Sax players talk about mouthpieces and reeds a lot. I have a mouthpiece (Link 8* with a NY chamber) that gives me a good rock/blues tone. It's the second pro mouthpiece I've ever owned. I use regular Rico (orange box) reeds. I've been using them before they changed their name to Rico. I've tried others, but the slight change in tone doesn't justify the large increase in price.

On to the gutar:

I use 9s on my Parker, as that is what was recommended by the specs for that model. I don't see enough advantage of heavier strings to change. I'd work harder for very little difference.

Pickups, IMO, are the primary source of tone, and I had the guitar made in the custom shop with Duncan P-Rails, so I can get P-90, Rail, Series Humbucker, and Parallel Humbucker tones. Plus, there is a piezo under the bridge that I can use to mix with the mag pickup tones.

Tone is overrated:

Rather than work on the nuances of tone, I work on the nuances of expression. I think that is much more important. Things like intonation variations, dynamics, individual note attack/sustain, variations in timing, phrasing, vibrato, ornaments, and so on.

While we all think (and should think) that tone is important, it's not. If it was Dr. John, Miley Cyrus, John Lennon, Stevie Nicks and so many others wouldn't be stars. But they express themselves in a way that resonates with their target audience.

The two most famous Jazz Tenor Saxophonists of all-time are probably Stan Getz and John Coltrane. Their tone is as different as night and day.

Is Jimi Hendrix's tone better than Jeff Beck? Terry Kath? Eric Clapton? Dimebag? David Gilmour? Billy Gibbons? Steve Howe? Robert Fripp? BB, Freddy or Albert King? Slash? Johnny Winter? Carlos Santana? (I could go on). On which guitar/pedal/amp combo?

IMO, as long as your tone is in the ballpark for the genre you are playing, more time spent on improving your expressiveness would pay greater dividends to you and your audience.


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Bob "Notes" Norton smile Norton Music
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