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C Melody Saxophone Forum / Mouthpieces Reeds and Ligatures / Beechler Reed Issue

Next 20 Messages

TomGK
User ID: 8185963 Jan 23rd 10:50 PM
As I understand from some post here the Beechler C Melody supposed to be faced for alto reeds and not tenor ones.
With my newly aquired digital caliper I started comparing the rails on different C Melody mouthpieces. What I have found is that the Runyon has nearly identical rail-to-rail distances as the Beechler has.
Based on an email from Runyon their mouthpieces must be used with tenor reeds. So I submit that the Beechler should be used with tenor reeds as well.

Cheers,
Tamas

Roger Aldridge
User ID: 0631424 Jan 24th 6:48 AM
Tamas,

As I mentioned on several other threads, around 3 or 4 years ago I used a Beechler c-melody mouthpiece for several months. I had intonation problems with the mouthpiece and Bootman on the SOTW Forum suggested that I send it to Jon Van Wie in NY to see if he could make some modifications to the piece that would help me. JVW passed on last year. He was held in very high regard as a mouthpiece refacer. It was JVW who told me that it appeared to him that the Beechler c-melody mouthpiece is faced for alto reeds rather than tenor.

Having said that, I know some players who use reeds that are wider than usual for their mouthpiece such as soprano sax reeds on a Bb clarinet mouthpiece, bari reeds on tenor, etc. So, it's possible that it could work to use tenor reeds on these c-melody pieces. It's a matter of giving it try and see how it seems to you.

I found some contact information about Leblanc, Beechler, and Runyon that might be helpful in answering questions you have about their c-melody mouthpieces.

Leblanc
www.gleblanc.com 262-658-1644
It appears that the Leblanc c-melody mouthpiece is item #2569. Only the B5 facing is given. Sadly, I don't see anything on the Leblanc website that gives the tip opening measurement of a B5 facing.

Beechler
www.beechler.com 818-993-3710 Beechler@aol.com

Runyon
www.runyonproducts.com 800-624-1729 questions@runyonproducts.com

Good luck on your research!

If you don't mind, what's the measurement that you're getting for the tip width (rail-to-rail)?

Roger

TomGK
User ID: 8185963 Jan 25th 10:51 PM
Measuring width at the tip, rail-to-rail.

Runyon:
Inner width, 0.565 inch
Outer width, 0.680 inch

Beechler:
Inner width, 0.530 inch
Outer width, 0.685 inch

The rails are thicker on the Beechler for sure,
but the outer width at the tip are very close.
I only dared to call them nearly identical because
of the tiny 0.005 inch in outer width difference.

Cheers,
Tom

Roger Aldridge
User ID: 0631424 Jan 26th 6:31 AM
Tom,

Using your method of measurement, could you please measure the tip width of an alto reed and a tenor reed? This will be most helpful.

I remember from when I last had a Beechler c-melody mouthpiece that a tenor reed was wider than the mouthpiece tip. However, I never tried alto reeds on it. Now I wish that I had!

Thanks, Roger

Lewis Pelham
User ID: 0770504 Jan 26th 11:17 AM
Roger.
Bearing in mind that many tenor players, including Plas Johnson, use baritone reeds, I wonder if we are perhaps being a little too fussy here. The difference between playing tenor reeds on a C Melody mouthpiece can be less than the quality scatter of reeds from the same box in my experience. Maybe however I do not strive to your more exacting standards :-)....Kindest regards. Lewis.

Alan Tucker (UK)
User ID: 2630464 Jan 26th 12:16 PM
I'll just chip in here to say, that. for any given 'popular' instrument (e.g. tenor, alto, clarinet) I've experienced an amazing variation in both the width of mouthpiece tables, versus the width of various makes of reeds. (I think 'wide tolerance' is the technical term)

Add to that great differences in the tip 'shape' of different makes of reeds that never quite seem to match the mouthpiece tip, and how we each prefer to (subtly differently) position the reed on the table to overhang/underhang the tip - it's amazing that some of us get any sounds out at all.

I think the main factors are -

1) - does the reed respond OK ?
2) - hopefully it doesn't extend out so much from the side of the table that it either pinches or cuts the tongue ?
3) - and that the lig easily sits where it should on both the reed and the mouthpiece.

Other than that, if it fits and works, what does it matter what the manufacturer thought he'd originally made it for !

To put things into context, I recently saw a 'single reed mouthpiece' for a bassoon listed on ebay. Neat idea, I could never handle double reeds. Almost makes me want to take up bassoon, after all, it is pitched in C.........

TomGK
User ID: 9189423 Jan 26th 5:27 PM
Well put. I will leave it at that. If it sounds right it is right.

I love the sound of Bassoon myself. Until today I had no idea how expensive those instruments are. Pro instruments start around $5K. Wow!

Tom

Roger Aldridge
User ID: 0631424 Jan 27th 1:45 PM
Lewis,

All I'm looking for is a clarification about Tom's measurements as a way to better understand what he's seeing. In particular, since I don't have any measurement devices at home that are accurate enough for mouthpieces.

This might help to understand why I'm asking these questions....

Just recently I acquired a new mouthpiece from a seller on the internet. Interestingly, the measurements he gave me had a tip width that was SMALLER than what Tom gave us for the Beechler and Runyon c-melody mouthpieces. Please remember that when I tried tenor reeds on a Beechler c-melody mouthpiece in the past the tenor reed was considerably wider than the tip width of the mouthpiece. With that in mind, I was starting to think that this new mouthpiece might actually be an ALTO piece. See? So, the mouthpiece arrives in the mail. Guess what? It's faced for TENOR reeds...the tip, rails, and table...everything's a perfect fit!

This is why I asked Tom for a clarification. I knew that tenor reeds are wider than the tip of a Beechler c-melody mouthpiece. Yet, his Beechler measurements are larger than those of the mouthpiece I received that is obviously faced for tenor reeds. So, I'm here scratching my head in a state of wonder.

I don't think that asking questions like this is being fussy. If one's going to put out the money and effort to get a new mouthpiece it helps to know some basic things about it up-front -- in particular, if it's a type of mouthpiece we're not familiar with or if we're getting it from someone on the internet or ebay. It's much easier going into a local music shop, slapping a mouthpiece on the horn, and wail away to see how it works for us.

But, back to the point....

Does it matter that a reed is wider than the tip width of a mouthpiece? It depends upon the player and the kind of sound he wants. Plas Johnson has a very dinstinctive tenor sound. I can recognize it anywhere. If using bari reeds on a tenor mouthpiece helps him get that sound then more power to him. Whenever I've used a reed that's considerably wider than the tip width of the mouthpiece I get a lot of buzz. Some players might like that. But, it's not what I want. Therefore, having a reed hanging way over the sides of the mouthpiece isn't going to work for me. So, you see, this is helpful information to know about if I'm thinking about getting a different c-melody mouthpiece.

Later....

Roger

lewis pelham
User ID: 9614573 Jan 28th 7:40 AM
Roger, I hear what you are saying & I have great admiration for both your tenacity and your analytical stance. However, diminishing returns is an expression which springs to mind. I am put in mind of the old truism that "it is 85% the player"; & that Plas Johnson would sound like Plas Johnson on a student soprano with a tenor reed. O.K. just a bit of exaggeration! :-) Kindest. Lewis.

Roger Aldridge
User ID: 0631424 Jan 28th 9:43 AM
Lewis,

I agree with you 100%. I hear my core sound regardless of what mouthpiece or horn I use. But, it's also true that some aspects of our equipment can make a noticable difference in our sound and in the response of our horn -- differences that others can hear as well as us. Some of my musician buddies have told me that they heard differences in my sound when I used a particular ligature or mouthpiece. Just recently I heard a wonderful improvement in a buddy's alto sound when he switched from Hemkie reeds to Alexander Classique...a very clear difference. Therefore, these things can be quite real and I don't think of them as being diminishing returns. Rather, it can be like an icing on the cake that helps to pull it all together.

Never the less, it's my feeling that there is a point of balance in all of this.

I have a tonal concept of "my" sound on each of my horns and I've worked hard to get that sound from me as a player as well as fine-tuning my set up. There is typically a reason why each of us uses the set up we have and why we have certain preferences when it comes to equipment. There is a reason, for example, why Alan tends to like Martin saxes better than Conn. But, I also know guys who are on a constant search for a new and improved whatever. Too much of that can become a problem. It might indicate that they are looking for short cuts in developing as a saxophonist and may not necessarily be doing the hard work to develop their breath support and sound...thinking that some new mouthpiece will make them sound like Brecker or whomever right on the spot.

But, that's not what we're talking about here.

For me, having a reed sticking out way beyond the mouthpiece tip rails is not something that I want. I don't like what it does to my sound or how my horn responds. For others, it's okay. That's cool! It just shows that all of us are different in what we like.

Best Regards, Roger

Alan Tucker (UK)
User ID: 2630464 Jan 28th 10:51 AM
Roger - I see my name cropping up again, so here goes to defend my honour....

a) I just love my new C-Soprano, which is a Conn - but then the qualities I look for in a C-Sop don't place great emphasis on dark and robust tone.

b) I have a project (courtesy of Mossite) to record the same set of phrases on a Conn, Martin & Buescher C-Mels with the same reed and mpc - probably to prove (as Lewis says rightly) it's almost all in the player and not the horn/mpc/reed - which just fine-tunes the sound.
This unfortunately means I need to get three C-Mels into good working order at the same time - something unheard of around these parts !! I only hope the Conn doesn't sound best.

However, this will not take into accout either how the instument 'feels' when playing, nor sound fed back to the player as vibration - which is a bigger part than most of use realise.

c) 'Too wide' reeds tend to pinch my tongue at the side of the table - has no-one else had this ?

Lewis Pelham
User ID: 9614573 Jan 28th 11:09 AM
Good for you Roger. Probably, what I am stumbling to say is that I do not wish to get embroiled in the endless search for "the perfect setup" & therefore hinder my enjoyment of playing in the time still available to me. Knowing that I will never be Ben Webster I am attempting to stick with what I have & attempt to perfect my particular sound with what I have.
Assuming the basis that it is indeed "85% the player" I see it as more profitable to work on that 85% rather than the remaining 15%, if that makes sense.
You may remember the Dutch DAF car; it was equipped with Infinately Variable Transmission (between fixed limits of course), comprising two cones moving towards & away from each other laterally. A heavy rubber band connected the cones, & depending upon the speed and load, selected the correct ratio relied upon the relative diameter that the cones dictated. It resulted in a vain and endless search for the correct ratio. Here endeth the lesson! We must all do what we consider necessary for the sound and respose we seek- & you tend to seek assiduously.
Having said that, I must confess to having the reed sticking out beyond the tip of the mouthpiece as, to me, it gives a different sound than that obtained by simply fitting a harder reed. In reality therefore we are both in the same area. The search will never end; the music IS the journey, there is not a pot of gold at the end..............Kindest regards Lewis

Lewis Pelham
User ID: 9614573 Jan 28th 11:24 AM
Alan.
No, too wide reeds do not pince my tongue, but the sharp lower edges of the reed result in sore spots on my lower lip regardless of the reed width. Perhaps I should try an alto reed on a baritone mouthpiece!
I cannot help but notice that you are not recording your King for the benefit of Mossite, could it be that you do not wish to broadcast the failings of the others by comparison? :-) Kindest Regards.
PS. I do know where there are three C Melodies (or should it be Melodys) in fine working condition not too far from you.

Alan Tucker (UK)
User ID: 2630464 Jan 28th 11:28 AM
According to the old adage "it is better to travel in hope than to arrive...." probably because another name for a pot (of gold) is a 'crock', and we all know what crock means :-))

Lewis Pelham
User ID: 9614573 Jan 28th 11:28 AM
Correction- for "pince" read "pinch."

TomGK
User ID: 9189423 Jan 28th 11:43 AM
My original post needs clarification. For that I have tried to use an alto reed on the Beechler mouthpiece and found it a miserable experience. Using a tenor reed I had no problems and it turned out to be easy blowing.

Let us not dig into each other's quest for perfection. I see that sort of behavior on many e-boards. It gets ridiculous quick. One time a person accused me that adding reverb to my saxophone recording is an attempt to cover up my inapt playing techniques. This person never heard me play and never seen me face to face.

The truth is that you have no idea how good or bad anyone plays on this board. Yes, we all get derailed by the wrong pursuit sometimes. There is a natural progression to realize, after exhausting most possibilities, that it is something else that provides the much sought after improvement.

Peace,
Tom

Lewis Pelham
User ID: 9614573 Jan 28th 12:13 PM
TomGK.
We may have,inadvertantly, given the wrong impression. There is nothing vindictive on this site, we have all "known" each other for years & consequently, there is a good deal of very good natured banter, rather like a civilised old club. We would never dream of critisising but we frequently get sidetracked...........Kindest regards.

WW2
User ID: 9955583 Jan 28th 12:15 PM
Well said TomGK!

Alan Tucker (UK)
User ID: 2630464 Jan 28th 1:20 PM
TomGK - for all my shortcomings you can hear me play C-Mel, C-Sop, flute & clarinet at -
http://www.dorsetdriftwood.btinternet.co.uk/saxophones/sounds.htm

- and yes, I have added a touch of reverb to most of the samples, they sounded to bare, played in a 'dead' room direct into the PC mike. There is a great freeware program called 'Cool Edit 96' which lets me modify recordings with echo & reverb.

Let me also apologise for wandering off your subject - but please be assured we are all the best of e-friends on this excellent forum. Even that old grouch WW2...... :-))

JC
User ID: 8987493 Jan 29th 1:31 PM
Alan, Great site, it's now on my tool bar. When I first visited in December the music skipped and was very frustrating. Now it's better and,if it skipps (my laptop?), when it finishes I just press play and usually get a full recording. I love your rendition of Misty.

Next 20 Messages

TomGK User ID: 8185963	Jan 23rd 10:50 PM As I understand from some post here the Beechler C Melody supposed to be faced for alto reeds and not tenor ones. With my newly aquired digital caliper I started comparing the rails on different C Melody mouthpieces. What I have found is that the Runyon has nearly identical rail-to-rail distances as the Beechler has. Based on an email from Runyon their mouthpieces must be used with tenor reeds. So I submit that the Beechler should be used with tenor reeds as well. Cheers, Tamas
Roger Aldridge User ID: 0631424	Jan 24th 6:48 AM Tamas, As I mentioned on several other threads, around 3 or 4 years ago I used a Beechler c-melody mouthpiece for several months. I had intonation problems with the mouthpiece and Bootman on the SOTW Forum suggested that I send it to Jon Van Wie in NY to see if he could make some modifications to the piece that would help me. JVW passed on last year. He was held in very high regard as a mouthpiece refacer. It was JVW who told me that it appeared to him that the Beechler c-melody mouthpiece is faced for alto reeds rather than tenor. Having said that, I know some players who use reeds that are wider than usual for their mouthpiece such as soprano sax reeds on a Bb clarinet mouthpiece, bari reeds on tenor, etc. So, it's possible that it could work to use tenor reeds on these c-melody pieces. It's a matter of giving it try and see how it seems to you. I found some contact information about Leblanc, Beechler, and Runyon that might be helpful in answering questions you have about their c-melody mouthpieces. Leblanc www.gleblanc.com 262-658-1644 It appears that the Leblanc c-melody mouthpiece is item #2569. Only the B5 facing is given. Sadly, I don't see anything on the Leblanc website that gives the tip opening measurement of a B5 facing. Beechler www.beechler.com 818-993-3710 Beechler@aol.com Runyon www.runyonproducts.com 800-624-1729 questions@runyonproducts.com Good luck on your research! If you don't mind, what's the measurement that you're getting for the tip width (rail-to-rail)? Roger
TomGK User ID: 8185963	Jan 25th 10:51 PM Measuring width at the tip, rail-to-rail. Runyon: Inner width, 0.565 inch Outer width, 0.680 inch Beechler: Inner width, 0.530 inch Outer width, 0.685 inch The rails are thicker on the Beechler for sure, but the outer width at the tip are very close. I only dared to call them nearly identical because of the tiny 0.005 inch in outer width difference. Cheers, Tom
Roger Aldridge User ID: 0631424	Jan 26th 6:31 AM Tom, Using your method of measurement, could you please measure the tip width of an alto reed and a tenor reed? This will be most helpful. I remember from when I last had a Beechler c-melody mouthpiece that a tenor reed was wider than the mouthpiece tip. However, I never tried alto reeds on it. Now I wish that I had! Thanks, Roger
Lewis Pelham User ID: 0770504	Jan 26th 11:17 AM Roger. Bearing in mind that many tenor players, including Plas Johnson, use baritone reeds, I wonder if we are perhaps being a little too fussy here. The difference between playing tenor reeds on a C Melody mouthpiece can be less than the quality scatter of reeds from the same box in my experience. Maybe however I do not strive to your more exacting standards :-)....Kindest regards. Lewis.
Alan Tucker (UK) User ID: 2630464	Jan 26th 12:16 PM I'll just chip in here to say, that. for any given 'popular' instrument (e.g. tenor, alto, clarinet) I've experienced an amazing variation in both the width of mouthpiece tables, versus the width of various makes of reeds. (I think 'wide tolerance' is the technical term) Add to that great differences in the tip 'shape' of different makes of reeds that never quite seem to match the mouthpiece tip, and how we each prefer to (subtly differently) position the reed on the table to overhang/underhang the tip - it's amazing that some of us get any sounds out at all. I think the main factors are - 1) - does the reed respond OK ? 2) - hopefully it doesn't extend out so much from the side of the table that it either pinches or cuts the tongue ? 3) - and that the lig easily sits where it should on both the reed and the mouthpiece. Other than that, if it fits and works, what does it matter what the manufacturer thought he'd originally made it for ! To put things into context, I recently saw a 'single reed mouthpiece' for a bassoon listed on ebay. Neat idea, I could never handle double reeds. Almost makes me want to take up bassoon, after all, it is pitched in C.........
TomGK User ID: 9189423	Jan 26th 5:27 PM Well put. I will leave it at that. If it sounds right it is right. I love the sound of Bassoon myself. Until today I had no idea how expensive those instruments are. Pro instruments start around $5K. Wow! Tom
Roger Aldridge User ID: 0631424	Jan 27th 1:45 PM Lewis, All I'm looking for is a clarification about Tom's measurements as a way to better understand what he's seeing. In particular, since I don't have any measurement devices at home that are accurate enough for mouthpieces. This might help to understand why I'm asking these questions.... Just recently I acquired a new mouthpiece from a seller on the internet. Interestingly, the measurements he gave me had a tip width that was SMALLER than what Tom gave us for the Beechler and Runyon c-melody mouthpieces. Please remember that when I tried tenor reeds on a Beechler c-melody mouthpiece in the past the tenor reed was considerably wider than the tip width of the mouthpiece. With that in mind, I was starting to think that this new mouthpiece might actually be an ALTO piece. See? So, the mouthpiece arrives in the mail. Guess what? It's faced for TENOR reeds...the tip, rails, and table...everything's a perfect fit! This is why I asked Tom for a clarification. I knew that tenor reeds are wider than the tip of a Beechler c-melody mouthpiece. Yet, his Beechler measurements are larger than those of the mouthpiece I received that is obviously faced for tenor reeds. So, I'm here scratching my head in a state of wonder. I don't think that asking questions like this is being fussy. If one's going to put out the money and effort to get a new mouthpiece it helps to know some basic things about it up-front -- in particular, if it's a type of mouthpiece we're not familiar with or if we're getting it from someone on the internet or ebay. It's much easier going into a local music shop, slapping a mouthpiece on the horn, and wail away to see how it works for us. But, back to the point.... Does it matter that a reed is wider than the tip width of a mouthpiece? It depends upon the player and the kind of sound he wants. Plas Johnson has a very dinstinctive tenor sound. I can recognize it anywhere. If using bari reeds on a tenor mouthpiece helps him get that sound then more power to him. Whenever I've used a reed that's considerably wider than the tip width of the mouthpiece I get a lot of buzz. Some players might like that. But, it's not what I want. Therefore, having a reed hanging way over the sides of the mouthpiece isn't going to work for me. So, you see, this is helpful information to know about if I'm thinking about getting a different c-melody mouthpiece. Later.... Roger
lewis pelham User ID: 9614573	Jan 28th 7:40 AM Roger, I hear what you are saying & I have great admiration for both your tenacity and your analytical stance. However, diminishing returns is an expression which springs to mind. I am put in mind of the old truism that "it is 85% the player"; & that Plas Johnson would sound like Plas Johnson on a student soprano with a tenor reed. O.K. just a bit of exaggeration! :-) Kindest. Lewis.
Roger Aldridge User ID: 0631424	Jan 28th 9:43 AM Lewis, I agree with you 100%. I hear my core sound regardless of what mouthpiece or horn I use. But, it's also true that some aspects of our equipment can make a noticable difference in our sound and in the response of our horn -- differences that others can hear as well as us. Some of my musician buddies have told me that they heard differences in my sound when I used a particular ligature or mouthpiece. Just recently I heard a wonderful improvement in a buddy's alto sound when he switched from Hemkie reeds to Alexander Classique...a very clear difference. Therefore, these things can be quite real and I don't think of them as being diminishing returns. Rather, it can be like an icing on the cake that helps to pull it all together. Never the less, it's my feeling that there is a point of balance in all of this. I have a tonal concept of "my" sound on each of my horns and I've worked hard to get that sound from me as a player as well as fine-tuning my set up. There is typically a reason why each of us uses the set up we have and why we have certain preferences when it comes to equipment. There is a reason, for example, why Alan tends to like Martin saxes better than Conn. But, I also know guys who are on a constant search for a new and improved whatever. Too much of that can become a problem. It might indicate that they are looking for short cuts in developing as a saxophonist and may not necessarily be doing the hard work to develop their breath support and sound...thinking that some new mouthpiece will make them sound like Brecker or whomever right on the spot. But, that's not what we're talking about here. For me, having a reed sticking out way beyond the mouthpiece tip rails is not something that I want. I don't like what it does to my sound or how my horn responds. For others, it's okay. That's cool! It just shows that all of us are different in what we like. Best Regards, Roger
Alan Tucker (UK) User ID: 2630464	Jan 28th 10:51 AM Roger - I see my name cropping up again, so here goes to defend my honour.... a) I just love my new C-Soprano, which is a Conn - but then the qualities I look for in a C-Sop don't place great emphasis on dark and robust tone. b) I have a project (courtesy of Mossite) to record the same set of phrases on a Conn, Martin & Buescher C-Mels with the same reed and mpc - probably to prove (as Lewis says rightly) it's almost all in the player and not the horn/mpc/reed - which just fine-tunes the sound. This unfortunately means I need to get three C-Mels into good working order at the same time - something unheard of around these parts !! I only hope the Conn doesn't sound best. However, this will not take into accout either how the instument 'feels' when playing, nor sound fed back to the player as vibration - which is a bigger part than most of use realise. c) 'Too wide' reeds tend to pinch my tongue at the side of the table - has no-one else had this ?
Lewis Pelham User ID: 9614573	Jan 28th 11:09 AM Good for you Roger. Probably, what I am stumbling to say is that I do not wish to get embroiled in the endless search for "the perfect setup" & therefore hinder my enjoyment of playing in the time still available to me. Knowing that I will never be Ben Webster I am attempting to stick with what I have & attempt to perfect my particular sound with what I have. Assuming the basis that it is indeed "85% the player" I see it as more profitable to work on that 85% rather than the remaining 15%, if that makes sense. You may remember the Dutch DAF car; it was equipped with Infinately Variable Transmission (between fixed limits of course), comprising two cones moving towards & away from each other laterally. A heavy rubber band connected the cones, & depending upon the speed and load, selected the correct ratio relied upon the relative diameter that the cones dictated. It resulted in a vain and endless search for the correct ratio. Here endeth the lesson! We must all do what we consider necessary for the sound and respose we seek- & you tend to seek assiduously. Having said that, I must confess to having the reed sticking out beyond the tip of the mouthpiece as, to me, it gives a different sound than that obtained by simply fitting a harder reed. In reality therefore we are both in the same area. The search will never end; the music IS the journey, there is not a pot of gold at the end..............Kindest regards Lewis
Lewis Pelham User ID: 9614573	Jan 28th 11:24 AM Alan. No, too wide reeds do not pince my tongue, but the sharp lower edges of the reed result in sore spots on my lower lip regardless of the reed width. Perhaps I should try an alto reed on a baritone mouthpiece! I cannot help but notice that you are not recording your King for the benefit of Mossite, could it be that you do not wish to broadcast the failings of the others by comparison? :-) Kindest Regards. PS. I do know where there are three C Melodies (or should it be Melodys) in fine working condition not too far from you.
Alan Tucker (UK) User ID: 2630464	Jan 28th 11:28 AM According to the old adage "it is better to travel in hope than to arrive...." probably because another name for a pot (of gold) is a 'crock', and we all know what crock means :-))
Lewis Pelham User ID: 9614573	Jan 28th 11:28 AM Correction- for "pince" read "pinch."
TomGK User ID: 9189423	Jan 28th 11:43 AM My original post needs clarification. For that I have tried to use an alto reed on the Beechler mouthpiece and found it a miserable experience. Using a tenor reed I had no problems and it turned out to be easy blowing. Let us not dig into each other's quest for perfection. I see that sort of behavior on many e-boards. It gets ridiculous quick. One time a person accused me that adding reverb to my saxophone recording is an attempt to cover up my inapt playing techniques. This person never heard me play and never seen me face to face. The truth is that you have no idea how good or bad anyone plays on this board. Yes, we all get derailed by the wrong pursuit sometimes. There is a natural progression to realize, after exhausting most possibilities, that it is something else that provides the much sought after improvement. Peace, Tom
Lewis Pelham User ID: 9614573	Jan 28th 12:13 PM TomGK. We may have,inadvertantly, given the wrong impression. There is nothing vindictive on this site, we have all "known" each other for years & consequently, there is a good deal of very good natured banter, rather like a civilised old club. We would never dream of critisising but we frequently get sidetracked...........Kindest regards.
WW2 User ID: 9955583	Jan 28th 12:15 PM Well said TomGK!
Alan Tucker (UK) User ID: 2630464	Jan 28th 1:20 PM TomGK - for all my shortcomings you can hear me play C-Mel, C-Sop, flute & clarinet at - http://www.dorsetdriftwood.btinternet.co.uk/saxophones/sounds.htm - and yes, I have added a touch of reverb to most of the samples, they sounded to bare, played in a 'dead' room direct into the PC mike. There is a great freeware program called 'Cool Edit 96' which lets me modify recordings with echo & reverb. Let me also apologise for wandering off your subject - but please be assured we are all the best of e-friends on this excellent forum. Even that old grouch WW2...... :-))
JC User ID: 8987493	Jan 29th 1:31 PM Alan, Great site, it's now on my tool bar. When I first visited in December the music skipped and was very frustrating. Now it's better and,if it skipps (my laptop?), when it finishes I just press play and usually get a full recording. I love your rendition of Misty.