SML KING MARIGAUX TENOR SAXOPHONE on Ebay, how do these compare to the Rev D ?
Pictures are excellent!
http://www.ebay.com/itm/SML-KING-MAR...item4af2332642
SML KING MARIGAUX TENOR SAXOPHONE on Ebay, how do these compare to the Rev D ?
Pictures are excellent!
http://www.ebay.com/itm/SML-KING-MAR...item4af2332642
For one thing, rolled tone holes are gone. AFIK, King Marigaux was the same as SML from that 60s period. The K/M soprano that I had was a helluva player.
Robert Steinberg
Piano, Saxophone, MidiOpera.com
Rev D is the original and my favorite horn.
ironically they are also the same price ,if not cheaper as the others....
SML Revision D Tenor Otto Link Slant Sig 7* Brillhart HR Sakshama Lost Wax Guardala MBII in sterling silver Theo Wanne Wood Ambika 7* Strathon 7* Stan Getz Legend 7*
R&C curvy soprano Wanne Gaia 8 soprano mouthpiece
'Tis a shame that they only repadded the upper stack, yet replaced all the corks and felts.
I had a similar King Marigaux many years ago - nice horn with a lot of classic French body to the core. It felt very heavy on the strap, but played well. I would certainly consider one before I would buy a new Taiwanese horn for this $$$ or more. I haven't owned a Rev D.
Go for The Tone,
g
"When you are doing well, don't forget to do good." - Sichan Siv.
As a Veteran for Peace, I am already against the next war.
just looked at the pics...thats beautiful!!! hey, not having rolled tone holes can be a good thing!!! your tech might appreciate it!!!
SML Revision D Tenor Otto Link Slant Sig 7* Brillhart HR Sakshama Lost Wax Guardala MBII in sterling silver Theo Wanne Wood Ambika 7* Strathon 7* Stan Getz Legend 7*
R&C curvy soprano Wanne Gaia 8 soprano mouthpiece
Unfortunately I can't compare, but I bought a KM a few weeks ago. These are really fantastic horns. As Dr.G mentioned a bit heavy, but I love the tone and feel from it. Full bodied and focussed, yet somehow very present.
Mind blowing tone, but the triple register is completely screwy. All the standard fingerings that work on every other sax I have played from vintage American saxes to Japanese, Taiwanese and Selmers DO NOT WORK. Something about the design of these makes them unplayable up there above high F# or G. It was a deal breaker for me.
"We sax players need to stick together and save the world." Sonny Rollins, 1993 after a show.
You're not the only one that I've heard say this, and it has kept me away from the SML tenors for that reason .Mind blowing tone, but the triple register is completely screwy. All the standard fingerings that work on every other sax I have played from vintage American saxes to Japanese, Taiwanese and Selmers DO NOT WORK. Something about the design of these makes them unplayable up there above high F# or G. It was a deal breaker for me.
Otherwise I'd still love to play one just to see where it sits in the tenor pantheon .
What about Alto's, any one with experience regarding what the Alto's in this model are like?
And thanks for all the input peeps!
I played a KM alto from 1971 to 1977 with the Pgh Quartet which was sponsored by King throughout that period. The alto was on a par with my MK 6, but with a slightly more compact feel. Superb tone, really good mechanics and solid construction. It worked better for me in the quartet setting than did the Selmer. Altissimo was not exceptionally difficult as I remember (Incidentally Bob Luckey was our tenor player - maybe that experience encouraged his Altissimo research and publication.) I used a metal Selmer C with a 3.5/4 VanDoren blue box which got positive response from both Joe Viola and Nick Ayoub at WSC III in Toronto. The King/Marigaux saxes (S,A,T and B) are excellent instruments.
I have read this before, yet when I tried a Rev D I had no trouble at all with the triple register. YMMV.Mind blowing tone, but the triple register is completely screwy. All the standard fingerings that work on every other sax I have played from vintage American saxes to Japanese, Taiwanese and Selmers DO NOT WORK. Something about the design of these makes them unplayable up there above high F# or G. It was a deal breaker for me.
Double post
Mind blowing tone, but the triple register is completely screwy. All the standard fingerings that work on every other sax I have played from vintage American saxes to Japanese, Taiwanese and Selmers DO NOT WORK. Something about the design of these makes them unplayable up there above high F# or G. It was a deal breaker for me.A mind blowing tone indeed, I'm just a shorttime owner but the KM was noticed by the rest of our sax section in Bigband in a very positive way.
I'm not into altissimo so I can't comment on that. I do notice that playing F#3 with my normal fingering is indeed flat on the KM. Adding RH1 solves this and then it is spot on.
Thanks for the well informed contribution.I played a KM alto from 1971 to 1977 with the Pgh Quartet which was sponsored by King throughout that period. The alto was on a par with my MK 6, but with a slightly more compact feel. Superb tone, really good mechanics and solid construction. It worked better for me in the quartet setting than did the Selmer. Altissimo was not exceptionally difficult as I remember (Incidentally Bob Luckey was our tenor player - maybe that experience encouraged his Altissimo research and publication.) I used a metal Selmer C with a 3.5/4 VanDoren blue box which got positive response from both Joe Viola and Nick Ayoub at WSC III in Toronto. The King/Marigaux saxes (S,A,T and B) are excellent instruments.
I've got an alto that's been here for a while needing some TLC. Might get onto it and see how it sounds.
It's s/n is around 20k which makes about 1967 or there a bouts.
Ive always been of the opinion that in-line tone holes make the altisimo register easier to play not harder.
Hi, I really need help, I can't sound the third register F# and above on a Rev D.
Is there an alternate fingering or am I blowing it wrong?
What do you suggest to do so that I can sound the third register?
Need HELP here........
Thanks
That was my experience with one too! Made my 1926 King Bari and 1977 Couf Tenor feel like they were easy in altissimo (and they are a challenge up there too! The SML was way more difficult though!).Mind blowing tone, but the triple register is completely screwy. All the standard fingerings that work on every other sax I have played from vintage American saxes to Japanese, Taiwanese and Selmers DO NOT WORK. Something about the design of these makes them unplayable up there above high F# or G. It was a deal breaker for me.
Yanagisawa 1980 A880 Alto Sax (A9937 neck); 2015 TSBS-680 Taishan Winds Bari; Yanagisawa 1996 T900µ Tenor Sax (T992 neck);1927 Beaufort American Curvy Sop (Conn stencil) w/white Roos
Not the easiest it's true, but intonation on my Rev D tenor is spot on in the altissimo.
See this post for how to make these notes speak more easily.
Last edited by Enthusiast65; 03-13-2016 at 09:46 AM.
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