Misc recording That tune again... Testing Conn + Vandoren AL3 = Too "Classical"?

[DavidUK]

A member messaged me about the AL3 I have for sale, asking if I'd try it on my Conn NW1, the one I'd had tuning issues with, as here: A tuning question - Is there a leak, or is it just...OLD!

I stuck a patch on it, an RJS 3M, and tried the Rovner Dark which had come with the same sax as the MP, reversed as Rovner recommend so that the screw sits atop the MP.

Excuse the daft ending, where my plasterer had started banging in an adjacent room and put me off!!

https://app.box.com/s/t0qa4b2geq05uldnzvk5q6rwre3x94ci

The thing I noticed is, as with the Lelandais 7 MP I'd reserved for the old Conn, the tuning seemed far better. The sharpness had been flattened and tuning seemed fine. So I put the AL3 on my SA80II, up to the usual mark for my PPT, and the tuning was flat. I happen to have a Vandoren V5 A20 so I tried that on the two horns with the same result. Conn = in tune. Selmer = flat.
Luck of the draw I guess!?

While I was at it, I tried S80 C*; S90 170; PPT; Yany 6 HR on the Conn but none could make to sound so good, with an easy blow, and easy top notes. Very rarely can I hit top F from standstill but I could with the AL3.

The question is... the AL3 is supposed to be a classical piece, and I usually try for a more jazzy sound. How do you jazz up a classical MP? Reeds I guess!

 

[BigMartin]

So I put the AL3 on my SA80II, up to the usual mark for my PPT,

That doesn't work. mouthpiece shanks (I hop that's the right term, the bit you stick on the neck cork) are not standard lengths. You have to tune to a reference note and then see how the relative tuning works out

 

[DavidUK]

Yes, I understand. But all the other MPs were roughly in tune at that mark. I just wonder if it's Vandorens?
Guess they have either a different sized chamber or, as you say, a different length shank. Makes sense.

 

[Chris]

Well tbh David that sounded sharp in the upper octave. As for a "Jazzy" sound, what's a "Jazzy" sound???
Desmond or Stitt, it's all down to personal choice and ear.

 

[DavidUK]

Hi Chris, I was hoping someone would have a different ear. Thanks for that - back to the drawing board?
No, I didn't even bother to try different positions on the neck so that would be the next move when I have more time. Then the lower octave would be flat... I know!
Ah well... I only keep the Conn for a giggle occasionally - bit tricky to play when you're used to a modern horn.

 

[Chris]

Slow down a minute David, tune the lower octave so you play it in tune, see where the upper octave is, if it's sharp just remember to relax more up top not by the book but a quick fix.

 

[BigMartin]

How do you jazz up a classical MP? Reeds I guess!

Embouchure, inflection, phrasing, vibrato, ... And (just maybe) reeds

 

[SaxDon]

Nice sound David, like it. Bit of a Desmond vibe going on for me there.

Agree with Chris, jazz sound can be subjective. Grover Washington did a classical album with a Meyer if I remember correctly.

I can shape a different tone on the same medium chamber mouthpiece with a slight change in embouchure and air stream. Reeds and their strength obviously play their part. Tip opening has a big effect.

That's why I like the D'Addario on alto and the V16 HR on tenor; very flexible. Can go from classical to electric without too much bother.

Comes down to practicalities (as well as 'tone') though in an acoustic group context. I'd struggle to be heard on an AL3 in a jazz/big band setting and I'd be far too loud playing a V16 T8 tenor in a classical setting.