Saxophone, Saxophone, Saxophone, Saxophone! Subscribe to see videos ragarding all things saxophone. My name is Andy Voelker. I am a Boston area professional saxophonist. Here I will be sharing videos about playing saxophone, playing jazz (on the saxophone), saxophone history, gear, and whatever else I believe will help other saxophonists thrive and make the best music they can make. I have a great love and fascination with the saxophone. Join me on my quest.
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you can buy 50,000 grit diamond paste thats in a spray bottle, knife sharpeners use it. a tiny sprits on paper would prolly does a great job too.
They sound really good, but the upper register go for the Rigotti Redbox!
Get hold of Rigotti Red Box. They are a classical reed and will satisfy your need for resistance in the top. And very consistent.
Wouldn’t it advisable to cover the tip rail? I’m going to reduce the high baffle on a piece little by little to try and create a lesser bright sound.
Buuuuuuy..your piece from Jones. You sold it, Garz said get it-back..Your piece from Billy Jones....to blooooooww...5:40 yeah!!!!
If you begin with a mouthpiece with a .075" tip opening, and the thickness of the tip is .040", to bring it to .105" tip opening would mean you would need to remove .105" - .075" = .030" of material. If the tip thickness is only .040", then .040" - .030" = .010" remaining thickness. This razor thin tip would be very delicate and easy to break. No, you just can't do this. If you then file back the tip you have also lost some of the tip opening gained. Some jobs like this are just a losing proposition. If you take material from the table in an attempt to angle the tip up you will create an abrupt angle at the break, or where the facing comes away from the table. You will end up with a facing that has a sharp curve at the break, and long nearly flat region. It just doesn't work out. This is like wanting to bore out an automotive engine, only to run into the water jacket, or stroke the engine (longer throw on the crankshaft) only to find the connecting rods hit the inside of the block. There are limits to what you can do.
sure. and then you have to cut back window to a proper shape. Tons of experience is required. Like like playing. Just like rebuilding 283s and 327s and 8BAs.
Feeler sizes needed are: .0015" (referred to as "one and a half thousandths"). This is used to measure the facing length. It is quite delicate, and some guys use .002", though that gives a slightly shorter, about 1 mm shorter, measured length. Does not matter as long as you are consistent. Next is .010" (ten thousandths). Then .014", .024" or .025" (will give the same measurement), .030" or .031" (will give the same measurement), .048" or .050", .063", .077" or .078" (2 mm), .094". There are two types of glass gauges. One type, the zero is not on the edge, but about 2 mm away from the edge. I prefer the "zero edge". The zero is right on the edge. The mouthpiece can be placed on the glass and the mouthpiece and glass pushed lightly against a vertical surface, such as the edge of your workbench, to align the mouthpiece to zero on the glass. The wands are fine for measuring tip with most clarinet mouthpieces, but for sax mouthpieces with a good "roll over" baffle the wand sometimes hits the roll over, not the tip rail, resulting in a false reading. I use the gauge fixture from Theo Wanne or the one I have from long ago from Winslow (long out of business) holding digital gauges fitted with a small ball tip. The ball tip will contact the tip rail at only one point, giving an accurate and repeatable reading without scratching the tip rail. For plastic and hard rubber, 600 grit silicon carbide paper will do most jobs, but 800 and 1000 sometimes used for a little polishing. Metal, 400 grit to start, finishing with 600. Stainless steel mouithpieces, Bergs, are VERY difficult to reface.
which signal booster are you using?
i wonder what cheap paper would be classified in the normal sand paper grit numbering systems.... 4000? i have 3000 in front of me right now (the highest i have from a variety pack off amazon) and it feels rougher
and I wouldn't use sand paper for this. you don't want the abrasive sand imbedded in your reeds grinding down your mouthpiece.
@@saxophonegeeks that's a very good point, hadn't thought of that. but the internet is filled with reed players using sand paper. sigh. gimme a high powered microscope and i'll settle this debate! lol
@@interwebzful lol.
Table concavity? What u mean? Thetable has to be flat
some people like myself prefer a concave table. More reed friendly and works better with an old fashioned 2 screw ligature. Any good mouthpiece craftsman or refaced will know what this is all about.
Good morning, I would like to learn how to reface, I'm from Brazil, could you help me?
I teach online zoom lessons and would be willing to teach you mouthpiece theory and concepts which would help you get started. email me at [email protected] to talk about setting this up.
Nice video!!
I really liked the “hey ,I’m here play me sound “that you are made on the 1st Supreme more than your own horn.The issues that you mentioned are all minor and with a proper setup and a bit of time you would adjust to the new horn.Intonation and articulation seemed better on the Supreme .BTW The Jody jazz hand hammered mouthpiece sound great on these horns.I have a handmade Guardala Super king and would love to get a hold of one the Supremes to try it out on them.
Not exactly the proper way to fold up the stand.
Nice layman's overview. Refacing can be amazing, but I don't know how to adjust the facing in discrete areas. Any clues?
The big opening takes away from the richness of your sound.
I think I almost bought this 😂. Now I wish I did 😅
It sounds great!
Cool horn. I also got a 182k (1937/1938) 10M. My grandfather purchased it brand new in 1939 for $150. He had it relac'd sometime in the 1970s as well.
Faz uns três meses mais ou menos que adquiri uma Selmer Soloist C de tenor (acredito que ela seja bem fechada) sempre toquei com boquilhas mais abertas 7 ou 8 e agora estou sofrendo muito pra me adaptar a ela, uso palhetas número 2 e não tem dado certo, sinto a embocadura não acostumar. Oque devo fazer pra melhorar ??? Qual o estudo recomendado pra adaptar ??
i change up all the time because it inspires me to practice EVERY day. And I do not mean noodling! The different thing brings different ideas to me. I write down a lot of the things that pop up. I have been doing this for 60 years now LOL!
yeah man! Gotto keep the fires burning.
I’ve ALWAYS gotten a lot of value from your videos, and your stream of consciousness with your playing/talking creates a wonderfully true experience that’s very relatable for the player. What era Mark6 is that?, I’ve got a great 166xxx that I play, although I’m playing a 1932 Selmer Super as well, and it’s a fantastically different vibe than any 6 out there. Mouthpieces “behave” so differently on different horns. I’m playing either a 7* STM no usa or a ebonite 7* Babbitt. Thanks for your focused devotion to all of this.
Thanks for your kind words. my Mark VI is in the 92xxx range. Around 1961, American assembled/engraved.
Andy, nice hearing your views, i own a '65 mkVI and I've been also playing on a selmer super action series iii tenor for a few years. I like the series iii updated build quality and sound however at the end of the day the price is what gets me, man over $10k for any musical instrument these is unwarranted. I would buy a good used car first like you said and I'd still have my MkVI.
Thanks for showing how to measure the facing. How do I find one of those kits? Also, how did Adam tell you how to clean the brass mouthpieces?
music medic might have kits for sale. I believe Theo Wanne also makes this kind of gear. Google it up!
Prefer your tenor’s sound. But then again you’re used to it’s character, so it might take a bit more time with the Supreme.
That thing is poisonous
Always a pleasure Andy! You and Gonz sounded beautiful together. Super melodic!
oh man. you saw that? talk about holding on for dear life!!
Hi Mr. G, The Jerry Rig sounds a little darker than the first one. I like both; although I favor the first one. Sorry Jerry, I still love you! Please let me know if the new ones are easy to come by. Jerry is “good people!” Best Regards, Rick Looking for one for Bari! Née
supreme
Hey Andy - I’ve admired your playing & videos for some time now! About 8 minutes into this, after just your first phrase, I was really missing your Mark6. The 6 has what I call a traditional Jazz Authenticity going on…..and I’m talking GOING ON! The Links begin this process like no other mouthpiece in history (yeah I’m an opinionated s.o.b.), but for myself during these 3+ Covid years I’ve confirmed that the horn matters. I play either a 1932 or 1969 Selmer tenor, and still spend serious time on a 1927 Chu. Where I live I’ve discovered a wonderful repair tech who’s made ALL the difference in changing my mind about selling a couple of my horns. It’s wonderful to see and hear you go through the different processes you present in your thoughtful dedication to saxophone playing.
thanks!
that slant is MEAN! It's got that dry bite in there. And I'm starting to love wide open alto mouthpieces too
Nearly 10 minutes, 4 of which is unpacking! Doesn't even show what I wanted, clear shots of the setting and breaking down so I know whether it's gig-friendly or not.
I wouldn't buy another one.
@@saxophonegeeks is that because it isn’t very good or because you have enough stands 🙂
Hi … I got into repair work and brought an old beat up 28m after playing Yamaha for 20+ years just to see how unique the ideas and mechanisms on this horn are… was a bit of a love hate relationship at first but I then purchased a 1950 conn 28M and overhauled it….love it! More focused than older conns and delicate in build but such a shame conn and other manufacturers didn’t take on some of the ideas (doesn’t series III have 3pios ?). If there is ever a vintage horn that needs remaking including the tenor that never went into production this is it. Thanks for reviewing it favourably
Where's part 2? I'm an amateur. Sold my high school Bundy alto. Years later, went to a shop and tried 4-5 used altos; bought the best-sounding - used student Yamaha. Played it for awhile, and some clicking arose... lost a screw?? Still plays, but... Anyway, seems the repairs will cost the same as a new one. Still, seems a waste to throw out a body that has good tone.
Thanks for spotlighting the latest model. To be completely honest, you sounded much better when you demo'd your friend's Ponzol Pro One. You also looked much more comfortable on the P1 keys.
Interesting. That was a nice horn (the ponzel), especially for the money. And of course, you have to live with a horn for a while before you really know what's what. Play it with different reeds, in different rooms/situations. It takes a while, at least as far as Im concerned. Playing a horn for 20 mins in a music store is a pretty limited overview for sure.
All 3 horns sound excellent. Am I going to run out and buy one for $11,000? Heck no, it’s not THAT much better than my 61,000 Mk6 but it’s very nice.
Are you using a very hard Reed? Sound struggles to come out
yes I prefer hard reeds.
@@saxophonegeeks but you sound great man
Will these two Supremes be sold as "new" after all the jam sessions, play test videos, random customer use, etc.? How much playing has to occur before a horn becomes a "demo model" that is sold for a small discount? Or do some shops reject that designation and regard their inventory as brand new until sold, regardless of how much it is played?
lol. for real.
Sounds damn fine. Wis they would make them without the high F#
ehhh, if you don't use it you don't even know its there.
Just bought a mint 1955 MK VI alto. Lucky me!
I'm eager to try one. I mainly play one of two SBA tenors, a 50k & a 54k. The sound of the VI seems to have a bit more tonal variation, like flavor, or color. So hard to say what it is. I guess the Supreme sounds more "direct", whatever the hell that means! I like your VI a bit more, but who's to say that after a couple of weeks you'd get the same stuff outta the Supreme? YOU sound really good-you'd sound good on any horn. Frankly, I figure that every sax needs to be played in tune and a good player figures the quirks and plays around them. I'll take more quirks with a more interesting sound. Just my opinion, obviously. I won't be sellin' me SBA's for a Supreme, no laddie, you can take that to the bank!
which sounds more like a human voice?
none of them.
so did you trade?
hahah no.
great tool from china
Bumpers bending!!! Are you serious? 😂😂
He's just kiddin' 😅don't get your panties in a bunch 😅
The Supreme is significantly better I have played a Supreme that was setup the same as a Mark VI I compared it to and it just killed the mark VI.
Had a chance to listen to a review by Edmar Colón of the Supreme tenor while he was visiting the Virtuosity shop in Boston I believe. Most likely it was one of the tenors you reviewed. The Supreme is a very good instrument IMHO. Thank you for your honest opinion.
it sounds good like approaching getz
I played a Supreme tenor earlier this week for about an hour. I have a Series III Jubilee alto that I’ve had for about seven years, and like it better than my mark VII alto that I’ve had since 1978. I’ve played a Herb Couf tenor For 30 years and learned to deal with the intonation problems that horn has. So, when I played the tenor Supreme, I was extremely happy with the instrument. I don’t play as much jazz as classical, and I didn’t try my Otto Link mouthpiece with the supreme. I played my S80 C* and the Concept mouthpiece that came with the Supreme. It was easy to play with a tight, focused, smooth tone on the S80. The Concept played with a more rounder, thicker, spread tone. I have been looking to upgrade from the Couf tenor to a Yamaha 875 EZ (can’t find a store that has it to try out) or a Selmer series III. I am seriously thinking about buying this Supreme.
dig. good luck. both horns are great options.
Both new saxophones, out of the box, require substantial adjustment. The intonation, tone stability, isn't there. So a good tech must spend at least several hours fixing the nuisance. That, on a $10K saxophone (!!), that by anyone's expectations should come really well adjusted ?!?!
My tech spent 15 min to adjust mine max. Just saying.
@@MatthieuVanMechelenMVM I had this from many repairers: Selmer saxophones, out of the box come sometimes near perfect (rare) and only small adjustments are needed. On average require top to bottom adjustments (most of the time), and sometimes even a full day of work, even replacing some pads (which come with uneven shellac) . For the brand name they have, and enormous price, that is not acceptable by any stretch of imagination.