"Authentic" Born to Run Tenor Sax sample?

[TOFTS]

Old guy, first post here.

I promise I would not presume to play the solo in Born to Run from a keyboard, at least not for the event it's needed for. Too many possibly critical eyes paying too much attention. It will be less cheesy to turn that into a guitar solo (playing the right notes), as that guy will visibly be there playing an instrument.

But for the other places in the song where the sax appears, as part of the general wall of sound, I think it can be justified (and even gotten away with).

With that preamble, can anyone point me to a tenor sax sample that will do the job best? Could be on the Nord (I have an Electro3), could be anything in the wide world of iOS synth/sampler/ROMpler resources.

I know it's a long shot, but before I start tediously trawling through every tenor sax patch I can find...well, knowledgable shortcuts would be appreciated.

[WannitBBBad]

Hello, and welcome to the Forum! For background sax, I have a couple you can listen to and download at viewtopic.php?f=14&t=21376
Good luck!

[harmonizer]

(edited ..... I need to improve my reading skills)

Are you the only keys player in your band? I ask because I hear a prominent glock or chime part throughout (these could probably be covered via an AP sound if you want) and a lot of organ playing, in addition to the long low-pitched sax notes. There's a lot going on.

A lot of those long low sax notes might actually be a bari sax. If I were searching for a synth patch to emulate those long low tones, I would try out some bari sax sounds in addition to tenor sax sounds. You're looking for a low buzzing sound for a lot of those, which is more a bari thing.

[TOFTS]

Thanks, guys. I'll check out those resources.

I am the only keyboard guy, yep. I know that with just guitar and the keyboard stack (plus the riddm section), we're not going to be able to reproduce a faithful arrangement. In rehearsals, though (with only a few times through the song thus far), we're retaining the energy and drive, and everyone is nailing the changes, the rhythmic accents, and the chromatic bit that concludes the long mid section. So we've got good bones to build on.

I'm happy with my MIDI stacking for the back halves of the verses, the extended sus4 progressions after the sax solo, and the chromatics. Definitely a wall of sound, plenty of textures, and it sounds huge.

I agree the glock is crucial, and I've got good sounds for that. I'm hoping I can do something with velocity switching to bring it in where it's critical, or keep a left hand stack that's simple enough to let me articulate those parts.

And yeah, I'm auditioning bari ptaches as well. I'm experimenting with sax and glock together (playing the same notes) on the main hooks. (I know that's not faithful to the arrangement, but it might work.) I did find some buzzy bari that comes through on the lowest notes; doubling a kinda honking tenor (as opposed to sweet and tremulous) with a bari might also be suitable. (Both in the same register, not an octave apart; I know that will be appalling to actual horn guys, and hereby apologize. It's not going to be the feature tone where it appears, just part of the sonic wall.)

I'm not going to get precious about any particular sounds - whatever works best to drive the song in whatever arrangement we work out. It's a throw-together band for a single event, and it'll just be a killer set-ender if we get happy enough with it in rehearsal.