I too had a Yamaha tenor,,,a YTS 62, & like you, found it too “polite” sounding.
“The greats” did indeed tend to gravitate towards Selmer, & of course they make great horns; but the main reason they used them was, I believe, due to the revised key-work that they introduced in 1935 on their BA model….a system now universally adopted.
There were those who persisted with their Bueschers, Kings, Martins & Conns but their spatula tables were so awkward.
For reasons known only to themselves they did not adopt the Selmer system.
I have a really beautiful old Buescher Big B, but seldom play it….just because of the L/H spatula table….groping around for a tiny B1 key buried between the C# & Bb….
The Rico Metalite is really inexpensive.
Designed by Arnold Brilhart, it is, with practice, far more than an oyster opener, & being pressure diecast every example is identical.
Might be worth a shot.
On the subject of synthetics….I tired of the continual hassle with cane reeds….continually faffing about in an attempt to make playable more than 3 in a box of 10.
Also the soaking & “playing in” procedure.
I changed, some years ago to Fobracells & all the troubles were over. They last for ages & are consistent with one another.
Doublers use them because they work perfectly dry….pick up the horn & fire away.
Those who talk about tonal differences must have better ears than mine.
Remember also that Lester Young used them years ago….also the choice of Pete Thomas.
Of course, like anything else, one has to become accustomed to them…..but, with all their advantages, surely they are worth a prolonged try before dismissing them out of hand.
Agreed.
It is said that saxophones are not used in orchestras because the instrument sounds like the player….rather than the instrument itself.
That video must be the most laboured attempt ever to explain Bernoulli’s principle and laminar flow.
I think also that Wunibald Kamm beat him to the design in the 1930s with the Kamm-tail on sports cars.
Serves to illustrate that nothing is new.
As I understand it, there are high baffle mouthpieces with small chambers, which have the capacity to open oysters at 7 paces…..& those with high baffles and large chambers, which retain much of the thick & solid low register.
I suspect that Johnny with a “cheap & shoddy” mouthpiece would still sound like Johnny to the general public.
The player is mainly responsible for the sound….the mouthpiece is a relatively minor aspect.
Many can play high baffle pieces with a solid & thick top end.
I may be wrong, but I believe that Johnny Ferreira uses a high baffle piece.
Also Michael Brecker if any more proof is required.
Thanks….I will persevere.
My usual set-up is an M9 Metalite (tip opening 0.115″) with No. 3 Fibracell reed.
On the basis that the tongue is a muscle which has to be exercised, I am practicing with a much smaller tip & a softer reed….now the slap tongue is more consistent.
Hopefully I can work up to the point where it is possible (and easy) for me on my usual set-up.
It is a comfort to know that Johnny spends time rehearsing & arranging these numbers….had he just busked them as a first take then it would be time for me sell my horns. 🙂
Johnny’s playing is what the tenor sax is all about.
Try the “For sale & wanted” board on Sax-on-the-Web”, or their C Melody section.
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