FREQUENTLY ASKED QUESTIONS
CAN I BUY SHEET MUSIC?
I offer nearly all of my compositions in PDF form for $10 each.
Simply send payment via PayPal to email@example.com and include
your name, email and song requests. You will receive the charts shortly afterwards.
WHAT IS YOUR CURRENT SAXOPHONE SETUP?
I currently play a Selmer Super Balanced Action from 1952, with a serial range of 48, XXX. I visited the Selmer company in Paris and they have a book with each saxophone’s “birthday” written in it. Specifically, mine was born on June 20th, 1952.
My mouthpiece is an Otto Link Reso Chamber with a 7* opening. I use a simple old brass ligature and Rico Jazz Select 3 Medium Filed reeds.
WHAT IS YOUR ADVICE ON USING EFFECTS PEDALS AND WHAT IS YOUR CURRENT SETUP?
I use a clip-on mic that requires no phantom power and has a flexible neck so one can stick it into the bell. This helps create the cleanest signal path to effects and also helps baffle the mic against all the bleed/outside sounds around you (ie drums, etc.). The specific microphone I use is a Seinhausser e608 but there are plenty of other options too.
In my experience, the best ways to amplify effects is in this order of preference:
1. D.I. with your own dedicated monitor.
2. Amp (solid state ALWAYS better than tubes) - keyboard amp best, then bass amp, then guitar amp. Position the amp at least 4-5 feet away from you and to your right or left at a 45-degree angle for best sound and lowest feedback risk.
3. Run it through P.A. with no monitor or amp (least desirable option for sure).
Don't buy 10 pedals all at once. HEAR and IMAGINE the sound you want first and then find that pedal - go slow - each piece takes time and effort to learn and the second you add another pedal, they start to interact in unexpected ways so it's good to take your time. For example, I noticed that singing into my mic when the distortion and delay was on provided a completely different sound than the sax could ever create – it has ended up being a very useful sound but came through experimentation and patience with the pedals themselves.
The order in which you chain multiple pedals has a huge effect on the overall sound – experiment with different combinations (i.e. signal paths) until you find the right order.
Currently, I have a very simple rig: a fuzz pedal re-issue called the Fender Blender, the Line 6 Dl4 for delay and looping, one expression pedal for the Line 6 that controls overall delay mix, a volume pedal to swell in the overall effects and a power supply. The volume pedal is very useful, as sometimes you want to blend your acoustic sound with the effects sound, so I always ask for a clean microphone separate from my clip-on effects mic to have maximum options blending the two.
In the past, I’ve also used various harmonist pedals and also midi-foot controllers as that gave me the ability to never have to use my hands. Some of the effects I was able to get through these rigs included “freezing” notes/chords and being able to play over them for example.