Hi I normally play a modern Link ebonite 7* on tenor but recently retried the Berg Larsen 90/1/sms that came with my second hand Yamaha 62 using a Java Red 3 (I normally use a java red 2 1/2 with the Link) I like the Berg for the power and edge it gives me but I find it has a tendency to squeal a bit sometimes on palm keys is this typical or will I be able to “tame” the Berg with more practice-long tones etc?
It’s typical of some Bergs in my experience. The solution is to (a) try a different Berg, (b) a different mouthpiece that allows you the power and edge, or (c) get your Berg refaced.
Note I didn’t say gives you power and edge, I said allows you power and edge because a lot of that is up to you and a mouthpiece that doesn’t dictate but helps you get your tone or sound.
I don’t know when and where these will be available in the UK, but I’d recommend looking for one of the new Tone Edge LA models that are the product of a collaboration between JJ Babbitt and Theo Wanne. I played one of these a week ago at a store in Las Vegas, and immediately bought it - for a friend, who normally plays a Berg. I also bought one for myself in the STM (metal) variety. (I haven’t received that one yet, it was on back order in 7*…)
I suspect Dawkes or SAX will soon have these. They are not expensive.
As a rocksax amatuer I like "squeals". I use to practice long tones in the high register (palm keys) and try to take it to edge before the tone crackle.
I find the Berg "M" facing easier to control. And straight bill/beaks are also working well for me. "Scoop bill" and "duck bill" are not my thing.
If your budget allows for them, some modern well made mouthpieces allow for a Berg-esque response and flavor, but with the safety and reed-friendliness of more serious manufacturing.
Jody Jazz DV and Theo Wanne Durga come to my mind. I've played both with some success, before switching to bright reeds, which work better with more conventional mouthpiece designs.
The other path, as mentioned above, is to skim the market for used ones, hit or miss, and maybe go for a refacing. Though stainless steel doesn't generate that much enthusiasm among refacers....
Off-line in an Email was discussion between WF admin staff members. I decided to share a unique story of an experience of mine going back to the 1970's.
I think you will enjoy it. 😉
A bit more background: Back in the 1970's, the preferred assignment for the Army musician was the 264th Army Band, Fort Shafter, Honolulu, Hawaii. If one had a choice, they steered clear of the 25th Infantry Division Band, Schofield Barracks Army Base, Wahiawa, Hawaii.
Today, the 25th, the only Army Band in Hawaii is considered to be a choice assignment. My how times have changed!
Forgot to add, we had at least 2 euphoniums (tubas), a baritone or 2. Main thing was the band was brass and drum heavy. The Berg Larsen's helped us to cut through the heavy brass. We squealed good on the Bergs. 😉
One was a professional sax like a Selmer Mark VI. The other was a less expensive student model like a Selmer Bundy. It was also true for Clarinets - one say a Grenadilla wood Buffet Crampon R-13, the other say a Selmer Bundy.
We used the student models in inclimate weather, outdoors, in locations where we didn't want to risk damage to the professional model. But we sounded equally good in one or the other.
(If it was damaged beyond repair or lost and the Army determined that it was your fault and not another, they would depreciate it by 10% as used and start deducting 90% of it from your pay. This is called, "Government Self-Insurance".)😛
Similar threads... or are they? Maybe not but they could be worth reading anyway 😀
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