manipulating sound effects on a sax

[Jazz Cat]

when recording it’s 100% always a good idea to add a tiny bit of echo/reverb/chorus, so you don’t have a ‘dry’ flat signal; *All* recording artists sweeten their sounds of All kinds: vocal, sax, guitar, keys, drums – with some minor fx processing. the key is to not overdo it. for example I digitally added a tiny bit of chorus/reverb here, below, but you likely can’t tell I did it…That’s the right way, is so it’s not obvious to the listener; see if you can tell when i play this:

[Anonymous]

can’t tell

[wayne wojnarowski]

Like sax poet I can’t tell either except that your sound has a big sound which buy the way sounds GREAT! I have an effect called “hall reverb” wonder if that’s what your using?
On a safety issue Jazz Cat you shouldn’t play so close to traffic you almost got nailed by that bus!! LOL

[wayne wojnarowski]

Sx poet I agree with you 100% what about my question what does lap sided facing mean it say that on one of my mouthpieces The guy blowing Tenor on the Berg Larsen has got some killer chops on NOT A 700.dollar MP would you not agree, Jazz Cat you sound great I have an effect called “HALL REVERB” is that what your using by chance? You have a nice Big clear tone!!Sx poet the first guy doesn’t need any effects he could play that thing upside down and make it sing

[Anonymous]

Wayne – i’m not sure – so i googled it (must be a meyer mouthpiece?)

The “true” definition of “lapped facing” is a where a facing (this is where the reed sits) has been trued (or lapped) by hand, to optical precision, albeit without any mechanical machinery.

[john]

@ Marc, it’s a fun thing to play along with an echo. for what you’re doing try to find John Klemmer the album called Waterfalls I think from the 70’s cause he did a ton of that stuff very nicely.
I never did see that video of your friend Jim but think he’s fantastic. he’s showing how the effect can work perfectly for that particular tune, which it does…it’s not going to work for just anything, he used it very tastefully, a little overboard but for Harlem Nocturne it just seems to work in my opinion.

@ JC, yes I could tell right away, at least with the reverb, not the echo though, and I agree with you in how we should use it very sparingly… that’s what I do as well.

[wayne wojnarowski]

Thanks sx poet yes it is a meyer

[Jazz Cat]

right jf re reverb + sparingly…thanks wayne…lol re traffic, ye olde greenscreen is fun…I use some basic audio fx in sony vegas for my edits…key is you shouldn’t be able to tell it’s there.

tempted to do a megamix of me playing Birdland on all 4 of my horn types, combined in greenscreen: soprano, c-melody, alto & tenor…tho it would look crowded and I’d have to learn 4 fingerings…it’s an easy song though, good for ensemble/quartet. will likely just do alto/tenor — intonation will matter. soprano’s hardest to play.

[Marc Justiniano]

Wayne, it is much louder, thank you. Johnny I surely will look for John klemmer. Perhaps I can search on YouTube and see if waterfalls is there. Thank you for your constant support.

[Marc Justiniano]

Jazz cat, didn’t understand what Wayne was talking about when he commented that you almost got hit by a bus while playing. After watching your video, I got a good laugh from the good sense of humor from Wayne. Great playing by the way and your effects where bustastic…lol…lol

[Author]

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