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| Category:
Musical Instruments
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Woodwind
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Parts & Accessories
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| Start Price: |
USD 104.63 |
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| Current Price: |
USD 104.63 |
| Reserve Price: |
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| Time Left: |
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| Bid Count: |
0 |
| Buy It Now Price: |
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| Start Time: |
9/6/2008 |
| End Time: |
9/9/2008 |
| Location: |
Los Angeles, California |
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richardsaxross Store a.imagelink {color:#0000FF;} a:hover.imagelink {color:#0000FF;} a:visited.imagelink {color:#800080;} a.imagelink img.auctionimage { border: 2px solid #0000FF; } a:visited.imagelink img.auctionimage { border: 2px solid #800080; } This is my Jazz tenor sax mouthpiece based on the Selmer style. It is not as bright as a Selmer Paris Jazz mpc because the baffle/ floor of the mpc is lower. It has a slight rollover baffle followed by a low straight floor into a moderate size chamber. It is a tight and perky response with a classic bright and fat jazz sound. The facings available are 6,7 and 8 which are .080", .090", & .100". The lay is medium/short. It's a good grade of brass cut on CNC machinery and nicely gold plated. The demo setup is a '96 Guardala solid silver tenor sax with an Oleg gold plated neck with a Java 2.5 reed. It is a bit brighter than a brass sax. This is a quality mpc with a cool sound and durable construction. Tunes well and offers respectable projection well rounded sound without tubbiness or too much resistance. Choose your facing and enjoy a three week trial period. Comes with gold plated cap and ligature. Why & how I make great mouthpieces. I have played sax for 36 years and logged over 6000 hours on stage in front of an audience. I've used every setup from a 170/0 metal Berg to a Brilhart Ebolin 4*. From #5 to #1 reed, mic and no mic, legit , jazz and rock/funk. In any setting I get "my sound". So why not just use a C*? Because we are artists and a painter uses many brushes and colors. The saxophone is an amazingly complex voice and todays music is more diversified than ever. The equipment should allow our true voice to shine through. We should be able to relax and make music and there are conditions in the performance environment that can be compensated for to aid in this end. For instance, sometimes volume and brightness is needed so that we're not blasting, like in horn sections and rock bands. In the studio we need a malleable sound with toned down dynamics that records well. Contemporary music may call for accentuated articulation and "sound effect" techniques. For jazz, a rounded, stable sound that allows flexibility through the registers and even timbre, freeing the player for melodic and harmonic invention. My goal as a maker is to give players the freedom to experiment and tailor their setup and move through the chapters of their playing experience without breaking the bank every time a new preference or need occurs. I make pro quality mpcs that well serve the needs of players of advancing levels. I make well balanced mpcs that deliver significant differences in playing characteristics. We all wish to sound our best and struggling with extreme or inappropriate gear doesn't help. Because of my experience as a pro player and my background in fabrication as well as my knowledge of the musical instrument trade, I am well poised to create products for the modern player. I have been acquainted with Dave Guardala, Phil Barone, Oleg Garbuzov, Rhueben Allen, John Riley and other great and knowledgeable instrument people for decades. You can trust my experience, my intention is to make the mouthpieces that years of playing will lead most players to.
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