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M/Pieces - Ligs My name is Randy and I'm a GASoholic

saxyjt

I have saxophone withdrawal symptoms
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Don't know which is which, but mpc2 seems to have a fuller sound to me, which I prefer.
Fuller or warmer, I'm not sure how to describe it, but i also prefer #2.
 
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randulo

randulo

Playing alto 2 1/2 years
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Do you who have listened, hear a very different frequency profile (that I obviously can not because of my hearing)?
And also do you hear them as being of the same volume? As far as I can measure them, they are the same on the average, with a few different peaks because of the different articulation, emphasis or phrasing.
 
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randulo

randulo

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Volume profiles one, and two
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CliveMA

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Do you who have listened, hear a very different frequency profile (that I obviously can not because of my hearing)?
Post a version where you use a DAW with high cutoff at say 1.5K to simulate your hearing loss and ask how different forum listeners hear the raw vs 1.5K cutoff.
 
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randulo

randulo

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I added lower and higher range files. (not executed well because wife coming home, had to hurry!)

 

guidocreo

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I prefer mpc2 and I think that it is the JJ; you know that I like and use almost only JJ pieces.
 
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randulo

randulo

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Seems everyone likes mpc2 better. I'm a little less convinced sound-wise, but I do like it. And I like that you all like it.
Now of course, such tests, as we've so often noted in the past are flawed because of all the human parameters complicating things. For example, were the notes/sound better formed when playing the second one, more assured? That would factor into them sounding better, would it not?
The hilo files were played hours later, without warm up and rushed as I said. Still in that same order.

The reveal: it's significant that mpc2 is indeed the JJ, because it needs a little more force in the air. This is why I bought a 6, this is the experiment, and for now it seems to be paying off. I need another month at least, I think, ti get to where it feels totally natural.

One little additional aspect is that altissimo notes are much harder to form on this one. I was getting comfortable playing real musical phrases from F to A# and sometimes higher on my other pieces. Now it's back to beginner level! I assume that will heal itself in time.

By the way, many thanks for coming with me on this trip to the GAS station! (Someone should open a music store by that name!)
 

just saxes

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" I would say that unless you're giving a sax seminar, the vast majority of your audience wouldn't know or care what mouthpiece you have. " @randulo - this was an interesting comment to me.

I have hardly known any serious players of whom that would be true. BUT, I think that is because most of my regular clients are professional or "art music" players who are disgusted by Kenny G and a lot of the modern, post "bebop and beyond" genres, which are becoming less divorced from art music over time. For example, Kirk Whalum's sound (just to my ear, from just listening) seems to draw a lot from Grover Washington, funk and contemporary "soul" sound and all those streams in general, while still being steeped in serious "art music." That "contemporary rhythm and blues" saxo sound is kind of corny to me, yet to people that dig it the traditional bebop sounds are probably corny. Among traditionalists, I think most students are VERY curious about what mouthpieces are played by every single player they admire. Among modern players, probably fewer really care unless they're after certain combinations of features (e.g. Lenny Pickett fans, who want altissimo, a thinner core that projects more, etc.). I think it's Jimmy Heath that tells a story about himself and John Coltrane running into Charlie Parker on the street, when they were kids, humbly but hungrily asking him what mouthpiece he played. And among the great old (pre-1970s) players who often put their horns in hock, the apocryphal, oft-repeated myths always include a commentary on how the mouthpiece never went with the horn. Then again, we see (and presumably hear) Charlie Parker on a number of different mouthpieces (most often Brilhart).

But I think today fewer players are like that, and it's largely related to the music no longer coming from "The Community" and no longer having the political/social mission for many of the very technical players coming up today (who influence some contemporary students, maybe many or most, more than the canonical ones as far as sound). "Traditionalists" probably still care greatly what all their heroes played.

OK...sermon concluded.... About hearing, I think that is pretty typical, and we hear it in a lot of the playing of those who survived and kept recording into older age.

Sonny Rollins is a great example. When I listen to his post-1980 albums, I always think his hearing must have changed because his sound did, so radically. It is much brighter and edgier, and I suspect it is related to his hearing (probably not hearing highs as sensitively as when younger).
 
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randulo

randulo

Playing alto 2 1/2 years
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You seem to have missed my point. People who listen and don't know anything about saxophone won't know or care about your mouthpiece. A significant number may not know what a saxophone is. And why would they need to? They just like the music, or they wouldn't listen to it.
 

just saxes

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Sure, listeners who don't play absolutely don't care about what mouthpiece the player is playing.

But do we even have any of those here?

It does affect them, even if they don't realize it. A listener who doesn't play, with good ears, would likely be able to hear a Gene-ish thing appear in your playing (if you have pretty good tone production) if you switched from a good Link to a good Brilhart Ebolin in front of them, if they hear Gene well and with love.

If I'm still missing a main point you're trying to make, maybe some clarification....

The equipment does matter to the player. It doesn't matter to the audience as a topic in itself, but it does affect their experience.
 
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just saxes

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One of the most interesting things about having very good players come in and playtest equipment is you will see them have unconscious reactions to different equipment, on the fly, that are reactions to the equipment.

That is something really cool to witness, and educational. Almost all really good players do this when they come in (to my shop, or home) and playtest new equipment.

Example: there is one tenor I had for sale that when players would come in and play it, many would start articulating in the palms like Coltrane did, though that wasn't really part of any one's everyday playing and sound. I wasn't aware of the feature of the horn that made them do that until asking about it and getting the same reply from all of them, which was basically, "I dunno! It just feels like the horn wants me to do that?"

(The consistent answer pressed me to pay closer attention and try to figure out what the underlying story was, and that had a bunch of other consequences/effects.)
 
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randulo

randulo

Playing alto 2 1/2 years
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If I'm still missing a main point you're trying to make, maybe some clarification....
I thought it was obvious, in referring to a sax seminar: [barring a miracle] my potential audience will never be other saxophone players. Although I love posting music here as a beginner, I think many of the better players rarely post for that same reason.

On the other hand, the audience for endless discussions about gear is definitely here!
I find it very edifying to watch these posts and learn about sizes and bores. I'm far less interested in what player X plays, regardless of how much I like her/his playing.

These things are very personal, especially something that you're going to put in your mouth and blow into. As I said earlier, comfort, both physical and psycho-emotional is, I think, number one. It's probably because I am unable to distinguish the different sounds. If I feel at ease with the hardware, I will be able to express what is "inside".
 

CliveMA

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I added lower and higher range files. (not executed well because wife coming home, had to hurry!)

What I intended with my previous comment about high frequencies was to take your original MPC2 file and reprocess it with your DAW to create a modified MPC2 where harmonics above 1.5K were cutoff. Then, can people tell the difference between the original MPC2 file and the modified MPC2 file. I didn't find the hilo files useful as too short and no comparison file.

BTW, IMHO MPC2 has more colour. MPC1 is more pure tone. Depends what you're looking for.
 
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randulo

randulo

Playing alto 2 1/2 years
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take your original MPC2 file and reprocess it with your DAW
Yes, I understood that, but in messing with the EQ, what I find is that the tone is very smooth, but too "muted". Funnily enough, I used to pull the highs out of the alto with EQ in ballads, but lately I have not used EQ at all.

This was as close as I could come. Would it serve the purpose? I may need to find the Logic tutorial on EQ.
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