- worcester england
Just listened on my iPad so sound quality may not be great, I have to say that I can't hear a huge difference between the 3. Do you have a preference?
Hard to say. n.1 sounds more colorful. Not sure about the control.
n.3 is at the other end (kind of more traditional sound)
n.2 in the middle.
Have you tried any Berg Larsen?
I guessed about Steve Lacy.
Have a go on a HR Berg Larsen, if you find one.
I would recommend to try softer reeds though. If you use blue Vandoren, keep in mind they are harder than anything else.
And look for Paris Blues: Lacy in duo with Gil Evans
Thanks, I will try a Berg Larsen (its not one on my tried list) as for the Steve Lacy albums, I havnt heard 'Paris Blues' I have at the moment
Reflections (Lacy plays Monk)
Steve Lacy & Mal Waldron 'Hot House'
'Lets Call This Esteem'
Steve Lacy Sprano Sax
Steve Lacy Solos,Duos,Trios. comprises of 6 albums, Only Monk.More Monk.Sempre Amore.Communique.The Flame. The window.
Few Italian releases, I see. Please don't miss the works with Gil Evans (Individualism of GE). Steve lacy was such a complete musician!
About the Larsen, I think the ones with lower baffle (/2 or /3) work better, but they are not too easy to find.
Yes, I think I am at the conclusion that mouthpieces dont make too much difference (did I just say that!) So far, from my ever growing list of MPs, there isnt realy any one that jumps out that much and says 'buy me I am the best' some are easier to blow, some slip down the cork and need paper to keep them tight (Vandorens) but overall I sound pretty much the same on all of 'em,they certainly dont make me play or sound any better than the level I am at.My uncle who has been playing since the 50's on alto,tried my soprano recently, and guess what he sounded just like himself, I mean if I heard him play the sop without seeing him do so,I could recognise him and his tone (even on a different sax he never plays). It seems this personel tone/sound transfers from alto to soprano and probably tenor etc.I tought the second mouthpiece had the most warmth with high overtones more easily heard. The third mouthpiece was the most consistent, but lacked also seemed bland by comparison to the other two. These observations are exageratting what, for the most part, was an exercise that shows how it's mostly the player rather than the mouthpiece that makes our tone what it is.
Hi, re Berg Larsen, not sure about these please have a look at this link, is this the one?