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Details about  new RSR "Super Duke" #6 high baffle tenor sax mouthpiece w/ Dave Guardala reed

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new RSR "Super Duke" #6 high baffle tenor sax mouthpiece w/ Dave Guardala reed
new-RSR-Super-Duke-6-high-baffle-tenor-sax-mouthpiece-w-Dave-Guardala-reed
Item Sold
Item condition:
New
Ended:
Sep 16, 2012
Price:
US $150.00
[
History:
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Shipping:
$5.00 Standard Shipping | See details
Item location:
Los Angeles, California, United States

Description

eBay item number:
320902878353
Seller assumes all responsibility for this listing.

Item specifics

Condition:
New: A brand-new, unused, unopened, undamaged item in its original packaging (where packaging is ... Read moreabout the condition
 


 

 This is my rock/funk model tenor sax mouthpiece which I call the "Super Duke". This mpc is the small chamber maximum baffle design. The volume and projection is very good and there is an extreme dynamic range possible. A gritty, colorful and bright tone with warmth enough to get a good jazz sound too when you lay back and put more and a softer lip under the reed. This is a cool and versatile piece. The long wedge helps with altissimo. The demo horn setup is an RSR "elite" model tenor sax with an Oleg gold plated neck. The facing is #6 which is about .085". It has a medium lay which has great altissimo and enough resistance to get some big beef in your sound. The table is flat and the rails are even. If you want power, tone and ease of playing this will be a nice piece for you. The mpc has sonic similarities to the Guardala Super King R&B and/or a Dukoff Super Power chamber, however it is a very different playing experience. Compared to the DG King series, it's a less aggressive sound, designed to offer good flexibility, record well, and be easy on the chops. It is a smaller tip opening for flexibility and ease of playing and reed selection. It is a mild rollover baffle with a long but lower wedge than the King and the chamber is about equal in size to the DG mpc but the RSR has a larger back bore as the sides are scooped out. This mouthpiece is optimized to sound great on the microphone, it is not designed for sheer volume. It is important to take note of this. What might sound louder in the room may not be the most musical performance on the microphone. This mouthpiece is very efficient and dynamic. It will produce controllable, expressive, malleable sonics with less effort, up and down the registers from pp to ff. The sound will readily focus at the bell for mic pickup, for a broad and musically usefull dynamic range with a big centered sound. You will find it has an artistically versatile, usable dynamic range and a diverse sonic and articulation palette. It is a good hard brass with gold plate, nice ring and durability. Machine made blank with hand made chamber, facing and finish. This low mass design has the kind of vibrant response and shimmery sonics made famous in the superb DG line. Comes with cap, Guardala reed and very nice Selmer style ligature. If you don't want the reed notify me and we can deduct $4.  Two week trial. The demo setup is RSR "Elite" model tenor sax with Oleg gold plated neck, red Java 2.5 reed, Rovner Eddie Daniels ligature. Neumann Mic TLM 102, Aphex 207 pre, Dbx 1066. Why & how I make great mouthpieces. I have played winds for 44 years and logged over 6000 hours on stage in front of an audience. I've used every setup from a 170/0 metal Berg to a Brilhart Ebolin 4*. From #5 to #1 reed, mic and no mic, legit , jazz and rock/funk. In any setting I get "my sound". So why not just use a C*? Because we are artists and a painter uses many brushes and colors. The saxophone is an amazingly complex voice and todays music is more diversified than ever. The equipment should allow our true voice to shine through. We should be able to relax and make music and there are conditions in the performance environment that can be compensated for to aid in this end. For instance, sometimes volume and brightness is needed so that we're not blasting, like in horn sections and rock bands. In the studio we need a malleable sound with toned down dynamics that records well. Contemporary music may call for accentuated articulation and "sound effect" techniques. For jazz, a rounded, stable sound that allows flexibility through the registers and even timbre, freeing the player for melodic and harmonic invention. My goal as a maker is to give players the freedom to experiment and tailor their setup and move through the chapters of their playing experience without breaking the bank every time a new preference or need occurs. I make pro quality mpcs that well serve the needs of players of all levels. I make well balanced mpcs that deliver significant differences in playing characteristics. We all wish to sound our best and struggling with extreme or inappropriate gear doesn't help. Because of my experience as a pro player and my background in fabrication as well as my knowledge of the musical instrument trade, I am well poised to create products for the modern player. I have been acquainted with Dave Guardala, Phil Barone, Oleg Garbuzov, Rhueben Allen, John Riley and other great and knowledgeable instrument people for decades. You can trust my experience, my intention is to make mouthpieces that embody the years of accumulated knowledge of my own and my community.



































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