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Blow Free Mouthpiece Designs Create Personal Saxophone Sounds

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Blow Free: Mouthpiece Designs Create Personal Saxophone Sounds
The science behind saxophone mouthpiece design is fundamental: “open” or “closed” mouthpiece. The opening between It mostly has to do with airflow. the reed and the mouthpiece tip can appear either All of the different sax mouthpiece designs available today on wide or narrow, but while its size is important to the the new and used markets share one main function—to control overall facing design, it alone sheds little light on how the spray of air as it enters the instrument. It’s similar to putting easy it is to blow. your thumb over the opening of a garden hose to focus and accelClassic jazz mouthpiece designs remain abundant erate the stream of water. In the case of the saxophone and other on today’s jazz scene, with brand names like Otto wind instruments, a well-controlled air stream translates to wider Link, Arnold Brilhart, Berg Larsen, Vandoren, Lakey, command over the most important elements of sound, including Couf, Meyer, Dukoff and Selmer. Made either of pitch, projection and the production of tonal colors. hard rubber or plated brass, each piece has its own Beyond this basic principle, sax mouthpiece design personality due to design differences, changes is largely an inexact science founded primarily from normal wear-and-tear and miniscule imperTheo on trial-and-error—usually by opening up, fections in manufacturing. No two are ever the Wanne narrowing or shaping the complex air passame, not to mention that thousands of classic jazz Durga sageways inside existing mouthpieces. mouthpieces out there have been custom-tweaked Jody Espina, president of Jody Jazz, has by players and their technicians over the ages. broken new ground with his DV line of sax In general, vintage jazz mouthpieces were mouthpieces. Born of the need for a flexible designed to play on the “warm” or “dark” side of mouthpiece that was capable of playing the sonic spectrum. As saxophone players graduboth bright, for contemporary music, and ally began to seek out something brighter and dark, for straightahead jazz, his high-peredgier to fit more contemporary music styles, they forming DV line features a secondary “winturned to newer designs that departed from old dow” under the reed table that enhances traditions. Today, many of the high-performing sax tonal control. mouthpieces feature retro design elements to satisfy “It’s all about trying to make this mouthjazz players who strive for old sounds reminiscent of piece play with more harmonics,” Espina the 1940s, ’50s and ’60s. said. “It helps add some bottom and midThe Vintage Link, the latest high-end jazz saxoJody Jazz DV bottom. Otherwise, the small chamber gives phone mouthpiece design from veteran manufacturyou a shrill mouthpiece.” The Jody Jazz DVs er J.J. Babbitt, is the direct result of attempts to improve on also feature an accurate facing curve. the company’s current Otto Link line, which a lot of players The internal design of a mouthpiece complained just didn’t play like the old classic Links. After five doesn’t necessarily “create” a sound so much years of experimenting and play testing with jazz pros, Babbitt as it lets a player explore and fine-tune different settled on design elements that were common to historic Vandoren sonorities and allows for varying levels of voljazz models, according to Babbitt President Rocky V16 ume. It’s a personal thing, as a lot depends on Giglio. the player himself, his emboucher, particular “Everything on these is different than on our reguinstrument and the reed he uses that day. lar Links,” Giglio said. “From the round chamber, Vandoren is currently on a roll with its V16 the different facing length and the new configuramouthpiece line, developed in response to jazz players’ requests for tion of the inside by hollowing out the side walls, something more free blowing. Currently available for tenor, alto and to getting the tip rail and the side rails to be as soprano, the V16 recalls early mouthpiece designs with its colorful thin as we can, and then to have the baffle start harmonics, crisp articulation and wide dynamic range. at the tip and have just a slight rollover—that’s “We think this line will be the industry standard for years to what gives them the sound, the resistance and come,” said Steve Baughman, artist consultant for Dansr, the projection that they want.” Vandoren’s U.S. distributor. For decades now, Vandoren mouthMouthpiece refacer-turned-inventor Theo pieces have been popular among jazz saxophonists who prefer the Wanne has come up with several innovative company’s Optimum, Java, Jumbo Java and V5 models. designs in recent years. His Durga sax mouthThe three most important factors influencing tone production piece features a long, high baffle and a large are: 1) the dimensions of a mouthpiece’s facing curve, which chamber that transitions into a small chamber. allows the reed to vibrate a certain way and determines resis“I love more modern saxophone playing, tance and ease of emission; 2) the baffle, a ramp-like device that but the tone is often nasal or thin with a lot of focuses the incoming air stream and accelerates it; and 3) the the brighter mouthpieces,” Wanne said. “The chamber at the back of the mouthpiece, where air collects before Durga was my effort to allow those guys to feeding into the horn itself, the size of which helps determine the have a really full, fat sound even with a hightonal depth of sound produced. And in order for a mouthpiece to baffle mouthpiece.” Wanne said that his actually “work” for any given saxophonist, it has to strike a balbrand new Giai mouthpiece line emulates the ance in each of these key areas. sound of Dexter Gordon, who inspired him to Another determining factor for the sensation of sound production start actually making mouthpieces instead of is the width of the tip rail, which can create the impression of an —Ed Enright just customizing them.
64 DOWNBEAT May 2009


				
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