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Walk Tall - The Music & Life of Julian Cannonball Adderley
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This instrument or product has been carefully played/used and returned to us in
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Legere Studio Cut Tenor Saxophone ReedFreer blowing and more flexible, the Studio Cut Tenor Saxophone Reed is the choice of many jazz and show musicians. Sold individually.
Order today with the no-risk assurance of our Total Satisfaction and Low Price Guarantees!
I thought I would give these reeds a shot after hearing so many great things about them. I'm a cruise ship performer and wear traditional reeds out quickly and was seeking something that would last longer and sit for awhile without drying out and warping. While I really like them on my clarinet, they do not sound very resonant or consistent on my tenor. I think it may have something to do with the mouthpiece material, as I've always found synthetics to sound buzzy or distorted on a metal mouthpiece. May work fine for YOUR hard rubber, but I didn't like them on mine and switched right back to cane. Bottom line: good to have as an emergency backup, but don't rely on them to give you your best sound.
I wrote review last year but wanted to note I find the studio cut for my tenor with Otto Link MP brighter than the non-studio cut. I still use Legere exclusively. Sometimes I miss cane sound but I just don't have the time or patience to deal with cane anymore. For my soprano with the relatively closed C* instead of the wide open MP of my link, then I still use cane because drying and quality of cane isn't so much of an issue in that case and my reeds last longer.
You're probably like me, in that you'll find 4 solid playing reeds in a box for $25. I have been playing funk in a traveling band and have found that 1 reed MIGHT last me 2 rehearsals and a 1 gig! This is unacceptable for hard players. I have played a 2 3/4 Legere Studio Tenor reed on my DG SuperKing R&B for the last 2 months and I?ve got to tell you, you can't beat the longevity. I did not exaggerate when I said that I was getting 1 show our of traditional cane jazz-cut reeds. I have already saved almost $90 in 2 months by using Legere. I?m not as fond of these for studio work as a solo instrument, for that I remain loyal to cane. Section work, however, these will project very well and give you the ability to balance evenly throughout the session. As far as live work- there are few equals for the working musician. I needed to be able to be consistent with my reeds, while having one that was not as brittle as conventional cane in both the structural integrity and in solidity of the reed heart. Not only do these have that, but these reeds will speak for players of any genre. But as a side note, they are a bit too abrasive for folk-rock!
The fine details:
No- these do not have the exact same sound as cane. Wood is able to produce a smoother edge (even in jazz playing), whereas synthetic is a bit ?buzzy?. But lets face it- if you?re a legit player, chances are you?re processing your sound through a system. As long as the mic is on, add some reverb and no one will be the wiser.
No- these do not feel like cane. But after 30 minutes you forget all about the difference in feel and enjoy your show.
Yes- these are worth the price for one.
Yes- They?re still somewhat delicate, but if you?re not using power tools nearby, you?ll be able to get months of use out of one reed.
Stop getting 4 out of 10 solid playing reeds. Synthetics are consistent and won?t splinter your lips when you?re break-dancing during your next live solo!!!
I was introduced to Legere reeds by David Caldwell in Canada, and was immediately impressed. My original intent was to use the Legere reeds for practice sessions and continue usind regular cane reeds for gigs. However, I now find myself preferentially playing the studio cut on both alto and tenor.
The interesting thing about these reeds is that they play well on my all my various mouthpieces, such as a very old Dukof, old Otto Link, copper Sugal, old Berg Larsen, New York Meyer, et al. They do respond a little differently to a regular cane reed, but one quikly gets used to that aspect of the reed.
The concept of 1/4 strength increments is absolutely perfect, because it is essential to find the correct strength for the setup oneis using. For instance, depending on the mouthpiece, I use either a strength 2.0, 2.25, or 2.5. I now strongly recommend the Legere reeds to anyone that will listen.
When lined up on Dukoff the clear reed is hard to see, especially in dark bar.
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