That was fun to watch. Reminds me of Stan Getz, who apparently played 5* mouthpieces with a 5 reed and then at some point he used an 8* mouthpiece and, if like most of us, he probably stuck with the same reed strength? Even he occasionally barked and chirped where the reed wouldn't move the way he wanted. He also used to tighten the ligature more foreword as well but still managed to get those subtones. You can always see how clamped down his embouchure was. Must of taken a lot of air volume and control.
Classic. I once met Australian Jazz Legend Don Burrows in a dentist office and he was telling me that during WW2 he couldn’t get reeds for his clarinet and he used to shave down the wooden toothbrush to make his own.
Kudos for doing this. Playing a 5 reed with a 9* mouthpiece might be similar to stringing rebar on your guitar. The advice you give at 09:20 is awesome!
Very funny, but informative. Matching the reed to the mouthpiece is an important exercise to get the right sound, A couple of minutes on a #5 reed and my mouth would be so tired I wouldn't be able to talk! I normally play on a Link HR #7 (but it has been opened up, so it is more like an 8) and sometimes I practice with hard reeds (for a short time) to strengthen my embouchure or soft reeds to practice control.
😎Playing jazz mostly, I have converged on a 2.5 with an STM 7* (0.105”) on tenor, and a 2.0 on alto using a “meyer” type mpc with a 0.080” opening. I typically use Vandoren cane reeds, or an occasional Legere synthetic. I’m basically done with killing practice time by experimenting with reeds and mpc’s .. 😉 My setup works for me! Entertaining video, btw!👨🏻
This should be a fundamental test in the first 6 months of playing sax or clarinet. That understanding of reed hardness and mouthpiece characteristics is not taught at all and should be. I like the idea of dedicated practice altissimo range once a week with a super hard reed and tight mouthpiece to muscle up embouchure.
Fun video Jamie!! Jim looks absolutely beat, hope he is ok! I've been to the store, great service all around and good prices! Spent more than 6 hours testing saxophones in there and everyone was absolutely awesome and helpful. I wish I lived in the UK just to go there once a week to test equipment =)
I actually liked best the last combination, i.e. the one that is hardest to play, hard reed + big opening. The sound is rich, exciting, rough, asserting!
Funnily enough, just been though all this mouthpiece/reed thing and have settled on tenor: Hard rubber Meyer 5M Vandoren Trad 5. (Select Jazz 4 H for practise) AND a hard rubber Meyer 9M with Select Jazz 4S for loud band. All high energy naturally, but it gets rid of the 'buzz'.
It’s a trip exercise right? 😂 I used to play 5 blue box Rico’s on a 12 link that I bought studying with George Garzone, these days I play a theo wanne durga 5 / 5 *, rigotti 2 1/2 light. The body will adapt! Remember those early cats playing 3/4 * pieces way back. Fun vid!
I love the Rico Royals (blue box) 2 or 2.5 on a Berg Larsen narrow. I've tried others and they sound very foggy in comparison. I don't like the plastic reeds. I always say ghat the great jazz masters used cane reeds. I wonder how Charlie Parker and the great tenors would rate them?
Hey Jamie! I really don't like to admit that but my notes higer then g with octave key sound really weak on bari sax😅 This doesn't happen at all on alto or tenor. Is that normal or do you have any tips?
Nice Video with a bitter sweet truth. I started playing Tenor Sax last year, but my tone wasn't that good that I want. Started with the Original Mouthpiece with my used Thomann Antique 380 Sax. Then I bought a used Yanagisawa 3 Mouthpiece, but it doesn't work at the high tones well, "they" say I have to buy Yamaha 6C, but it was to wide open for a beginner. Now I bought an Expression 4* and use a Fibracell 2 and it work wonderful together...I spent so many time and Euro to find the right stuff... Thanx a lot. You are great, groovy regards Kay
I love test 3 best. Wide tip with soft reed. I play a 5 with a 2.25 Legere American Cut. Maybe i'll try a 6 tip opening. Will it make a big difference? My fave sound is that of Phil Woods. Thanks for another great video Jamie!
Kudos to Jim for keeping a straight face thoughout. I hear 5s make good roof shingles on doll houses. Seriously, though, if this doesn't drive home the idea that you need to size your reed choice to the tip opening, nothing will get though to those number chasers. Anyway, Jamie, glad you showed us a great tip for a workout video.
One of my early teachers used to call super hard reeds "diving boards." He used to like them though because he used to adjust each reed to his standard of perfection using reed rushes. He also had a Triumph GT6 that he was constantly tinkering with. He was that type of fellow.
hi im in highschool band (alto sax) with 2 years experience and i was tinking of trying to play czaradas by monti is this to hard or should i just go for it ?
Oh, yeah, not too long ago, I guess two three years ago, I was drifting softer and softer on reeds on my tenor. I was using a 1.75 Legere American Cut on a JJ HR *5. I liked it because I’m old and not as strong as I used to be, and it was great for quiet, bendy stuff. But altissimo was untouchable. If I got to louder rock and roll stuff, the reed would lock up to much. I guess once I started playing in public again and our playlist included more rock and roll, I stopped this soft reed nonsense. On the other hand, a hard reed is great for me for playing loud ragged, overblown sound of rock and roll, think Rocket 88. But I can’t keep switching reeds during a set. It’s bad enough that I am switching to bari then back to tenor now. This results in 2.25 Legere AC being about the right compromise to me.
The test is a bit uncorrected. You need to look at the facing length, not at the tip opening. Long facing + super soft reed give maximum obertones, full sound controll, high air efficiency, good low notes; But need control all tone, not good altisimo; Short facing + hard reed give minum obertones, not need sound contol, good altisimo; But large air consumption, bad low notes; With the right selection of the cane, no effort is required for sound extraction, the entire register is easily taken. All other variants are just a mistake of selecting a reed and mouthpiece.
@@GetYourSaxTogether A long face requires very high manufacturing accuracy. Maybe that's why they're not being made now. A vintage Otto Link had a long face. And I also made a homemade one with a maximum face length (tip opening = 3 mm) and use the lightest possible reed (legere 1.5). Surprisingly, it is played very easily, almost no air is required, super long bands, many harmonics. I can send you a copy. I have a video on my channel about this mouthpiece.
@@GetYourSaxTogether ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-KFWWYZp4V28.html This is old big chamber mouthpiece. There are already 2 new versions: middle chamber+small bridge, wooden soft material.
@@GetYourSaxTogether thanks for that, only been playing for a few months and tried a couple of mouthpieces yam 4 and 5 c ,vandoran , not a expert but the best one I found for me is a old selmer short one , with a with a legere signature size 2 , I find it a lot easier to blow but struggle with high and very low notes but fine mid range but with a size 2 cane reed, many makes high and low notes fine but not as good of sound as the legere . Would you suggest just picking one a persevere. Thanks. Stephen.
