Home Customer Endorsements Saxophone - Charles McNeal
Saxophone - Charles McNeal Print E-mail




"I've had the pleasure of playing on the "Warburton Modular Neck System" for the last few months and I must say "I'm impressed!!!" Each of the necks (Copper and Brass) played wonderfully and added certain characteristics to my sound that I really enjoyed. I found them both to be very free blowing and well crafted. While I did have to make minor adjustments for intonation I found that I was able to play each neck in tune throughout the horn and they blended well when I played in horn sections with other musicians."


Charles McNeal

charlesmcneal.com


Please scroll down to see Charles' review of the Warburton Neck and LA Tenor Mouthpiece!



Charles McNeal compares the brass and copper Warburton neck


Warburton Neck Review:


Once you find the neck tenon that fits your sax and the appropriate "initiator" for the type of sound you're looking for you'll hear that they add different qualities to your sound. There are a few different initiators to choose from, each with a different internal shape that effect the airflow. I was sent 8 different type and settled on the "S48." One thing I will mention. Even though these necks are modular and you can change out the neck tenons and initiators, it's not a easy to remove them as you may think if you tighten them to much. It will take you a little bit of effort if you been playing on the neck for a while. It's no big deal for me because I don't plan on changing initiators every other day, but it is something to keep in mind.

I'll give you a brief overview of my thoughts about each neck. While I chose to use the Copper neck the Brass neck also had qualities that I really enjoyed.


BRASS NECK:

This neck gave me a brighter/edgier sound that was perfect for those time I play in louder electric situations. It was very easy to cut through when I really needed to push some sound through the horn. I could hit my altissimo register with ease and the notes rang out. Of the 2 necks this one took the least amount of adjustment for intonation and also felt closer to the original neck of my Selmer Mark VII tenor sax. I experienced no loss of projection from the top to the bottom of the horn. Every note sounded centered and full. You'll definitely hear the difference in the sound when this neck is played loud! If you do a lot of Rock & Roll, Blues, Fusion type of gigs this may be the neck for you.


COPPER NECK:

This is the neck that I chose to replace the original on my Selmer Mark VII tenor... The reason? It darkened and warmed up my tone of my Mark VII. This horn has always had a pretty a bright tone which I loved for certain things but not for everything. The Copper neck took the edge off so to speak. It took me a second to get the intonation dialed in (about the same as trying a new mouthpiece that you're not quite used to) but I knew right away that this was the one. Same evenness of tone throughout the range of the horn and the altissimo speaks easily. Plus the subtone sounds wonderful! I'm sure I could get just as bright and edgy a sound with a different mouthpiece but that's not the sound I'm going for. This neck definitely helps me get the sound I'm hearing in my head. Plus it looks beautiful...


....so there you have it. I must say, the copper Warburton Modular Neck has made my Selmer Mark VII sax my go-to horn..... Thanks Terry!!




Charles McNeal playing the Warburton LA Tenor Mouthpiece

Warburton "LA" Tenor Mouthpiece Review:

OK, I'll admit it. I'm one of those guys that have a lot of mouthpieces that I go back and forth on depending on the playing situation/environment. It was always hard to find a piece that I could play soft, sub-toned jazz on but also get to a funky, blues drenched tenor sax sound...until now! The Warburton "LA" Series mouthpiece is exactly what I needed. The sound I can get from this piece is versatile, huge and the intonation is spot on!

Hey, I'm a working musician and sometimes I don' know what style I'll be required to play on a particular recording session or gig and I've definitively have been caught with the wrong set-up. I could usually make it through the gig with the mouthpiece I had on hand but I would have to work to hard...not so with the Warburton L.A. This piece is truly that versatile!!!

This piece added a lot of body and color to my sound and didn't get annoyingly bright when I pushed some air through the horn. From the bottom of the horn to the top (including altissimo) of the horn, each note was full, clear and in tune. Also, and I can't say it enough, I was in control of the type of sound I wanted from the horn. I wasn't locked into any limitations set by the design of the mouthpiece, I could shape my sound anyway I wanted to...

I'm looking forward to spending many years playing on this mouthpiece....Thanx Terry!!!



About Charles...

Studied extensively in Denver Co. privately and at the college level with teachers that include: Walt Fowler, Willie Hill, Leslie Drayton, Rich Charluce, Keith Oxman, Ron Miles, Javon Jackson, Nelson Rangell, Brad Leali, Walter Barr.

 

Has been a featured performer at many national and international festivals including: Monterey Jazz Festival (CA), San Jose Jazz Festival (CA), San Francisco Jazz Festival (CA), Playboy Jazz Festival (CA), Telluride Jazz Festival (CO), Umbria Jazz Festival (Italy), Porretta Soul Festival (Italy).

 

Performed, recorded and/or toured with: Jimmy Scott, Charlie Mussellwhite, Keb Mo, John Faddis, Wynton Marsalis, Leslie Drayton, McCoy Tyner, Ray Obiedo, Dave Garabaldi, RAD, Brenda Boykin, Claire Dee, Lavay Smith and the Red Hot Skillet Lickers, Barbara Morrison, Barbara Dennerlein, Jr. Mance, Bruce Forman, Mark Elf, Roberta Flack, The Temptations, Ollie Woodson, Norman Conners, Jean Carne, Curtis Olson, Jamie Davis, Peter Horvath, Jaz Sawyer, Boz Scaggs, Nicolas Bearde..."

 

In addition to being a world class saxophonist my website "charlesmcneal.com" is the #1 source for Jazz Saxophone Transcriptions and related educational resources on the web.