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Miscellaneous Your Favourite Picture Of You Playing
We spend so much time ripping apart our playing, dissecting all of our flaws and generally not celebrating our successes that I thought a thread where we share our favourites images of ourselves playing would make a nice change.
I'll get the ball rolling with this image taken by my other half at a ska gig. It was my first ever experience of stepping in at the last moment (48 hours earlier I'd never even heard most of the 30 or 40 songs, never mind played them). Actually, thinking about it, it was the first time I'd ever played ska music. It was also my first gig with my Keilwerth. Musically it was a bit of a disaster - the band wasn't well rehearsed (to say the least) and the singer kept changing the arrangements as he sang. The first 45-50 minute set was over in under 30! But other than my G# sticking on one song, that I couldn't hear because I was stood next to the PA speaker with no monitoring at all, I think I pulled off my parts without embarrassing myself. At least not too badly. 😉
It was definitely a fun gig but I'd be lying if I said I'm not also glad that there are no recordings from the night or that my name was never mentioned. 😉 Normally I prefer action shots but there's just something atmospheric about this picture that I really like.
I'll get the ball rolling with this image taken by my other half at a ska gig. It was my first ever experience of stepping in at the last moment (48 hours earlier I'd never even heard most of the 30 or 40 songs, never mind played them). Actually, thinking about it, it was the first time I'd ever played ska music. It was also my first gig with my Keilwerth. Musically it was a bit of a disaster - the band wasn't well rehearsed (to say the least) and the singer kept changing the arrangements as he sang. The first 45-50 minute set was over in under 30! But other than my G# sticking on one song, that I couldn't hear because I was stood next to the PA speaker with no monitoring at all, I think I pulled off my parts without embarrassing myself. At least not too badly. 😉
It was definitely a fun gig but I'd be lying if I said I'm not also glad that there are no recordings from the night or that my name was never mentioned. 😉 Normally I prefer action shots but there's just something atmospheric about this picture that I really like.
465 Replies
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32493 views
Cafe Moderator
Café Supporter
Miscellaneous Daily Check In
Good morning,
We thought it might be good to have a thread where you can just come and say hi, tell us what you are doing today, have a moan, share an idea that you wouldn't necessarily start a thread for ( we can always create a new thread from posts here if it became a substantial discussion).
It doesn't have to be sax related🙂
Basically an easy way to connect on a daily basis.
So to kick us off, I am writing this whilst prepping a casserole for the slo cooker as I am playing sax today with café sax and need a quick easy tea when I get home.
I am still suffering with a cough which will impact my playing today and I am worried as we are playing our first care home gig next Sunday!!
Have a lovely Sunday
Jx
We thought it might be good to have a thread where you can just come and say hi, tell us what you are doing today, have a moan, share an idea that you wouldn't necessarily start a thread for ( we can always create a new thread from posts here if it became a substantial discussion).
It doesn't have to be sax related🙂
Basically an easy way to connect on a daily basis.
So to kick us off, I am writing this whilst prepping a casserole for the slo cooker as I am playing sax today with café sax and need a quick easy tea when I get home.
I am still suffering with a cough which will impact my playing today and I am worried as we are playing our first care home gig next Sunday!!
Have a lovely Sunday
Jx
2844 Replies
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82148 views
Saxophones C Melody Saxophones
I've been interested in C Melody saxes, for a while.
Apparently, they were quite common in the 1920s-30s, and the general concensus seems to be that the designs got better as time went on. Earlier models were often made in High Pitch (a tuning system that predates using A=440Hz), and should be avoided, unless you want to accompany a Highland bagpipe player.
From what little research I've done, it seems Conn made some of the better sounding ones, and their later models were improvements over the earlier ones. The ones with a "straight" neck, similar to an alto, are supposed to be good. Personally, I don't really like the S shaped neck on a tenor.
Anyway, here's one I've asked about recently. I've posted a couple of these pictures in Ads's review discussion thread of the Sakkusu C Melody sax, but here's all I have.
This is a 1924/1925 Conn C Melody, currently for sale at the Trevor Jones shop in Bristol. It's in low pitch, has had a partial repad, and is ready to play.
Bristol is a bit far for me to visit so I asked if they could send me photos, particularly of the hand positions, because the ergonomics are a bit different on these old saxes, and C melody saxes in particular.
Ermm... there seems to be a 2 file upload limit. Hopefully, that's per post
The thumb rest is apparently soldered on, so can't be adjusted easily, but the position looks good for reaching the right side trill keys (Bb/C/high E). This seems to be an issue on the Sakkusu / Thoman C Melody (see https://cafesaxophone.com/threads/sakkusu-c-melody-saxophone-review.13705/Ads's Sakkusu C Melody review[/URL])
The "L" stamped below the serial number indicates it's built for "Low" pitch - i.e. designed for modern A=440Hz tuning. I've read different accounts of what was meant by High Pitch (and maybe there was more than one definition), but the consensus seems to be it was at least A=450Hz, or A=453Hz - kind of between semitones, in modern tuning, and too far out to compensate for by positioning the mouthpiece differently etc.
It's important to check for that when buying any brass or woodwind instrument from that period. I think military bands kept it going for a while longer, in Britain. Scottish bagpipe and Irish/Scottish Bb flute players tend to still use it, as I understand it. It's certainly the normal tuning for 5 or 6 key Bb flutes.
Apparently, they were quite common in the 1920s-30s, and the general concensus seems to be that the designs got better as time went on. Earlier models were often made in High Pitch (a tuning system that predates using A=440Hz), and should be avoided, unless you want to accompany a Highland bagpipe player.
From what little research I've done, it seems Conn made some of the better sounding ones, and their later models were improvements over the earlier ones. The ones with a "straight" neck, similar to an alto, are supposed to be good. Personally, I don't really like the S shaped neck on a tenor.
Anyway, here's one I've asked about recently. I've posted a couple of these pictures in Ads's review discussion thread of the Sakkusu C Melody sax, but here's all I have.
This is a 1924/1925 Conn C Melody, currently for sale at the Trevor Jones shop in Bristol. It's in low pitch, has had a partial repad, and is ready to play.
Bristol is a bit far for me to visit so I asked if they could send me photos, particularly of the hand positions, because the ergonomics are a bit different on these old saxes, and C melody saxes in particular.
Ermm... there seems to be a 2 file upload limit. Hopefully, that's per post
The thumb rest is apparently soldered on, so can't be adjusted easily, but the position looks good for reaching the right side trill keys (Bb/C/high E). This seems to be an issue on the Sakkusu / Thoman C Melody (see https://cafesaxophone.com/threads/sakkusu-c-melody-saxophone-review.13705/Ads's Sakkusu C Melody review[/URL])
The "L" stamped below the serial number indicates it's built for "Low" pitch - i.e. designed for modern A=440Hz tuning. I've read different accounts of what was meant by High Pitch (and maybe there was more than one definition), but the consensus seems to be it was at least A=450Hz, or A=453Hz - kind of between semitones, in modern tuning, and too far out to compensate for by positioning the mouthpiece differently etc.
It's important to check for that when buying any brass or woodwind instrument from that period. I think military bands kept it going for a while longer, in Britain. Scottish bagpipe and Irish/Scottish Bb flute players tend to still use it, as I understand it. It's certainly the normal tuning for 5 or 6 key Bb flutes.
620 Replies
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72279 views
Brass Trombone question.
Looking through some big band charts I noticed an odd thing with the trombone chart. The song is in Eb. Trumpets have an F key signature. Saxophones have F and C key signatures.
However trombones in bass clef have a three flats key signature. I enquired but didn't understand the answer.
I know trombone is in bass clef but are these guys transposing a concert sheet or am I missing something?
However trombones in bass clef have a three flats key signature. I enquired but didn't understand the answer.
I know trombone is in bass clef but are these guys transposing a concert sheet or am I missing something?
29 Replies
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186 views
Playing the saxophone Left hand/arm tension while playing
Hi everyone, new to the forum, but not new to playing. Looking for some advice on proper ergonomics for playing the tenor while standing. After about 20 years of playing (and about 3 years of daily jazz practice), I've notice some tension in my left hand, wrist, base of thumb, and forearm. Right hand/arm is fine. I use a Jazzlab neck strap, but also have a Balam harness which I've had some difficulty adjusting, but willing to keep trying. What's happening is if I hold the sax to the side against my right leg/hip, it moves too much to the left and I have to push it with my left hand/thumb to keep it straight. I think that's what's causing the tension. It's better if I just balance it against the front of my right thigh but still having trouble. FWIW I'm short, around 5'4" and I have smaller lady hands. I've gone over videos, Reddit, YouTube, and a lot of discussion around making sure the strap is doing the work (which it is), but really haven't found much about solving this problem specifically. Wrists look straight, I've tried moving neck/mouthpiece to keep my head straight. I suspect it has to do with the Jazzlab (even though I love it and takes all the weight off) but the sax still seems to pivot a lot, even though though the center piece is fully extended. Possible solutions; swap out springs for lighter tension, try the Balam, ease up on the left hand (not squeeze too much), practicing every other day or long tones in between, strength training for hands/forearms. Switching to alto not really an option. Tenor is my thing, but I do have an alto. Any suggestions are welcome. Thanks!
4 Replies
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43 views
Saxophones Selmer Supreme alto (quick look)
Had a client bring two Selmer altos in yesterday - a Ref.54 for a service and a brand new solid silver Supreme.
First time I've had my hands on one.
It only came in for a quick tweak - so no time to run up a proper review, but I did notice a couple of things.
First up - the client brought it in because there was a problem when moving from low B to low Bb; a break in the transition.
This turned out to be a badly adjusted link between the low B and the low C#. In fact it wasn't really adjusted at all - so that when his finger rolled down onto the Bb touchpiece and just caught the C# touchpiece on the way, the C# would open about 3mm. That's plenty enough to knock out the low B.
And there was this:
This is the Bis Bb/G# adjuster bar. Take a look at that gap between the Bis Bb arm and the adjuster above it. In horn terms it's miles away.
The adjuster is actually set right in terms of its ability to close the Bis Bb - so you can't screw the adjuster in to take up the play. What this means is that the lower stack is set substantially higher than the upper.
I had a quick peek at the toneholes. Selmer are traditionally pretty good at getting the toneholes level, but I was rather disappointed with the low C on this horn:
I compared it with the Ref.54 - which still wasn't perfect but was rather flatter.
So, not a great start for the Supreme. It comes in at an eye-watering price, and for that kind of money I want all the boxes ticked...and then some. So I'd expect the out-of-box setup to be spot on and rather more precision when it comes to the toneholes. Y'know, a bit like a top-end Yani.
And then I had a blow on the Supreme.
I was expecting a 'Woah!' moment - and I got one...but not the one I wanted.
It prompted me to go back and forth between the Supreme and the Ref.54. The Ref is exactly what you'd expect from a Selmer. Nicely balanced, a 'big' sound with that characteristic Selmer mid-range oomph, slightly resistant but nonetheless punchy - with a wide spread of sound.
The Supreme felt very closed in, like it was keeping the sound huddled around itself. And where was the punch and clarity?
It had a sort of Paul Desmond thing going on...that sort of laid back, soft kind of approach. That's fine...if you can turn it on and off at will but it kind of comes stamped into the horn.
That really surprised me because it's dramatically different from the Ref - so-much-so that I had to put a light down the Supreme to see if there was a problem with one of the pads (nothing major...slight leak on the A, which didn't change the tone when corrected).
I can't say it's a conclusive impression because it's just that horn - but even accounting for variations between seemingly identical horns it seems a bit extreme.
I'm hoping the client is going to book the Supreme in for a proper setup once I've serviced the Ref - at which point I can do a proper run-down on it and see what's what.
First time I've had my hands on one.
It only came in for a quick tweak - so no time to run up a proper review, but I did notice a couple of things.
First up - the client brought it in because there was a problem when moving from low B to low Bb; a break in the transition.
This turned out to be a badly adjusted link between the low B and the low C#. In fact it wasn't really adjusted at all - so that when his finger rolled down onto the Bb touchpiece and just caught the C# touchpiece on the way, the C# would open about 3mm. That's plenty enough to knock out the low B.
And there was this:
This is the Bis Bb/G# adjuster bar. Take a look at that gap between the Bis Bb arm and the adjuster above it. In horn terms it's miles away.
The adjuster is actually set right in terms of its ability to close the Bis Bb - so you can't screw the adjuster in to take up the play. What this means is that the lower stack is set substantially higher than the upper.
I had a quick peek at the toneholes. Selmer are traditionally pretty good at getting the toneholes level, but I was rather disappointed with the low C on this horn:
I compared it with the Ref.54 - which still wasn't perfect but was rather flatter.
So, not a great start for the Supreme. It comes in at an eye-watering price, and for that kind of money I want all the boxes ticked...and then some. So I'd expect the out-of-box setup to be spot on and rather more precision when it comes to the toneholes. Y'know, a bit like a top-end Yani.
And then I had a blow on the Supreme.
I was expecting a 'Woah!' moment - and I got one...but not the one I wanted.
It prompted me to go back and forth between the Supreme and the Ref.54. The Ref is exactly what you'd expect from a Selmer. Nicely balanced, a 'big' sound with that characteristic Selmer mid-range oomph, slightly resistant but nonetheless punchy - with a wide spread of sound.
The Supreme felt very closed in, like it was keeping the sound huddled around itself. And where was the punch and clarity?
It had a sort of Paul Desmond thing going on...that sort of laid back, soft kind of approach. That's fine...if you can turn it on and off at will but it kind of comes stamped into the horn.
That really surprised me because it's dramatically different from the Ref - so-much-so that I had to put a light down the Supreme to see if there was a problem with one of the pads (nothing major...slight leak on the A, which didn't change the tone when corrected).
I can't say it's a conclusive impression because it's just that horn - but even accounting for variations between seemingly identical horns it seems a bit extreme.
I'm hoping the client is going to book the Supreme in for a proper setup once I've serviced the Ref - at which point I can do a proper run-down on it and see what's what.
15 Replies
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191 views
Saxophones Conn alto age
Hi All. I just came into possession of this Conn alto sax. Serial is 6503. Per all the list I've been able to find, I have a hard time with it being well over 100 years old.
What am I missing? Getting ready to make it play well again. Just regular flat metal reso's but not original 😉. Any help is appreciated. Thanks, Jeff
What am I missing? Getting ready to make it play well again. Just regular flat metal reso's but not original 😉. Any help is appreciated. Thanks, Jeff
13 Replies
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182 views
I bought this tenor saxophone a little over a year ago from my professor. I just recently picked it back up for a gig with friends. Out of curiosity, I wanted to do a little research into the sax to see if it was any good since I haven't played it much. I had never heard of this brand until my professor told me about it.
The brand is E.K. Blessing. However, I can not find a model number on it, at least not one that matches any of Blessing's model numbers. There are two numbers on the bottom back of the sax. I am attaching pictures.
I was hoping you all could work your magic on this one for me. Since I have so far found nothing. I have posted this on a few Sax subreddits, but they aren't doing me any good. I figured a saxophone-focused forum could help a bit more.
The brand is E.K. Blessing. However, I can not find a model number on it, at least not one that matches any of Blessing's model numbers. There are two numbers on the bottom back of the sax. I am attaching pictures.
I was hoping you all could work your magic on this one for me. Since I have so far found nothing. I have posted this on a few Sax subreddits, but they aren't doing me any good. I figured a saxophone-focused forum could help a bit more.
2 Replies
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35 views
Saxophones Vito models and parts
There is not much known on the Vito model 7140 USA. This alto is from from1979 according to the serial number (40xxx).
Too late to be a Beaugnier.
It has no technical problems and is wel made. I use it for backup and holidays. The pads are not 100%, but you can blow a soft low Bb.
It has right hand bell keys and one guard for the lowest four keys. This guard is different from all other Vito guards. The pant guard and brace are also unknown.
The regulation screws on the main stack are a nice extra. It is now too dark to make extra pictures. Tommorow more.
Does anyone know who made this?
Too late to be a Beaugnier.
It has no technical problems and is wel made. I use it for backup and holidays. The pads are not 100%, but you can blow a soft low Bb.
It has right hand bell keys and one guard for the lowest four keys. This guard is different from all other Vito guards. The pant guard and brace are also unknown.
The regulation screws on the main stack are a nice extra. It is now too dark to make extra pictures. Tommorow more.
Does anyone know who made this?
89 Replies
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4872 views
Saxophones Pork Tales: Saxophone Repair DIY Adventures.
Tales from a pig that likes to stick his nose into everything.
Paint that S. How difficult could it be ?
1) Search the net.
2) Find the color.
3) Order color.
4) Study task on University of YouTube, aka; For destruction by DYI presented by pro tech.
Do the cleaning & prep.
Paint and cleanup / detail the edges with hard cotton swabs. Sounds easy……
Yeah tha guy Matt makes it look easy.
Anyone remember your first experience cooking bacon crispy while still in the frying pan !
Paint that S. How difficult could it be ?
1) Search the net.
2) Find the color.
3) Order color.
4) Study task on University of YouTube, aka; For destruction by DYI presented by pro tech.
Do the cleaning & prep.
Paint and cleanup / detail the edges with hard cotton swabs. Sounds easy……
Yeah tha guy Matt makes it look easy.
Anyone remember your first experience cooking bacon crispy while still in the frying pan !
1024 Replies
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57858 views
Miscellaneous Any Cafe members in the Curitiba / BR region?
I'll be traveling to Curitiba / Campo Largo in October and I was just wondering if there are any familiar faces in the area.
😉
😉
17 Replies
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308 views
I'm considering purchasing an effect that allows me to simulate a horn section a bit for LIVE use. So far I've been using the Roland Aerephone AE10, which isn't bad, but I'd like to try it with my tenor sax so I can switch from clean sax to horn section-like effects. I was thinking about a Zoom A2.1 or a Roctary Poly Octave, but I don't have any experience. I'd use it with my Xvive wireless microphone.
22 Replies
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512 views
Apparently, at a Richard Thompson gig a girl asked him to "play that song about the Water Bed". "I don't do a song about a water bed" he replied. "Yes you do, the one the goes Let me ride on your water bed one more time".
View: https://youtu.be/gw1ZDzBoUf8?si=yah5OyWiRWCpzq_T
Have you got any other examples ?
Rhys
Have you got any other examples ?
Rhys
50 Replies
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2985 views
Hadda steal this from the *other* forum to share today. It hit the spot. Shared it with my Facebook friends. Don't mind me, carry on.
"You've spent a lot of time learning to play all the notes on that horn. You'll spend the rest of your life learning when not to."
Leon "The Demon" Wright
"You've spent a lot of time learning to play all the notes on that horn. You'll spend the rest of your life learning when not to."
Leon "The Demon" Wright
14 Replies
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239 views
Introduction Good am from Greater Manchester. I am a sax technician repairer n restorer of 45 years and a sax teacher.
Good am from Greater Manchester. I am a sax technician repairer n restorer of 45 years and a sax teacher. I was also a pro sax player for many years playing for all the old British Rock n Rollers such as Jess Conrad Wee Willie Harris, Tommy Bruce & Heinz etc plus have played in many pit orchestras and still playing in a Big swing Band
70 Replies
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1726 views
Blog Mike's musings
Inspired by @Tenor Viols musings, I decided to create my own thread. Focused on my new 'journey' from Big Band music into the world of rock/pop music.. Not only the very different style of music but (for me) also the very different world of amplification, different mpc's, etc,
I
For the 1st 3 weeks, things started off really well! I was enthusiastic and so were the band. I was less enthusiastic on the 4th week when the nominal 'band leader' returned from a vacation, brought a ton of equipment along with him and basically drowned other members out.
During the 4th rehearsal (always on a Saturday), I noticed that my right hand felt a bit 'odd' but OK. That night, the pain in my right hand kept me awake. The day after (following internet advice) , I applied a bandage and ice. My guess is that I injured my hand during a "Fitness Session' the previous Friday. Since then , I haven't been able to play sax🙁. But I have been able to listen to some tracks that I've been asked to play🙂. Not exactly (no-one in the band does) but 'sufficiently recognisable'.
I
For the 1st 3 weeks, things started off really well! I was enthusiastic and so were the band. I was less enthusiastic on the 4th week when the nominal 'band leader' returned from a vacation, brought a ton of equipment along with him and basically drowned other members out.
During the 4th rehearsal (always on a Saturday), I noticed that my right hand felt a bit 'odd' but OK. That night, the pain in my right hand kept me awake. The day after (following internet advice) , I applied a bandage and ice. My guess is that I injured my hand during a "Fitness Session' the previous Friday. Since then , I haven't been able to play sax🙁. But I have been able to listen to some tracks that I've been asked to play🙂. Not exactly (no-one in the band does) but 'sufficiently recognisable'.
274 Replies
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18625 views
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