Gerry Rafferty’s Baker Street tenor sax cover Leo Salu

[Leo Salu]

From Johnny’s collection song played in the key of D
Setup
Yamaha YTS 62
Otto link MP #5
Fiberreed Hemp medium

[sxpoet]

Well played Leo.
you’ve got a clear sounding setup, the fiberreed sounds great.

unfortunately i just can’t get on with them on my Alto, i’ve tried several types of them with no luck. But i’ve ordered a D’addario synthetic VENN reed to test out, so i haven’ given up yet.

[Leo Salu]

Thanks james, appreciate the support. I use a fiberreed reed hemp on my alto,(selmer as200) seems to play pretty well try one.

[sxpoet]

I’ve ordered a D’addario synthetic VENN reed, which i shall try out on my Dark mouthpiece. The hemp reed isn’t suited for dark classical mouthpieces according to Hartmann’s website, but they do have two other reeds suitable for classical music.

I tried several Hartmann reeds on my Bright metal mouthpiece and they just didn’t work for me, so i hope i haven’t wasted money on the VENN reed. It’s not a big deal anyway, The D’addario Plasticover reeds seems to work on my dark mouthpiece, i’ve got one of them and i’ll test it out further this week. The Plasticover reeds also work well on clarinets.

[Wayne Galtier]

Nice going Leo. You are a production machine! I should have something recorded and out within a few weeks. It is warming up here in Baton Rouge. I have been wanting to try a fibre reed for a while now. I will pick one up when I go to the music shop to get my sax checked. Can’t wait to get back into production myself.

Wayne “Duke of OK”

[Leo Salu]

Thanks Wayne, think you will like the fiberreed, i found the hemp was best for me.

[Leo Salu]

James whats the difference between a Dark MP and the bright MP are the baffles different? is one metal ?

[sxpoet]

Hi Leo,

here’s a description of my bright and dark mouthpiece, most of the dark mouthpieces are ebonite or rubber.

Guardala King Alto Gold plated

Laser trimmed and handfinished
Brass gold-plated 4µ (thickest gold-plating on the mouthpiece market)
Tip opening 085”
For Jazz and Fusion
Guardala mouthpiece with ligature, cap and leatherbag

This model features a high baffle and a small bore. Patterned after King Curtis’ music (Detriot and Texas sounds combined), it is powerful and compact sounding. It’s for variety of venues as well as bebop and mainstream jazz.

Morgan Dry Martini Model 18 Alto Saxophone Mouthpiece

The Morgan Dry Martini Mouthpiece Models were made together with M.C. Gregory Models served as a model. The 18 Medium Chamber core interiors were available on a large number of the original Gregory mouthpieces from the 1930s to the 1960s. Facing (lay) curve length medium facing.

[sxpoet]

the bright mouthpieces tend to look like a metal pipe , whereas the dark mouthpieces look very fat – you need different size ligatures. My dark mouthpiece ligature is way to big for the bright metal one. In general a manufacturer website will tell you which is suitable for classical music (most selmer mouthpieces are classical pure tone sounding), some claim to cross over between jazz and classical (like my dark mouthpiece), and others are better for rock and play altissimo a lot easier, which is what makes a bright sound.

[sxpoet]

This is probably a better comparison

small chamber smaller than the bore – bright
large chamber larger than the bore – dark

high baffle – bright
low baffle – dark

straight baffle – dark sound
roll-over baffle – dark
curved baffle – medium bright
step baffle – bright

from the physics view a bright mouthpiece is like blowing through a squeezed pipe where you can make a difference by blowing harder and softer.

Whereas a dark mouthpiece is like blowing into a balloon that has a pin hole to let the air come out the other side, in theory no matter how hard or soft you blow wont make much difference to how the air leaves the balloon so you get a more contstant smooth air flow.

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