A good reed on one mouthpiece may not be good at all on another, and vice versa. At one point I wasn't playing tenor a lot so I switched from Berg Larson metal 110/0 to a Meyer 6 because I wasn't playing enough to be able handle the opening. I was mostly playing clarinet and alto. Now I play on a Meyer 7G. Not much change in my sound. Maybe less volume. The mouthpiece has to work with the horn. My King Super 20 tenor does NOT like Selmer mouthpieces. If I use one my tuning goes out to lunch. My Super 20 alto doesn't seem to care much either way. I got my metal mouthpiece in high school because metal mouthpieces were COOL! It worked great for years but boy, was it hard to control in concert band in college. I play on a King because I tried everything I saw at various music shows in high school and college and ALWAYS found it easier to reach the upper side keys. The horn has to fit you. I played an old bari once that actually had the keys too close together for comfort. I really liked my first alto but it had buttons for the table keys. Hard to get round on it, though. There are differences in sound between saxes. Maybe it doesn't get out of the horn but I feel it when I play. I spoke with a guy at the Musik Messe in Frankfurt, DE about baris. He liked the Selmer because it had the edge he wanted. I preferred the Yamaha because it didn't. We both noticed the same characteristic but felt differently about it. I think that was real. Remember the saxes that someone in Europe adapted to have thin, flat steel plates covered in rubber instead of normal cups with pads? Those seemed to play about the same as anything but none of them felt like my Kings. Recap: The reed needs to work with the mouthpiece; The mouthpiece needs to work with you and the horn; The horn needs to fit you. FWIW I have a dark sound and really prefer Bonade ligatures for sax or clarinet. I can't say they make a difference in sound. They make a difference to me.
Brilliant video Jamie. Cutting through the BS is so important. There’s so much marketing crap that can mislead people it’s criminal. BTW, are you a Cleo Sol fan?
Although I agree with the 3rd Point, because it's so obvious, I have to say the Ligature does have more effect FOR ME than it does for your guest If you've been playing long enough you eventually hoard(!?) Mouthpiece & ligatures and it's an easy enough experiment to discover...
Yes I understand that a student saxophone compared to a professional or intermediate saxophone will sound the same but... ok I put it this way. I have played guitar since I was 14 years old and yes over the year's I have played over 100 guitars and yes I can get a constant sound out of them all but..... When I had enough money to by my first Gibson a bit like going from a student to professional saxophone it was not the sound it was wow this feels great it feels like it plays itself does that makes sense.... I would love to hear some comments...............
When I traded my student Buescher for a pro Yamaha, I really noticed the difference. I knew that if the sound was bad it could only be operator error. However, last year I saw the same model Buescher going cheap and snapped it up but the difference in playing seems a lot smaller. More importantly the Buescher lets me bend notes so much more easily than the Yamaha and that's something I came to miss.
Jack's comment on equipment for new players has some nuances. It doesn't mean a new player should buy a $5000 sax since, as he said, the reeds and mouthpieces are most important. However, a horn in good working order with no leaks is more important for a beginner than an experienced player. Leaks and other mechanical problems can lead to poor embouchure habits for the beginner because he or she may do things like biting in order to get a sound out.
I prefer metal mouthpieces because the stronger material lets them be made smaller and still be strong enough not to break. A fat hard rubber mouthpiece is less comfortable for my embouchre. See 3:05 and 5:13 on this video.
I disagree with material that a saxophone is made of making a difference. The plating or lacquer makes no difference but a brass saxophone vs a solid silver sax do play slightly different but I will agree it makes so much less difference than any other factor like mouthpiece, reed, embouchure and even the ligature makes a larger difference.
And what makes Jack “THE” expert? I’m going to need some science references to back up the claim that sax material doesn’t matter to the sound. For #%^* sake, the sound of a tambourine sounds different depending on the material of the jingles. The body does resonate and contributes to the sound.
Well, Jack is “the” expert because he designs and sells some of the best saxophones in the world, as well as working with and play testing countless saxes and mouthpieces day in day out. Why do you need the science when the experience is staring you in the face? Or - even better - feel free NOT to pay attention to one of the most experienced sax whisperers in the world and fill your boots spending money on equipment that makes little to no difference to your sound. People like Jack love you, cos you’ll be spending all your money in his shop! 🤣
WRONG!!!!!! The laquer matters. Mouthpiece material MATTERS🙄 Proof?! Why don't saxophone players all play on stock mouthpieces? The mouthpiece doesnt matter for a beginners. Even Sonny Rollins complained about his relaquered horn
@@GetYourSaxTogether Sonny Rollins is arguably the greatest living jazz improviser. Even Sonny Rollins relaquered is ACTUAL Mark VI he'd been playing about a decade at that point and was upset the horn sound different. Did a recording in Japan and hated the sound. We can say the difference is subtle but to musicians with ears subtle is everything
@@Ottolinked BLAH BLAH BLAH stop talking in circles 🤣. If Chris Potter played three of the exact model horns with different laquers they would sound different!! If you relaquer your own horn it sounds and responds differently
mouthpiece and body tube dimensions will make some difference, but slight. Crazy what people pay for gear when playing and listening back makes the real difference. Record yourself in a DAW, copying favourite players solos and listen back. will make big changes quickly, and your brain cant fool you as to how you sound!
I do like metal mouthpieces just because how they feel in my mouth so why don't manufacturers make a hard rubber mouthpiece the same dimensions of metal one's???????
It has to matter somewhat. The Grafton acrylic sax sounds different than a wooden sax sounds different than a brass saxophone. The metal in a saxophone does vibrate. If the vibration doesn’t “produce” the sound, it does affect the sound. Yes the vibrating reed produces the sound. However, I remember my teacher teaching me to play overtones by putting his bell next to mine and the higher harmonics would just pop out when I was struggling to get them. Something was happening there. And remember that the vibration reed doesn’t make the sound alone. It vibrates against something. That does affect the sound. The material of what a reed vibrates against does affect the sound.
What Jack is saying about mouthpiece design is that the internal dimensions of a mouthpiece affect the sound. When he designed a mouthpiece with a 3D printer, made it with hard rubber, and CNC machined a metal version, they all sounded the same.
I wouldn't say "wrong." I believe he's giving the opposite extreme position without nuance. Metal, Acrylic, and Wooden Saxophones sound different. There's more complexity to it than he's stating. Reeds vibrate against something. The reed alone doesn't produce the sound. Naturally, the things that the reed vibrates against affects the sound. Now, if he's saying that people may have given too much credence to this in times past, sure. Or if he's saying that students often focus far too much on equipment and not on the work it takes to create a beautiful saxophone sound, sure. @@GetYourSaxTogether
Wow, this is the first of your Videos that makes me disagree. You even contradict yourself, cause as you rightly said is that the whole sax should vibrate. So you can feel the complete horn vibrate what makes the make and material definitely a factor of sound. Of cause 90% is the player, no doubt, but sorry this myth busting is rubbish. If you have ears you will know the difference.
@@GetYourSaxTogether Well, the view that only the reed vibrates and the sax is just a tube with almost no influence on sound is definitely wrong. As you said yourself and as you can actually feel while playing the whole corpus vibrates and everything that vibrates in the air makes a sound. Since the skill and the body of the player is the strongest influence you might get the result of everything sounding the same but I guess that is because an accomplished player will make subconscious micro adjustments to get his sound. That's why in comparisons for instance all mouthpieces seem to sound identical. At least that's my perception.
it's sound a little bullshit, sax not vibrating? I just touch my sax while i'm playing and I can say that it's vibrating. I suprise myself reconise berg metal, or otto link before seen, and if nothing is really change the sound why make an order of importance just after? I"m okay the don't make the player but it's sound like a bullshit tedX.
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This SO cheered me up! I’ve recently returned to the sax after more than 55 years elsewhere (clarinet & viola), now reside on a pitching sailboat, and bought myself the very cheapest of cheap altos in the shop (but good reeds). I’m reassured that it’s all about me, not my shiny new sax.
Great. Enjoy!
in the second part of his interview Jack says things are refuting all he said in the first one. bravo!!👋👋👋
Okay!
Jack’s comments are spot on. 55 years ago I was playing as a student on my mother’s 1920’s Martin with recent overhaul and pads. That’s when I bought my Mark VI. The sound was about the same! The ergonomics and keywork feel was worlds better, though.
I am still playing the same VI which I have cared for ever since… it has no dents or dings and has 99% lacquer. My sound is better now, no matter what sax, but the VI is getting as hard to play as an old mid-school student horn.
The reason is old hard, splitting, leaking pads. I am about to have a phenomenal repairman remove all the original pads and readjust everything.
I expect that in a month or so my old friend VI will come back playing and sounding exactly as he did in 1969!
Perhaps you should review technicians and how to find good ones next!
Keep up the great content, Jamie!
👍🏻
I recently switched from a Yamaha YS-62iii to a Selmer ref. 54. Using the SAME Theo Wanne mouthpiece, ligature and Vandoren reeds, there really is a noticeable difference in the tone across all registers and particularly in the altissimo.
To make sure it wasn't just my ears playing tricks on me, I recorded several pieces of jazz using both horns, and it confirmed my initial aural suspicions.
There also was the added benefit of the switch in that the Selmer key action is a lot smoother and it's much easier to play in tune across all registers.
Thx Jamie! So helpful. We are always tempted to change gear to sound better but the only thing we really need to do is practice, practice and practice! 👋 from Belgium 🇧🇪
So true!
Had to learn this the hard way but journey was well worth it 😂. 2 1/2 yrs on saxophone and going strong
Nice work!
Thanks Jamie- that releases so much doubts of myself. When I don’t have a good day playing I’m always asking if the mouthpiece,reed or ligature are off. I now can put closure to that. I’ll stay on my reeds.
🙏🏻
Love it: "hearing with your eyes." So true about a good many of our delusional sensory experiences.
🙏🏻
Congratulations on another very useful contribution. If only I had seen it a year ago,
I wouldn't waste a whole year experimenting with different reeds, especially cheap ones
Chinese reeds. Every once in a while you come across one that plays well, but the search
is tough, it reminds me of the story of a friend of mine, who went to Amsterdam in the
seventies of last century and visited a hippy commune. A local guru asked him, "My friend,
what brings you here and what is your goal?". The friend told him laconically: "Honestly,
I am in search for a young (female?) virgin!". The Guru laughed and replied, "Brother,
this is the last place you would find her! Perhaps only Jesus could restore one,
but even that one would be very short-lived." So much about cheap Chinese reeds...
But the saxophone? That's a completely different story! Maybe the material doesn't play
a big role, maybe the type of lacquer (gold, silver, nickel-plated, unlacquered) is not
so important, but it is important how long is saxophone played. It takes at least
a few months for the new instrument to acquire the right tone color.
Some 40 years ago, I bought an Amati tenor silver plated saxophone. After 10 weeks
I stopped by the local city brass band, where there was also an older saxophonist who
asked if he could try that shiny new tenor of mine. Sure, I said. At the same time, he offered
his alto sax to me. I wasn't really interested, but it wouldn't be polite to refuse. And so,
i took that silver alto (which was last shiny in the second world war), dirty and doubtful
bacteriological correctness. It seemed incredibly light to me, compared to my tenor, and
somehow it looked like a toy to me; doesn't it seem frivolous for a grown man to play
on such a small instrument? And then a shock: I only tried the C major scale, because
that's the only one and knew after my initial 10-15 hours of practice. But that tone...
Something very close to Johnny Hodges sound! I even received a compliment that I had
excellent tone, better than very experienced owner of the instrument.
I came home with my great shiny Amati tenor, which meant nothing to me anymore. Soon
I sold it, and my career as a tenor saxophonist was over. It's been 40 years ago.
I'm now retired. At the age of 66, the desire to play again seized me and I bought
new Yamaha alto YAS-280. I practice on it for an hour a day on average, for about a year.
I've bought about 15 different mouthpieces, but I still haven't gotten even 20% of that
beautiful sound on the old alto, which no longer exists.
So, I'm sorry, but the instrument is also very important!
Great story, but there’s so many unaccounted for variables in that there tale!
Thank you so much for bustling these myths. Now I can concentrate on my embouchure.
Great!
Jamie I as well use Nexus reeds I find them the most consistent quality. I have recently moved to #3. Been playing 18 months and like your information very much thanks Kale
Great. You're welcome
Very interesting video. I’m just starting to learn how to play an alto sax. The part concerning beginners was a great point. Made a lot of sense to me. I bought a student model sax and also bought a nice mouthpiece and reeds.
Great. Enjoy the journey!
all the things mentioned about the importance of the saxophones material, lacquer and so on, I do notice differences between my YAS25 or my Keilwerth Toneking Exclusive, using the same mouthpiece and reed, the Keilwerth has a big bell compared to the Yas25
Thanks for your comment
I also have a theory regarding synthetic reeds, specifically Legere.
Once you’ve worked out the correct strength for you, that reed will probably last you 4 to 6 month with very little change. The reason some people go back to cane reeds is because they can’t handle the fact that the sound they are getting is down to them and they can’t blame the reed anymore. 🤷🏻♂️
For a very long time I thought it was the reed that was effecting my sound on a day to day basis but it has far more to do with my physical state or well being.
I’ve been playing on the same horns and mouthpiece for decades, I’ve tried new equipment out but always go back to where I started.
I think the interesting thing about the interview with Jack is he seems to be telling people that gear makes little difference which seems to be in conflict with his business. 🤷🏻♂️
100% agreed! Especially the Portion about blaming the reed😂 i got my playing more focused not having the doubt about the reed anymore
I can't see how anyone can blame a reed without looking like an idiot. I adjust my reeds and if a reed can't be made playable it goes in the compost bin, not on my mouthpiece! 😎
A couple cons on synthetic reeds. A) They can be difficult to position correctly since they blend in with the mouthpiece edges. B) They can get slick quick and allow your bottom lip to move around. C) They run consistently stiffer than the same numbered cane reed.
Pros: A) They don't need to be kept moist. B) They don't get damaged unless you're an idiot.
Oh, and I did get a box with bad reeds. I sent photo to Vandoren and they replaced them all.
Legeré. For life, consistent and durable.
Thanks for the comment
Great information! It sounds like Jack tested his theories at least, somewhat before coming to his conclusions. I've always felt that, when it boils down to it, the most important part of the saxophone is the person playing it.
I totally agree!
Hi Jamie, very interesting, thank you.
In my view, the most important thing is to play the instrument. The more we play, the easier it becomes to breathe properly, use the embouchure and throat. Our techniques of tonguing, vibrato and phrasing improve, this leads to us developing our sound.
Poor instruments don't encourage playing, therefore we don't improve.
This is evident to me with guitars. A well set up guitar, from any manufacturer, is easier to play and results in playing more often and for longer. In other words, practicing.
Best wishes.
👍
First - Full disclosure - I'm new at this. Really new. BUT - the reason that this makes my opinion worth something, is that my memory of working up to a sound I like (I'm almost there), is built on very recent events. I bought a VOS ( very old sax ) that came with a QOM (quite old mouthpiece ). My sound started out sounding a lot more like a goat being led to the abattoir than like Parker or Desmond, my goals. Aside from making sure the mechanics of the horn were working properly, leaks, proper openings, etc, getting closer to my goal has been entirely up to me gaining embouchure strength and stability, air control, diaphragm strength, posture, how I hold the sax, working rigorously on reed placement, and in a smaller part, buying better reeds. For a while, I was thinking about trading up the horn. I took the horn in once for some valve adjusting. The tech played it after working it. Sounded great! Then my tooter ( I probably shouldn't call her that, but it's better than calling her my Sax therapist ) would play my horn and it sounded awesome! So self guilt trip. So it's mine. I'm keeping it as long as it works. Just have to get me to work as well as it does.
Thanks 🙏🏻
This was a fantastic video, thank you! Confirms things I've learned over the years.
You're welcome
Very interesting insights! 👍🏻 As I‘ve started very late (with 53) playing Sax, I realized after some 2 years of playing literally every day that jumping too early towards a too big tip-opening doesn’t help getting a better sound - it rather throws you back, since after 10-15 min you‘re done in terms of air & tired muscles in your face.
Now, after 2 ½ years of playing I can blow the Otto Link 6* (with still a 2.0 reed) for an hour or so without problems.
Thanks for sharing!
You can get the same effect with too stiff a reed.
Great interview. In my view, the big thing about gear is intonation. The setup (mpc, reed, neck, horn) all affect your ability to get the notes in tune. An experienced pro can get anything to sound in tune (well, almost anything). The beginner will struggle with intonation on a bad setup and this distraction interferes with getting the good sound they want. The gear most definitely affects intonation. Take home: get a setup that is easy to play in tune, then you can work on getting the most amazing sound you imagine!
Yup, and that’s cos it’s your voicing that tunes the instrument.
Ligature absolutely makes a diff. I had to swap my fancy lig to a cheap traditional generic one when I switched from a cheap horn (1st generation walstein when they were still in business, a bit of a copy of a yani) to a yamaha customZ because my tone became way too bright. When i went to buy a new lig, a few sax technicians in the shop noticed the same without me prompting their opinion.
There you go!
Talking about myths , the klanbogus of hanging weights from the lyre screw
🙏
Great myth busting! I started out playing a Jody Jazz HR but found it just too big in my mouth so switched to a Theo Wanne Durga and it felt so much better! I also use legere signature reeds for their longevity and durability, but the down side of this combo of metal and synthetic is an excessive accumulation of condensation that I have to regularly shake out! 😂 Still my preferred combo and it can sound plenty warm if I want it to.
I tried a similar experiment with the Theo metal mouthpiece and had the same result. However, the problem didn't appear on the Theo HR Gaia mouthpiece.
Thanks Lisa!
16:30 Yes! New equipment always gets me practicing more.
🙏
A horn that seals properly.
Was a game changer for me. 😉
🙏
thx! finally some sanity in all the weird superstition around saxes.
the major differences between rubber and metal mouthpicesis how the vibrations are felt by the player...
You did mean rubber and metal? I was thinking exactly the same thing
And the ergonomics make a huge difference as well. I love playing my '36 Selmer Balanced Action alto but live in fear of hitting the D palm key as it sticks out and know I feel a subtle tension playing it, while my Couesnon alto and King Zephyr tenor fit my small hands like a glove and therefore no tension
Yeh. It's preference
Great video! Recently picked up my tenor sax again after a long time (Bandmaster - East German made by B&S factory) . However, although still happy with it, I just wanted to have something new (sax and mouth piece) and I was looking at Yamaha. It became the YTS-280 since the reviews were so positive. I have it now 2 weeks, no need for me as amateur to buy a more expensive instrument and this video confirms it. Next stop: mouth piece 🙂. Should have been the other way around but there was a good opportunity.
Cool. Congrats on the new sax
Yes. I always wonder why pros rest and review beginner horns. Their technique, even inadvertently, smoothes over much of the flaws.
I never understood why plastic mouthpieces would sound different. I always thought that it was their tip opening that makes the difference, not the material.
Graet video to remind us that the only real way to improve our sound is to practice!
Couldn't agree more!
Amazing interview. I guess goes the same with sports like golf (well, almost everything in life). They keep on blaming the gear thereby upgrading it and costing them more rather than working out and investing on the basics.
On most blind tests of new sax, you can hear the signature sound of the player and less on the sax itself.
Right!?
Jack was awesome and spot on! Thank you Jamie
Thanks 🙏🏻
Hello I’m a amateur sax player and one off my new way too practice is get the most rubbish reed and make it work found out is very good practice 😅😅
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Being a middle school band director, I think you are overlooking one thing in suggesting that beginners need the best reeds. Kids, especially middle school kids, have so little physically awareness that they destroy reeds constantly. Nice reeds make sense, but kids go through so many damn reeds that it doesn’t make sense to go with anything other than something like a Rico orange box. After they’ve been playing for a few years, it’s a different story. Same goes for high end mouthpieces. I see so many dropped mouthpieces, or kids bumping into things, that I’d never feel comfortable with a beginner playing on a Theo Wanne or something. After they develop a kinesthetic awareness while walking around with their sax or clarinet, then we can talk about upgrading.
Fair point.
Thanks, Mr Anderson. Very interesting video!
You're welcome!
Thank you for this video, I always hated the argument of materials. I mean, listen to recordings done with the Grafton plastic saxophone. It sounds great and pretty indistinguishable from brass saxes. And if the difference between soft plastic and acoustic brass is sooooo small, how do you expect the alloy to make any difference? It's the same with mouthpieces. When a manufacturer wants to sell a loud and bright mouthpiece, he will likely make it out of metal because manufacturers sometimes also subscribe to this idea, give it a high step baffle, wide tip opening and a small chamber. And the reason the mouthpiece is loud and bright will be the tip opening, baffle and chamber, not the material.
Agreed! 👍🏻
I agree with these comments. There is, however a subtle difference between my Yamaha and my Buescher but I think it's down to the design rather than any difference in the alloys used. The Buescher is more flexible in pitch whereas the Yamaha says "you asked for an F# and that's what you're gonna get!" Having traded my first Buescher for the Yamaha decades ago I tracked down another one last year to get back that ability to more easily bend and blend notes.
I think the design can make a large difference.. I think that's why the old Conn tenors are said to have a big, dark sound. Compare the size of the bell on one of those with a modern tenor.
For sure!
This is very good. Thank you for sharing this!
Glad you enjoyed it!
Video suggestion: conditioning of player e.g. right now I have a terrible case of tendonitis. Throat issues is something else, etc.
Thanks for the suggestion. Get well soon
@@GetYourSaxTogether This site was helpful. He had several vid on forearm, writst, carpel tunnel etc. on youtube SpineCare Decompression and Chiropractic Center
Why was Jack badmouthing the Rovner ligature?? What’s your opinion Jamie and if you share Jack’s opinion, what do you recommend to an intermediate player? Ty
He wasn't bad rapping Rovner ligatures, I think he meant some Rovner ligatures can have more of an effect on the sound than other manufacturers ligatures. Ex. the Rovner Dark.
There are many factors to consider
I completely agree, 95% of the sound is the player. Gear simply makes it easier to get to the place you want to be. The time spent earning the money to buy all the mouthpieces would be better spent practicing.
Good point! 🙏
Interesting info! I suspected that mouthpiece material and filed/unfiled reeds make very little difference in the sound, but I was surprised about the saxophone material not making any difference.
I've never felt that way about saxophones. Flute players, however, insist that the material makes a huge difference. Silver, platinum, rose gold etc.
@@thomashunt2905 They insist, but yet when they are the subjects of a scientific double blind study, they were never able to consistently differentiate between materials...expectation bias is waaaay to real with musicians.
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Something they didn't mention is the ergonomics (feel) of saxophones and how they affect your fingering. For example, my Yamaha T-62 sounded great but was uncomfortable to play (after 5 years of trying). Same with a Selmer bari, it didn't fit my hands. I find Yanagisawa saxes feel great under my fingers. Being pro horns they are probably overkill to my skill set (advanced intermediate) but the benefits in comfort and ease of fingering is worth it.
Thanks for the comment
Good info. But have a Question: What are the best reeds?
Depends
Different people prefer different brands. For some people it's about consistency - they want all the reeds in the box to sound the same. For me it's about a certain tone that more refined brands seem to eliminate during quality control. I'll happily spend an evening with a box of Rico Orange reeds trying them and tweaking them. Yes, some end up in the compost bin but I expect that. I've occasionally acquired them for free from people giving them away because they found a brand that suited them better.
The best reeds are the reeds you love the best!
Hi! how are you all? did somebody try to perform any changes on reed? if yes, you were MUST to feel a difference between how easy(heavy) you get low notes with filed and not filed(I mean filed strong enough) reeds. reed forced by ligature quite LOWER then filed or not filed part. also, you can HEAR the difference between YANAGISAWA sax and it's replica even here on youtube with two-penny speakers(it's matherials about) so, good luck, Jack!
Fair enough. Love a bit of controversy!
The plastic and wooden saxophones literally sounded different🤣🤣 If material why are saxes made of wood and sold for cheaper?! I know the answer and everyone else heard the answer🤣
Different saxes sound different. Identical saxes in different materials don’t. You obviously haven’t understood the concept. That’s ok though!
@@GetYourSaxTogether Ive been to the Pmauriat factory in Taiwan and tried two of the EXACT same model sax same finish then two of another finish. Same with Ishimori in Japan. Different saxes play differently sure but its the same difference as chocolate ice cream from one company taste different than other yet still tastes like chocolate! Concepts are fairytales and facts are facts.
hey jamie have you made a video about properly tonguing certain notes on the saxophone cause im having issues with that im not sure if its my embouchere i put my tongue inside the mouthpiece and my teacher says your blowing too much air into it i think i need to stick my tongue out and in that way it sounds like im tonguing properly and my breathing im always having issues i constantly breathe my cheeks blow up while playing im trying not to thanks.
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So good to hear Jack ‘fess up to being opinionated! He does have very valid opinions, but that’s what they are and it doesn’t mean that any myths were actually “busted” today. For example: All the mouthpieces that Joel Frahm played in shop had already been vetted by Joel. If he’d compared some old “pickle” hard rubber mouthpiece with a tiny tip opening dug up from the bottom of a drawer to a #10 Dukoff Super Power Chamber you know there would’ve been a noticeable difference! And if somebody feels better playing something that LOOKS cool then that’s part of the art, right? My $0.02.
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Metal mouthpieces can be made much smaller than rubber/plastic and still be as structurally sound as a larger rubber mouthpiece therefore they tend to be made with much smaller chambers and also any baffles are much much harder to carve away so that's why, in my opinion, metal mouthpieces seem to be perceived as being Brighter
so how is selmer classical metal alto mouthpiece?
@@ongtengkee9225 some MPCs are brighter for some players; some MPCs are darker for others -that's the 'fun' of auditioning mouthpieces/ligs/reeds/etc😉
Thanks for the comment
Excellent video. Probably saved me $10 grand on future purchases. It's like the old Tone Wood wars in the guitar world.
😮
Very enjoyable video that reminds us not to get caught up with G.A.S. (Gear Acquisition Syndrome). All that an aspiring player needs is solid gear with a playable reed. Everything else is very subtle nuance. Joel Frahms probably dumped all those mouthpieces not because they didn’t sound right but because they didn’t feel “right” to Joel.
Thanks. 🙏
At some point, a soft enough material would have to dampen the sound. You wouldn't make a saxophone or mouthpiece out of soft rubber. The reed does contact the mouthpiece, especially at louder volumes. However small the difference is, a metal mouthpiece should be brighter.
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I use Vandoren Optima ligature, good or no? Which ligature(s) do you recommend?
The video was extremely encouraging, by the way! Thank you!
If it works for you, then that's the one.
hallelujah ... well said.
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2 cents from a nobody:
From an engineering standpoint, there has to be a reason why large instruments were initially made with these materials.
The more you play, the warmer it gets and that variation in temperature of metal must add to the dynamics of the instrument.
Fair point!
Two things. First I gotta mention the clarinet legend (myth!). The clarinet will play better and better in tune if you line up the trademarks on the barrel, upper joint, bell, or wherever. If it was made from one piece of wood (it wasn't) and the marks were put on while it was one piece of wood (they weren't) then aligning it as was originally would improve things. IF!
On the sax the reed has to "fit" the mouthpiece. A good reed on one mouthpiece may not be good at all on another, and vice versa. At one point I wasn't playing tenor a lot so I switched from Berg Larson metal 110/0 to a Meyer 6 because I wasn't playing enough to be able handle the opening. I was mostly playing clarinet and alto. Now I play on a Meyer 7G. Not much change in my sound. Maybe less volume. The mouthpiece has to work with the horn. My King Super 20 tenor does NOT like Selmer mouthpieces. If I use one my tuning goes out to lunch. My Super 20 alto doesn't seem to care much either way. I got my metal mouthpiece in high school because metal mouthpieces were COOL! It worked great for years but boy, was it hard to control in concert band in college. I play on a King because I tried everything I saw at various music shows in high school and college and ALWAYS found it easier to reach the upper side keys. The horn has to fit you. I played an old bari once that actually had the keys too close together for comfort. I really liked my first alto but it had buttons for the table keys. Hard to get round on it, though. There are differences in sound between saxes. Maybe it doesn't get out of the horn but I feel it when I play. I spoke with a guy at the Musik Messe in Frankfurt, DE about baris. He liked the Selmer because it had the edge he wanted. I preferred the Yamaha because it didn't. We both noticed the same characteristic but felt differently about it. I think that was real. Remember the saxes that someone in Europe adapted to have thin, flat steel plates covered in rubber instead of normal cups with pads? Those seemed to play about the same as anything but none of them felt like my Kings. Recap: The reed needs to work with the mouthpiece; The mouthpiece needs to work with you and the horn; The horn needs to fit you. FWIW I have a dark sound and really prefer Bonade ligatures for sax or clarinet. I can't say they make a difference in sound. They make a difference to me.
Glad you found what works for you. Thanks for the comment
Brilliant video Jamie. Cutting through the BS is so important. There’s so much marketing crap that can mislead people it’s criminal. BTW, are you a Cleo Sol fan?
Yes!! First person to notice! ❤️❤️❤️
Do I win anything for that? Don’t tell me! your playing on the album !?! @@GetYourSaxTogether
Although I agree with the 3rd Point, because it's so obvious, I have to say the Ligature does have more effect FOR ME than it does for your guest
If you've been playing long enough you eventually hoard(!?) Mouthpiece & ligatures and it's an easy enough experiment to discover...
Yeh it's a personal thing!
Yes I understand that a student saxophone compared to a professional or intermediate saxophone will sound the same but... ok I put it this way. I have played guitar since I was 14 years old and yes over the year's I have played over 100 guitars and yes I can get a constant sound out of them all but.....
When I had enough money to by my first Gibson a bit like going from a student to professional saxophone it was not the sound it was wow this feels great it feels like it plays itself does that makes sense.... I would love to hear some comments...............
When I traded my student Buescher for a pro Yamaha, I really noticed the difference. I knew that if the sound was bad it could only be operator error. However, last year I saw the same model Buescher going cheap and snapped it up but the difference in playing seems a lot smaller. More importantly the Buescher lets me bend notes so much more easily than the Yamaha and that's something I came to miss.
That’s what I said at the end right? It’s what feels best.
Jack's comment on equipment for new players has some nuances. It doesn't mean a new player should buy a $5000 sax since, as he said, the reeds and mouthpieces are most important. However, a horn in good working order with no leaks is more important for a beginner than an experienced player. Leaks and other mechanical problems can lead to poor embouchure habits for the beginner because he or she may do things like biting in order to get a sound out.
True.
I prefer metal mouthpieces because the stronger material lets them be made smaller and still be strong enough not to break. A fat hard rubber mouthpiece is less comfortable for my embouchre. See 3:05 and 5:13 on this video.
Whatever works for you. That's great
I remember well what my first sax teacher told me: "*You* are the instrument - gear is not that important"
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I disagree with material that a saxophone is made of making a difference. The plating or lacquer makes no difference but a brass saxophone vs a solid silver sax do play slightly different but I will agree it makes so much less difference than any other factor like mouthpiece, reed, embouchure and even the ligature makes a larger difference.
Thanks for the comment
hmmmmm....This is alot to ponder for me.
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The ergonomic points seem more important no?
🙏🏻
🥰
You're welcome
Double lippers cannot produce and play jazz subtone is this a myth?
Myth.
Guess i wont ever look for a Mark Vl. 😢 🎷
Remember the conclusion though - use whatever makes getting your sound more comfortable. That might be a mk VI!
And what makes Jack “THE” expert? I’m going to need some science references to back up the claim that sax material doesn’t matter to the sound. For #%^* sake, the sound of a tambourine sounds different depending on the material of the jingles. The body does resonate and contributes to the sound.
Tambourine and cymbals and stuff vibrate and make sound on IMPACT , a saxophone doesnt.
My take.
Well, Jack is “the” expert because he designs and sells some of the best saxophones in the world, as well as working with and play testing countless saxes and mouthpieces day in day out. Why do you need the science when the experience is staring you in the face? Or - even better - feel free NOT to pay attention to one of the most experienced sax whisperers in the world and fill your boots spending money on equipment that makes little to no difference to your sound. People like Jack love you, cos you’ll be spending all your money in his shop! 🤣
@@GetYourSaxTogether 100% agree.
WRONG!!!!!! The laquer matters. Mouthpiece material MATTERS🙄 Proof?! Why don't saxophone players all play on stock mouthpieces? The mouthpiece doesnt matter for a beginners. Even Sonny Rollins complained about his relaquered horn
Ok. You know best. 👍🏻
@@GetYourSaxTogether Sonny Rollins is arguably the greatest living jazz improviser. Even Sonny Rollins relaquered is ACTUAL Mark VI he'd been playing about a decade at that point and was upset the horn sound different. Did a recording in Japan and hated the sound. We can say the difference is subtle but to musicians with ears subtle is everything
Of course they matter to a certain extent but not as much as the person using them.
@@Ottolinked BLAH BLAH BLAH stop talking in circles 🤣. If Chris Potter played three of the exact model horns with different laquers they would sound different!! If you relaquer your own horn it sounds and responds differently
@@mambojazz1 Well no shit. But it’s very subtle dude.
mouthpiece and body tube dimensions will make some difference, but slight. Crazy what people pay for gear when playing and listening back makes the real difference. Record yourself in a DAW, copying favourite players solos and listen back. will make big changes quickly, and your brain cant fool you as to how you sound!
including the neck as part of the body dimensions obviously
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But Jamie you did an experiment with different mouthpieces and they all sounded different. You also played different saxes, so are are you saying?
Where in the video did I or Jack say that different mouthpieces don’t sound different please?
Are you planning to become the Glenn Fricker of saxophone ? 😉
Um
I do like metal mouthpieces just because how they feel in my mouth so why don't manufacturers make a hard rubber mouthpiece the same dimensions of metal one's???????
WBS in Italy is doing that
And of course the "feeling" at the lip is different, but the sound is same as the metal copy.....
Theo Wanne do.
I think some do
It has to matter somewhat. The Grafton acrylic sax sounds different than a wooden sax sounds different than a brass saxophone.
The metal in a saxophone does vibrate. If the vibration doesn’t “produce” the sound, it does affect the sound. Yes the vibrating reed produces the sound. However, I remember my teacher teaching me to play overtones by putting his bell next to mine and the higher harmonics would just pop out when I was struggling to get them. Something was happening there.
And remember that the vibration reed doesn’t make the sound alone. It vibrates against something. That does affect the sound. The material of what a reed vibrates against does affect the sound.
So you think jack’s wrong?
What Jack is saying about mouthpiece design is that the internal dimensions of a mouthpiece affect the sound. When he designed a mouthpiece with a 3D printer, made it with hard rubber, and CNC machined a metal version, they all sounded the same.
I wouldn't say "wrong." I believe he's giving the opposite extreme position without nuance. Metal, Acrylic, and Wooden Saxophones sound different. There's more complexity to it than he's stating. Reeds vibrate against something. The reed alone doesn't produce the sound. Naturally, the things that the reed vibrates against affects the sound. Now, if he's saying that people may have given too much credence to this in times past, sure. Or if he's saying that students often focus far too much on equipment and not on the work it takes to create a beautiful saxophone sound, sure. @@GetYourSaxTogether
Thank you. I believe I understood his point. But it's arguable. @@douglange6863
Wow, this is the first of your Videos that makes me disagree. You even contradict yourself, cause as you rightly said is that the whole sax should vibrate. So you can feel the complete horn vibrate what makes the make and material definitely a factor of sound. Of cause 90% is the player, no doubt, but sorry this myth busting is rubbish. If you have ears you will know the difference.
So you think Jack’s wrong then?
@@GetYourSaxTogether Well, the view that only the reed vibrates and the sax is just a tube with almost no influence on sound is definitely wrong. As you said yourself and as you can actually feel while playing the whole corpus vibrates and everything that vibrates in the air makes a sound. Since the skill and the body of the player is the strongest influence you might get the result of everything sounding the same but I guess that is because an accomplished player will make subconscious micro adjustments to get his sound. That's why in comparisons for instance all mouthpieces seem to sound identical. At least that's my perception.
Can you imagine playing a sax whose body didn't vibrate? I think a dead sax would have a dead sound. Yuck!@@peterolsson3662
it's sound a little bullshit, sax not vibrating? I just touch my sax while i'm playing and I can say that it's vibrating.
I suprise myself reconise berg metal, or otto link before seen, and if nothing is really change the sound why make an order of importance just after? I"m okay the don't make the player but it's sound like a bullshit tedX.
sounds like bullshit...but have you tested it? Jack has. He's got facts, you've got a hunch! lol
I was wondering why I sounded so much better on my Bundy...so I take it the aging like fine wine thought doesnt work for the sax🤔
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Ok you can make a saxophone out of wood but boy I didn't find it nice sounding sorry that's my opinion...
no, because the shape of the internal space isnt as perfect shaped as metal saxes.
Totally agree! You can see that the player was struggling to get a reasonable sound :-)
I thought that too
that specimen is more of a scuplture than an actual instrument. Note that the mechanics is all wood...
compare with clarinets: there is no inherent difference in sound between metal and wood clarinets. Difference lies in quality of production.
MkVI is just religion 😊
Yeah, kinda.