High Energy / High Baffle Sax Mouthpieces

High Energy / High Baffle Sax Mouthpieces

A recent question from a pupil revived this subject for me and inspired some further thoughts that I would like to share.

The subject of how a sax player creates a distinctive sound and musical personality is complicated and one of the biggest factors is the mouthpiece and reed 'set-up' they choose. For many players their choice of equipment is an evolution, from whatever was supplied with their starter instrument, to perhaps a mouthpiece recommended by a tutor or colleague, to mouthpieces that they have selected themselves following many comparisons and perhaps finally to one inspired by an influential player whose sound and musical approach seem to represent exactly what one wishes to achieve. It was whilst considering this final stage that my thoughts have recently been engaged.

One of the most attractive qualities associated with contemporary popular sax styles is an 'edgy', vibrant tone, one that is soulful and expressive and that competes, when amplified, with the sounds guitars, keyboards and synthesizers. For example, alto saxophonist David Sanborn established a personal style that was highly influential throughout the 1970's through to the present day and is now widely imitated and admired to this day. He learned how to get the most out of his Dukoff Silverite metal mouthpiece and for many players this set-up became their choice as well. Other brands including Berg Larsen (ebonite and metal), Brilhart 'Level Air' (metal), Beechler (plastic and metal), Claude Lakey (plastic) and Lawton (ebonite and metal) have also been popular (and no doubt other makes as well). The late and greatly missed Michael Brecker had huge influence on tenor saxophone sounds using his Dukoff and later Dave Guardala mouthpieces. Since the late 1980's many other manufactures have also entered the market place manufacturing 'high energy' mouthpieces.

The common factor amongst all of these mouthpieces is the presence of a 'high baffle' the terminology for which can itself cause some confusion. This feature is a reduction of the distance of the gap inside the chamber of a mouthpiece between the flat underside surface of the reed and the mouthpiece baffle itself. The result is a 'squeeze' of the vibrating air column as air passes through the gap. One could almost say that the 'ceiling' of the mouthpiece inside chamber shape has been 'lowered' to achieve this - hence the confusion. The exaggerated 'high' position of the baffle accentuates the higher overtones present in the vibrating column of air, allows for an easier response of the upper altissimo register, can make lower register tones more difficult to attack with subtlety (without playing with a subtone), may alter or accentuate intonation patterns, creates the impression of greater projection and, of course, adds 'edge'.

When many saxophonists first try such mouthpieces they can be shocked by the sounds they make. These may vary from surprisingly attractive, to promising but challenging to control, to positively ugly or sqeaky. What I believe lies behind these reactions and helps to explain the range of responses by players is something that frequently goes unstated and under appreciated:

How one uses and focuses the air stream is critical to success.

• A 'high baffle' mouthpiece must be allowed to 'do its thing' and the musician must learn how not to interfere and allow the set-up to work freely.

A frequent further contributing factor to potential disappointment is the use of too much lip pressure on the reed. High baffle mouthpieces are highly efficient. They will create their sound with a minimum of embouchure effort as long as sufficient, energised and well-focussed air is present. In fact they will often play best when matched with a slightly stronger reed as a too-soft reed will not provide sufficient resistance to the powerful air stream in use and is likely to lead to a kazoo like sound and an overall loss of control.

When I watch wonderful players deeply involved in blowing their saxes I often note the impression they can give of 'working hard' as they blow, especially as they strive for upper register notes. In fact I am convinced what is actually happening is an intense concentration on proper focus of their air stream and the removal of lip pressure.

The players are seeking the 'sweet spot':

• Where minimal lip pressure, an ideal positioning of the lower lip on reed for best vibration for the register involved and the employment of a perfectly regulated quantity of air combine to achieve the desired results.

Fine players achieve this complex balancing act so effectively that their listeners do not imagine the effort involved and, those who are themselves sax players, tend to credit their musical heroes and heroines wonderful tones and exciting musicianship to the magic of their mouthpiece - overlooking the skills they have gained through learning how to best use their equipment.

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The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful. 

Thomas Dryer-Beers

Cracks In Wooden Instruments - Do They Matter? CASS Article

Cracks In Wooden Instruments - Do They Matter?

The vexed question of cracks in wooden clarinets and oboes arises frequently and can be the cause of much anxiety for players or potential purchasers of instruments. A bit of background may help to bridge a gap in the perception of cracking, its reason for occurrence and its relevance to performance. I wish to state that this blog entry is a sharing of information and a relation of my experience over many years - it is not a scientific treatise and should not be interpreted as such.

The African blackwood Grenadilla, latin name Dalbergia melanoxylon, or mpingo in Swahili, which is chosen for most wooden instruments is among the densest wood available for instrument manufacture. It has been the wood of choice for centuries, prized for its stability, workability and resonance for the purpose. It is still a piece of wood. The wood has a grain and the grain is a natural occurrence.  Blackwood grows very slowly (hence its density) and with a very close grain that helps to resist motion and absorption of moisture. The best wood is quite rare and supplies are diminishing worldwide so manufacturers take great care of their wood stocks and use them very efficiently.

Once the wood is harvested, billets are cut from which the joints, barrels and bells will eventually be manufactured. Since the late 1970's until the present day the billets are subjected to a heat and pressure treatment by the manufacturers to stabilise them and further reduce the likelihood of cracks occurring. For instruments manufactured before this technology came into use oil soaking was employed to the same end.

FYI - This is why oiling is not often recommended for modern instruments as it tends to be ineffectual and is more likely to cause damage to pads than real protection to the wood. For older instruments oiling with almond or linseed oil can be very helpful but the caveat of taking great care not to oil in excess must be observed. Oil will shorten the life of any pad with which it comes into contact. If you do wish to oil an instrument use a dedicated swab, chamois leather if available, and only apply a small quantity of oil at a time. Oil the inside of the instrument, as this is where the oil has a preventative role stopping moisture absorption. If the outside of the instrument has a 'tired' or dry look about it some oil may be applied to 'liven up' the appearance but do exercise caution.

Should the wood grain on the surface of an instrument 'open up', either following use or due to climate changes, it is a sign of the wood releasing tension and if this is sorted out by a skilled repairer, usually by the application of modern 'super glue(s)', the wood will actually be more stable than previously and the repaired 'crack' will be made invisible. If the crack opens up to a greater extent and goes through the wood entirely it may require more extensive attention including the possibility of 'pinning' to stabilise it - this is the more serious insertion of a screw mechanism into the wood which is used to draw together the walls of the crack. Prior to the advent of super glue technology this was the common practice to address cracks. If the crack goes through to the edge of a tone hole sealing with glue may work and should be tried initially but it may be necessary for an experienced repairer to insert a liner, usually made of plastic, and remake the tone hole itself. Once this is done the instrument should perform 'as good as new' and will be even less likely to have a similar problem in the same are in the future.

I have played on clarinets and oboes that have had cracks both sealed and pinned for many years with no loss of performance or my confidence in them. When a crack happens on a new instrument despite the best efforts of the manufacturer, if it still under warranty (typically a 1 year warranty is standard with exceptional manufacturers offering a 2 year warranty against cracking) in most cases the instrument will be received back by the manufacturer to have the crack assessed for either repair or  joint replacement. If an instrument is out of warranty an experienced repairer should be able to offer the same attention and the same likelihood of a successful repair to the instrument.

Players can dramatically reduce the occurrence of cracking by observing some very simple care suggestions:

• Use the swab frequently during practice sessions and performances
• Pull it through slowly to allow for absorption of moisture - do not 'whip it though'
• Blow across opened upper joint tone and trill key holes to dislodge moisture
• Clean the inside of joint recesses to remove accumulated moisture
• Use cork grease regularly as this helps both assembly and to seal joint tenons
• Avoid moisture extremes wherever possible
• Avoid 'stressing' cold instruments with warm air, always bring to room temperature before use
• Never store instruments in cold conditions
• Avoid direct sunlight or any heat source that could damage the wood
• Examine your instrument regularly but without anxiety - just get to know it's natural condition
• If a grain is noticed to be opening up have it seen to straight away and you will likely have no further trouble

In my experience it is extremely rare that a grain 'crack' has not been able to be successfully and cosmetically satisfactorily corrected. I have taken more than a little solace in the knowledge that should a crack happen and been sorted out my (an) instrument is actually better off and more stable than it was previously when the 'crack' was waiting to happen. It is a bit like the adage 'Whatever does not kill you makes you stronger' and but another example for the musician to heed.

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The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful.
Thomas Dryer-Beers 

Oiling a Wooden Clarinet or Oboe - A Discussion CASS Article

Oiling a Wooden Clarinet or Oboe - A Discussion

There are many opinions 'out and about' regarding the advantages or necessity of oiling the bore of wooden instruments, particularly clarinets and oboes. Some proponents are adamant that oiling must be done routinely or accept an increased risk of cracking in the wood. Others say never to oil as the wood will not absorb the oil applied. I have not noticed many contributors who try explain the contradictory advice. This is my brief summary attempt to address this. (for a more detailed discussion about care please see my blog entry Owning and Caring for a Wooden Clarinet, date of entry 27th Nov, 2015)

The coating of African Blackwood (Grenadilla), the material from which the bodies of most wooden clarinets and oboes are constructed, has been a practice of players for many years. When Grenadilla was first adopted for instrument construction oil was applied as a sealant to keep the wood from suffering the effects of moisture absorption through playing and to maintain, as much as possible, a stability in the wood to resist changes in both temperature and humidity levels. Since even this most dense wood is still a natural product it has a grain which is subject to opening up under stress.

• A light oiling, usually with almond or linseed oil was common practice on wooden instruments manufactured up until the late 1970's / early 1980's, and this was as effective a preventative treatment as was then available. 

The use of a small quantity of oil, carefully applied with a pull through swab or pheasant feather, was observed to reduce moisture absorption and lessen the occurrence of 'cracks' - the opening up of the grain.

It is good to bear in mind the following caveat: 

Do not oil apply in excess as the oil can run and will eat away at pad surfaces and attract lint which will affect the pad seating and keywork mechanism function.

Beginning around the early 1980's manufacturers began to use newly available technology to help stabilise their wood stocks. Pressure treatment and impregnation of the their 'billets' (the blocks of wood from which joints are cut) became common practice. Once wood has been treated in this way it has a much greater inherent stability and any oils that are applied are far less likely to be able to be absorbed and provide any useful additional protection to the wood of the instrument.

• It is not generally necessary to use bore oil on modern era instruments (post approx 1980), as their wood has usually been pressure treated prior to manufacture.

Indeed, if oil is used it may have a detrimental effect as a result of not being able to be absorbed by the wood - see the caveat above.

In extreme circumstances an instrument of any age could be completely stripped of keywork and subjected to an 'oil bath' for an extended period of time to attempt to complete rejuvenate a tired looking body and provide a new start. This is best done by an experienced repairer who will also remove all excess oil following the treatment, polish the body and return the keywork afterwards.

Everyone interested in this topic must judge for themselves whether it is oiling is likely to provide a beneficial additional 'belt and braces' protection.

• These days, for the purpose of most players, I believe that it is fair to say that oiling is unnecessary. 

Rest assured that should a 'crack' occur in most cases it can be successful sealed and stabilised by an experienced repairer and your confidence in your beloved instrument will likely be regained in a very short time.

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The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful.
Thomas Dryer-Beers