Help: problems of C-melody saxophones

Subject: problems of C-melody saxophones
From:
Date: 05 Apr 02 - 05:02 AM

as an owner of an alto and sop c-mel I am intrigued as why they are so variable in the way they resonate. I suspect there is something inherently right about the size of Bb and Eb instruments, but why c-mels couldnt be computer configured to resonate better I dont know. I suppose they are passe and saxes are used for brass riffs rather than melody these days, but hitting a note on a true tuned sax is so near the feel of a well controlled electric guitar, that I just love playing them, and driving everyone else mad. My sop is a Beucher, with a lovely tone and a true C# but its difficult to play over B'and the very low notes area bit boomy. My alto-tenor is a marhing band Wurlizer, which plays well, sounds a bit like a french horn, and has a dodgy C#. I hear Selmer are reviewing the way the notes are formed for C and C# in future saxes, with new keying experiments. Any comments are welcome, I have two Selmer 11 serie 80s tenor/sop in case any of you think I'm onto a loser with C-mels, but with a couple of pints of Stella I think I can take on the world with the old instruments.

Subject: RE: Help: problems of C-melody saxophones
From: JohnInKansas
Date: 05 Apr 02 - 02:53 PM

It's been many years since I've been into sax, but one factor that might affect you may be the difference in mouthpieces between your instruments.

The C-melody sax was popular even before my time, but only in "pop" style music. This would be early jazz - or even pre-jazz. Most "stock" mouthpieces were essentially "straight-bored." The common straight bore mouthpiece is slightly mismatched with the conical shape of the main tube of the saxophone, and hence a bit of "bite" is added to the tone.

A much more mellow tone, and very much better control in the upper 2 octaves of the 4 octave range, could be obtained with a "true conical mouthpiece" matched to the taper of the main bore.

When I was playing actively - late 50's - the only ones who made a "true-cone" was Buescher, but the use of the extended octaves is much more common now, so there are probably other sources.

An additional feature of the Buescher mouthpieces was a more "radiused" reed seating surface, allowing much more "lip control" of the free (vibrating) length of the reed. This allowed you to "lip into" better pitch accuracy.

Because of the smaller total air column volume, a C-melody will also be more sensitive to small leaks than with a larger instrument, so it is essential to take care of pad maintenance. Very small pad leaks can seriously effect ease of playing, particularly in the low register - below about F, and in the second octave above G.

John

Subject: RE: Help: problems of C-melody saxophones
From: GUEST,kevinhowcroft
Date: 06 Apr 02 - 03:00 AM

thank you John. Ill check the Beuscher mouthpiece out. I realize that the originals are different, I have the old tenor but have to use a baritone reed in it because of its size like a duck bill

Subject: RE: Help: problems of C-melody saxophones
From: JohnInKansas
Date: 06 Apr 02 - 06:19 PM

Even in my "day" - mid '50s, most "stock" mouthpieces were straight bored. The true conical Buescher was always a special order.

Might also mention that reed "stiffness" is something you need to tailor to each of your individual instruments. Just because you use a 2.5 on one doesn't mean you shouldn't use something else on another. It's the "feel" and the "tone," not just the number.

Getting the "mouth-volume" and "lip control" coordinated - necessary for best pitch control and tone, may be a lot easier on the instrument that is pitched near your "singing voice," too.

John

Subject: RE: Help: problems of C-melody saxophones
From: fogie
Date: 07 May 02 - 06:08 AM

strangely enough I have found a lot of success with a borrowed Selmer C* which is too closed a mouthpiece for my Bb but produces a lovely reedy sound . A Selmer C** gives good pitch hold but not that almost oboeish quality. I continue to experiment. Thanks for the help