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Is "brand bigotry" starting to fade away?

13K views 135 replies 34 participants last post by  bendurham 
#1 ·
I was a poor kid and mostly had to earn my own money for things like a bike, guitar, nice clothes, etc with paper routes, odd jobs, field work etc. So understandably my first saxophone at age 11 was a cheap, beat up old Bundy from the 1960's, even though my mom somehow came up with the money to get it for me, knowing if she did that I would be more likely to stick with it and that tactic worked, God bless her. Having a beater student horn didn't matter in middle school, but got more uncomfortable in high school as the other kids were starting to get pro horns,and when I got to college, there was definitely a feeling of exclusion, not being in the $5000 horn club. I got quite a lot of **** for having the least expensive instrument in the band, and not just from the other kids with their Custom Z's, MarkVI's and SA80's, but from the jazz band director who a couple times talked trash about it in front of the whole band. I thought it sounded fine, personally, and I wasn't having any trouble with the charts, so I didn't really get it but I was still very jealous.

It's more than 2 decades later now, and like most players I have learned a lot about horns because of the internet, and I read that those old Bundy's are actually rebranded Buescher Tru-Tone/Aristocrats, which are pretty universally considered to be quite good horns. And I have pro horns now too, including a Mark VI and a 10m, but was in Value Village a few weeks ago and found an old 1960's Bundy alto just like the one I started on,and it was only 50 bucks and played fine so I grabbed it. I put Beechler mouthpiece on it and was simply amazed at how great it sounded, how comfortable to play other than the palm keys (more for a kid's hands,) and how easy the altissimo register just pops right out. So naturally I have been playing it as my main horn, not just for the sentimental value either, but because it's a really great sounding horn and also, I really love seeing people roll their eyes when I get it out, then take a second look when they hear me play it.

I know that pro horns are worth the money in many ways, but my school experience makes me wonder, is it really higher quality that sells $5,000 saxophones, or is it ego and vanity? It seems like certain vintage horns especially, that few people were interested in back then, are now selling for a lot of money and at the jams almost everyone is playing vintage horns these days. But I think I'm still the only one that will get on stage with a Bundy.
 
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#2 ·
Wow, I've never seen any horn at a Value Village. Good score, Sax Bum! But to answer your question, no, I don't think brand bigotry's fading at all. But there will always be wise folk like yourself who see past the engraving.
 
#95 ·
ZootTheSim I rarely see saxophones at thrift stores and when I do they are usually china junk like Cecilio, or some other TRASHED beginner horn for a ridiculous price. This was a very lucky score, and oddly enough it was a return that they had marked down to a lower price.
 
#3 ·
We had similar start as kids the difference was my horn was an old Weltklang. Similar to this one http://www.ebay.com/itm/Vintage-Wel...D&orig_cvip=true&rt=nc&_trksid=p2047675.l2557 . I don't even want to remember that piece of xxxx:(

The only good part for me was that my band director was an actual saxophonist so he didn't care what horn you played as long as you sounded fine. Actually God saved whoever was coming to the band with a shiny horn and a crappy sound!!! I mean it. He was very realistic and straight forward. I learned that from him to the point that I am not a fan of any brand. I play the one that sounds and feels right for me and long lasting. I have really good horns now and mouthpieces but everything has been just by ear- selection. Again I don't literally care about ANY specific brand and that was thanks to him.
 
#4 ·
No, There are still techs who look at you sideways when you hand them a Taiwanese horn. When I lived in areas I had options, I'd just tell them they were being dicks and leave. Now I'm in sax-tech hell...seriously, No good player I meet can recommend a decent shop in Western Oregon. As long as players are human and advertising is used to sell horns there will always be brand bias.
 
#6 ·
But I think I'm still the only one that will get on stage with a Bundy.
Bigotry seems to be a pretty resilient quality in **** sapiens, so I wouldn't count it out. However, I just want to say that I think it's awesome that you are doing your own thing and not worrying about what others think. Individuality is a good thing in music, cultivate it!
 
#7 ·
I know that pro horns are worth the money in many ways, but my school experience makes me wonder, is it really higher quality that sells $5,000 saxophones, or is it ego and vanity?
I don't think this is an either/or question. I think that a lot of $5000 saxes (to say nothing of some saxes costing $10,0000 or more) are most definitely of a higher quality than the horns you can typically buy for a few hundred bucks. I also think ego and vanity play a role. It's true of cars, clothes, and many other products: people sometimes buy things, at least in part, to look cool. I'll admit it: if I could afford a VI, I'd get one. Partly because they're outstanding horns (most of 'em, anyway) and partly because I would look really cool playing one. I can't really get too upset if other people fall victim to this, too.

Now, if by "brand bigotry" you're talking about someone who would snub another player because he's playing an inexpensive horn? There's no excuse for that.
 
#9 ·
In some ways I'm glad I grew up poor. It taught me to be very resourceful and persistent, and sometimes that pays off. I got my VI for $2200, about half what it was worth at the time, just by asking around and following up diligently. The owner was a retired lawyer, well off and about 90 years old. He knew it was worth more but didn't want to bother. I was right there with the cash, good enough for him. I also found a mint and I mean mint condition 1935 6m the same way, $400. Even the case was perfect. If you watch the listings on Craigslist and ebay, you'll be in the right place and right time eventually to get an incredible score. I've never paid full market value for any of my horns, or really anything else I buy either.
 
#10 ·
I was a poor kid and mostly had to earn my own money for things like a bike, guitar, nice clothes, etc with paper routes, odd jobs, field work etc. So understandably my first saxophone at age 11 was a cheap, beat up old Bundy from the 1960's, even though my mom somehow came up with the money to get it for me, knowing if she did that I would be more likely to stick with it and that tactic worked, God bless her. Having a beater student horn didn't matter in middle school, but got more uncomfortable in high school as the other kids were starting to get pro horns,and when I got to college, there was definitely a feeling of exclusion, not being in the $5000 horn club. I got quite a lot of **** for having the least expensive instrument in the band, and not just from the other kids with their Custom Z's, MarkVI's and SA80's, but from the jazz band director who a couple times talked trash about it in front of the whole band. I thought it sounded fine, personally, and I wasn't having any trouble with the charts, so I didn't really get it but I was still very jealous.
For all that we - and you - know, perhaps your sound did suck in college. Did you ever hear recordings of the band? Do you know whether you blended with the section?

Perhaps you are harboring some misplaced sense of discrimination.

In some ways I'm glad I grew up poor. It taught me to be very resourceful and persistent, and sometimes that pays off. I got my VI for $2200, about half what it was worth at the time, just by asking around and following up diligently. The owner was a retired lawyer, well off and about 90 years old. He knew it was worth more but didn't want to bother. I was right there with the cash, good enough for him. I also found a mint and I mean mint condition 1935 6m the same way, $400. Even the case was perfect. If you watch the listings on Craigslist and ebay, you'll be in the right place and right time eventually to get an incredible score. I've never paid full market value for any of my horns, or really anything else I buy either.
Regardless, you seem to be happy with your state now. Look at you! You have a Mk VI tenor, just like the cool kids.
 
#11 · (Edited)
Perhaps among younger players, a lot of emphasis is placed on the make and model of one's saxophone. This exists among probably all players regardless of instrument at some point in their lives. When I started playing, I played Dixieland. Everyone owned a different kind of instrument, so no one really cared about what anyone played. When I started playing with guitar players, the young guys had their Les Paul complexes for about six months. The guitar was so heavy that it was too painful to use onstage. I know that there are many Les Paul models, but the coveted one weighed a ton and was really intended for studio use. When the glamor wore off, so did the prestige of owning the instrument. I knew guys who lusted after Les Paul guitars well into their forties, and after they got it, they were sorry because that guitar really didn't make them sound better.

I saw the same thing for awhile among young saxophonists when I was most active in New Orleans. At break, I'd watch the sax players walk up to the stage to make note of the brand of my saxes. I had a MK VI tenor, a Rene Dumon alto (a Keilworth in disguise), and a Borgani soprano. Occasionally, one would walk up and express surprise that I was "still playing a student alto" and playing a "god knows what soprano". Interestingly, when I played in horn bands, there was none of that. I think that the status of owning one of the top 3 (or is it 5) saxophones gave way to showing up with a horn that looked like it had the most wear. I still see that in the situation that I'm in now.

I think that the status-search through owning the most prestigious saxophone is a phenomenon of youth and the denizens of internet forums. Older players that I know are more impressed with the players' sound and chops. Awhile back I heard two younger players' exchange:

"Good god. That horn looks really awful."

" Thanks. A little lacquer thinner followed by a vinegar bath did the trick."

"Cool."

I do believe, however, that among symphony players there is the pressure to own very expensive (the rarer and more obscure the better) instruments. I've known a few young string players and flautists who felt pressured to buy insanely priced instruments when they were in the city concert bands, then played in the youth symphonies, then played in the various city-supported groups.

And several years ago, the local symphony where I now reside went on strike (or threatened to go on strike). A husband-wife team were interviewed by the newspaper (this was 20 years ago). When asked about their pay from the symphony (which was quite a lot at the time), they became quite defensive when the interviewer disclosed their salaries. Their defense was that they were still paying for their violins (which apparently cost more than their homes. They lived in my very middle-middle-misddle class neighborhood).

In China (you know, the PRC, the Peoples Republic of Capitalism), One would be hard pressed to find many musicians who would admit to being happy owning a Chinese-made instrument, even though mainland China actually produces some excellent wind instruments. (The Xinghai hard rubber clarinet comes to mind here. It's really well-built and plays in tune-- very reasonably so even in the throat keys. One of the Ridenhour incarnations is really nice too).

Will the label snobbery die? Not as long as there is a lively market and capitalism is alive. Yanagisawa will go out of business when Armani does, and it doesn't look like that's going to happen any time soon.

Human beings are interesting, aren't we?

Disclaimer: I buy most of my clothes at the local Assistance League (tasty discards from the rich and undeserving), and my present lineup of instruments is a CCS tenor, a 1990's vintage Taiwanese Blessing alto saxophone, and a KHS soprano as well as a Selmer-crafted-in-China Accent clarinet-- and a Vito I can't-remember-the-model-number student clarinet. My mouthpieces include Rico Royals, Ernie Northways, and a couple of self-butchered Otto Links, and one or two whose provenance I can't recall.
 
#12 ·
No, brand bigotry is not fading away. But not everyone is infected by it. Some people care about labels/brands, while others don't, and it is more prevalent in certain subcultures. I have found that I can get good deals on horns by going for things that are a bit less "cool," but significantly cheaper than the more "prestigious" horns.
 
#13 ·
Agree, "band bigotry," if you want to call it that, isn't fading away. I think sometimes it has root in players just being excited about "their" setup and losing sight that setups are very personal and subjective. "Mark VI is the best thing since the wheel..." (Is it, or is it the best for you?) (Not dissing the MarkVI, if that's your thing.)

As Bird stated in the "Hot House" video, "music speaks louder than words." I had a good friend in college who played a pawn shop horn for years (while he was saving up for a Mark VI). And he played circles around his peers who at the time had more expensive horns. It's a fact for horns (and for mouthpieces, I have to remind myself)....if you can't play "Donna Lee" on a Bundy, you won't be able to play "Donna Lee" on a SA80 Serie III Jubilee edition. I guess the point is, make the most of what you have at any given point.

 
#54 ·
Experienced players really don't care about their band mates instruments as long as they play in tune. Of greater importance is the musicians' ability to play. If someone is more concerned with the prestige of his instrument than his playing, he isn't practicing enough.

I know older guitar players who revel in show up at gigs and playing the bejabers out of the most godawful looking beat up no-name guitars.

Forget the name of your sax. Remember the name of the song , the tune, and the changes. It'll make you a better player.
 
#15 ·
In my opinion, “Brand Bigotry” is alive, well and stronger than ever. We represented Morgan Mouthpieces at a recent trade show and were shocked at the lack of curiosity of the college aged players in the hall that weekend. The Selmer, Yamaha and Vandoren booths were packed…PACKED! Most of the rest of the vendors struggled to get anyone to try anything. A local shop was displaying some great vintage and used saxophones…Conn 6M, Buffet SDA Alto, Mark VI alto and tenor, Series II Bari, etc. He struggled to get anyone to try his horns because they were older models. His VI’s were probably priced lower than new model Selmers, but there was just no curiosity. Horns from other manufacturers…Mauriat, Eastman, etc pretty much sat untouched all weekend. There was little curiosity about the Morgan Mouthpieces which was both discouraging and encouraging as we realized the market potential for these great pieces.

My advice for players is that if you are at a trade show with multiple venders, don’t just try the brand name horns and mouthpieces which are typically stocked in most larger shops…have a bit of curiosity and try some stuff you’ve never heard of. The Morgan Mouthpiece Company offers a wider range of Soprano mouthpieces than Vandoren, We offer altos in 4 chambers, tenors in 5 chambers. We even have C-Melody Tenor and C Soprano Saxophone mouthpieces available. All hand-crafted by arguably the best craftsmen in the business. Have some curiosity! You may hate it or you may love it. You may discover that a true hand-crafted pure rubber mouthpiece is just what you are looking for.
 
#18 ·
My advice for players is that if you are at a trade show with multiple venders, don't just try the brand name horns and mouthpieces which are typically stocked in most larger shops…have a bit of curiosity and try some stuff you've never heard of.
Yeah, really - don't take time at a show like that trying the stuff that is easier to find and try, try the stuff you wouldn't get to try otherwise. (Unless maybe all the young players there were from some place way out in the country where they can't get to try anything at all.) That said, I went to a local beer garden that has a bunch of really good microbrew beers, and saw a young couple drinking PBR from cans. Kind of the ultimate in weird backwards brand bigotry.

I guess if you are insecure, or really just want to follow the crowd, it is important to fit in and to have the cool [clothes/shoes/car/dog/horn]. It becomes more about the social pressure/message than it is about the quality of the item.
 
#16 ·
I was a poor kid and mostly had to earn my own money for things like a bike, guitar, nice clothes, etc with paper routes, odd jobs, field work etc. So understandably my first saxophone at age 11 was a cheap, beat up old Bundy from the 1960's, even though my mom somehow came up with the money to get it for me, knowing if she did that I would be more likely to stick with it and that tactic worked, God bless her. Having a beater student horn didn't matter in middle school, but got more uncomfortable in high school as the other kids were starting to get pro horns,and when I got to college, there was definitely a feeling of exclusion, not being in the $5000 horn club. I got quite a lot of **** for having the least expensive instrument in the band, and not just from the other kids with their Custom Z's, MarkVI's and SA80's, but from the jazz band director who a couple times talked trash about it in front of the whole band. I thought it sounded fine, personally, and I wasn't having any trouble with the charts, so I didn't really get it but I was still very jealous.

It's more than 2 decades later now, and like most players I have learned a lot about horns because of the internet, and I read that those old Bundy's are actually rebranded Buescher Tru-Tone/Aristocrats, which are pretty universally considered to be quite good horns. And I have pro horns now too, including a Mark VI and a 10m, but was in Value Village a few weeks ago and found an old 1960's Bundy alto just like the one I started on,and it was only 50 bucks and played fine so I grabbed it. I put Beechler mouthpiece on it and was simply amazed at how great it sounded, how comfortable to play other than the palm keys (more for a kid's hands,) and how easy the altissimo register just pops right out. So naturally I have been playing it as my main horn, not just for the sentimental value either, but because it's a really great sounding horn and also, I really love seeing people roll their eyes when I get it out, then take a second look when they hear me play it.

I know that pro horns are worth the money in many ways, but my school experience makes me wonder, is it really higher quality that sells $5,000 saxophones, or is it ego and vanity? It seems like certain vintage horns especially, that few people were interested in back then, are now selling for a lot of money and at the jams almost everyone is playing vintage horns these days. But I think I'm still the only one that will get on stage with a Bundy.
Well if that's the case, he must have been the worst band director ever to never say so, and badmouth my horn instead. And also for choosing me over other very good players for the band, and then giving me solos and top marks as well. And for the record, I didn't buy my VI for status among the trust fund babies, I bought it fully intending to sell it to one of those brats for a nice profit, take a big chunk off my student loans. I kept it instead because I fell in love with it. Thanks for reminding me why I don't socialize with other sax players much.
 
#23 ·
I was a poor kid and mostly had to earn my own money for things like a bike, guitar, nice clothes, etc with paper routes, odd jobs, field work etc. So understandably my first saxophone at age 11 was a cheap, beat up old Bundy from the 1960's, even though my mom somehow came up with the money to get it for me, knowing if she did that I would be more likely to stick with it and that tactic worked, God bless her. Having a beater student horn didn't matter in middle school, but got more uncomfortable in high school as the other kids were starting to get pro horns,and when I got to college, there was definitely a feeling of exclusion, not being in the $5000 horn club. I got quite a lot of **** for having the least expensive instrument in the band, and not just from the other kids with their Custom Z's, MarkVI's and SA80's, but from the jazz band director who a couple times talked trash about it in front of the whole band. I thought it sounded fine, personally, and I wasn't having any trouble with the charts, so I didn't really get it but I was still very jealous.

It's more than 2 decades later now, and like most players I have learned a lot about horns because of the internet, and I read that those old Bundy's are actually rebranded Buescher Tru-Tone/Aristocrats, which are pretty universally considered to be quite good horns. And I have pro horns now too, including a Mark VI and a 10m, but was in Value Village a few weeks ago and found an old 1960's Bundy alto just like the one I started on,and it was only 50 bucks and played fine so I grabbed it. I put Beechler mouthpiece on it and was simply amazed at how great it sounded, how comfortable to play other than the palm keys (more for a kid's hands,) and how easy the altissimo register just pops right out. So naturally I have been playing it as my main horn, not just for the sentimental value either, but because it's a really great sounding horn and also, I really love seeing people roll their eyes when I get it out, then take a second look when they hear me play it.

I know that pro horns are worth the money in many ways, but my school experience makes me wonder, is it really higher quality that sells $5,000 saxophones, or is it ego and vanity? It seems like certain vintage horns especially, that few people were interested in back then, are now selling for a lot of money and at the jams almost everyone is playing vintage horns these days. But I think I'm still the only one that will get on stage with a Bundy.
Well if that's the case, he must have been the worst band director ever to never say so, and badmouth my horn instead. And also for choosing me over other very good players for the band, and then giving me solos and top marks as well. And for the record, I didn't buy my VI for status among the trust fund babies, I bought it fully intending to sell it to one of those brats for a nice profit, take a big chunk off my student loans. I kept it instead because I fell in love with it. Thanks for reminding me why I don't socialize with other sax players much.
Talk to yourself much???
 
#17 ·
I have heard good things about Morgan mouthpieces, and tried one for my 1925 Conn C Mel. It was good but not the sound I wanted. But I heard they went out of business because the owner died? I agree though, too much herd mentality. But insome ways thats a good thing for independent thinkers who know how to exploit it. Keep at it with those Morgans. It takes time to create a buzz but worth the effort.
 
#21 ·
I play a poor man's Selmer and a poor man's Super 20, though both my horns are also brand-name. That way I can't blame the equipment for my bad playing. But I'm always scouring the web for hidden gems or off-brand stencils. Haven't found one yet, most likely due to lack of knowledge and experience.
 
#22 ·
I know that pro horns are worth the money in many ways, but my school experience makes me wonder, is it really higher quality that sells $5,000 saxophones, or is it ego and vanity? It seems like certain vintage horns especially, that few people were interested in back then, are now selling for a lot of money and at the jams almost everyone is playing vintage horns these days. But I think I'm still the only one that will get on stage with a Bundy.
The need for prestige drives much of the big buck sales. That isn't to say that the more expensive horns aren't better than some of their less expensive competitors, but take the logos and all identifying engravings off a pristine MK VI and sell it for what it sold for in the 1970's and you probably won't get many takers, especially if there are dozens of them on display in very cheap cases. The same goes for insanely priced mouthpieces. Take the identifying logos off, re-badge them as Bubba's Super-Duper Mind-Blowing-Power-Chamber, and you've got losers.

So yeah, I think that it's largely about ego. At some point the perception of higher quality is just that: perception.
 
#26 ·
ZootTheSim: Dick Stabile (Martin Committee stencil,) Buescher 400, Tru-Tone and early Aristocrat, Bundy Special (Keilwerth,) HN White/King Cleveland, 1960's-70's Selmer Bundy (re-branded Buescher Tru-Tone with Aristocrat Keywork,) Vito Japan (Yamaha YTS/YAS-23 stencils,) Amati Toneking (commie Keilwerth copy,) Wurlitzer with beveled tone holes (Martin stencil,) Conn Chu Berry (altos and C Mels are cheap,) 1920's-30's Martin Indiana (second line Martin but very good with pro set-up,) also, I have had 4 Jupiter 767's and 2 of them were excellent. The newer ones from the 90's and later are based on pro Selmers and have excellent tone, plus they are built very well for the most part, though one of them had squirrely tone in the upper reg, and the 80's models SUCK. I had an Olds Ambassador too, R.O.C. Pretty good $100 horn, very stable tone and good ergos. That's my list of cheap horns I like.
 
#27 ·
Junk Dude I think a lot of players like myself are inspired to buy gear that we like the sound of when we hear it played on Youtube videos. You might consider giving a few away to players with some web presence in exchange for a video or two. Doesn't even have to be a review, just a few videos of them playing your pieces. If people like what they hear they will buy your product.
 
#29 ·
In my opinion, "Brand Bigotry" is alive, well and stronger than ever. We represented Morgan Mouthpieces at a recent trade show and were shocked at the lack of curiosity of the college aged players in the hall that weekend. The Selmer, Yamaha and Vandoren booths were packed…PACKED! Most of the rest of the vendors struggled to get anyone to try anything. A local shop was displaying some great vintage and used saxophones…Conn 6M, Buffet SDA Alto, Mark VI alto and tenor, Series II Bari, etc. He struggled to get anyone to try his horns because they were older models. His VI's were probably priced lower than new model Selmers, but there was just no curiosity. Horns from other manufacturers…Mauriat, Eastman, etc pretty much sat untouched all weekend. There was little curiosity about the Morgan Mouthpieces which was both discouraging and encouraging as we realized the market potential for these great pieces.

My advice for players is that if you are at a trade show with multiple venders, don't just try the brand name horns and mouthpieces which are typically stocked in most larger shops…have a bit of curiosity and try some stuff you've never heard of. The Morgan Mouthpiece Company offers a wider range of Soprano mouthpieces than Vandoren, We offer altos in 4 chambers, tenors in 5 chambers. We even have C-Melody Tenor and C Soprano Saxophone mouthpieces available. All hand-crafted by arguably the best craftsmen in the business. Have some curiosity! You may hate it or you may love it. You may discover that a true hand-crafted pure rubber mouthpiece is just what you are looking for.
Junk Dude I think a lot of players like myself are inspired to buy gear that we like the sound of when we hear it played on Youtube videos. You might consider giving a few away to players with some web presence in exchange for a video or two. Doesn't even have to be a review, just a few videos of them playing your pieces. If people like what they hear they will buy your product.
By this logic, the local dealer should be giving away Conns and making YouTube videos of Mk VIs because there is so little awareness of them. Hmmm... :bluewink:

But I agree it's tough to compete it today's market. It's been interesting watching the various paths of "new" mouthpiece makers over the last 10 years or so: Rafael Navarro, Phil-Tone, Matt Marantz, Mouthpiece Cafe, and others. And then there are the people that come up with a design and contract their work to a tech that produces mouthpieces with various brands, like the horns coming out of southeast Asia. It's a huge market, and a marvel that the small guys are still hanging in there. I'm guessing that there is enough word of mouth advertising among players that keep the established small producers going. I still have a Morgan that I bought almost 20 years ago.
 
#30 ·
The brand bigotry is all over the place. Mention a horn that isn't a Mk VI, and, like clockwork, the same people always chime in to ridicule, shame, and chime in with their 2 cents. Even if you have a question about an alto, it is always about how they suck. You have to weed through the crap and small minds. I usually don't even read their posts it has gotten so bad. I have a Bundy from the 80's. My beginner horn. I had it overhauled last year and it sounds amazing.
 
#37 ·
I bought a Yani knockoff soprano for $350 last year because I wanted a horn with a high G, but didn't want to pay 3 grand. It plays OK, good intonation, but the low end is weak, and it's not built well at all. Keeps developing stupid little problems, like weak springs that need replacement, or stuck keys and leaks. From my experience and what I've read of others experiences, Chinese horns are still the "manufactured homes" of the industry. They look nice, play fine at first, but fall apart fast. That's an issue China is going to have to resolve before I'll buy another one of those "white glove" horns off ebay.
 
#42 ·
For tenors I have a couple of Selmers, a Yani, a Barone a few Kohlerts and a couple of Keilwerth stencils, but most are great American vintage tenors
King, Martin, Buescher & Conn.

So yeah, call me a bigot.
 
#51 ·
second hand store,similar to Salvation Army, selling usually clothing and house stuff, furniture, etc.
 
#52 ·
My band director has forced to play on a Selmer tenor for the past year. He says it's better because it's more expensive.
 
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