(Apologies if this has been discussed before -- if so, pointers to such threads would be welcome!)
There seems to be a widespread opinion that modern horns, whatever their advantages in terms of intonation, mechanism, or general versatility, tend to lack the beauty and complexity of tone that characterizes the best vintage saxes. But are there exceptions to this? Which modern horns come closest?
As an Alto player has anybody had a chance to play a "Freewind" Alto from Amsterdam. Candy Dulfer plays one,well she would she's dutch. It sounds interesting but expensive it's a Mk VI copy I think. Any feedback would be good, I haven't had a Blow on one, but if anyone has or has brought one ,let us know.
If you define best tone as vintage Selmers...
Alto: Reference 54 all the way. Sounds identical to an old Mark VI, but more consistent across the register. Shame that the tenor version sounds so bland (Ref 36 fares better)
Tenor: Yanagisawa. Played a killer copper Yani a couple months back, was shocked by how much I loved it. Also Yanagisawa's are one of the best, from a build standpoint.
If you define best tone as vintage American horns (Conn, Buescher), check out Borgani Jubilee tenors. And while you're there, see if you experience the same thing that I did. I just happened to have several vintage tenors and even more Borgani Jubilee tenors of various models this past year. I found that the small bell OBT horns most closely resemble a good Big B, and the large bell xxxxxJ horns are closer to a great Top Hat & Cane. FWIW, the silver plate 187xxJ and silver pearl OBT are the only ones remaining, and they are here to stay.
A sustained flurry of sixteenth note quartets, punctuated with spiraling glissandos. I especially like when the Clark Kent glasses come off, and the Man of Steel shows himself. :bluewink2:
The other obvious comparison being with the Reference 54 -- which to my ears has a distinctly colored sound -- more spread, mellow, darker. For "jazz", right? It got me thinking though, why so many couple them (and other Selmer horns) with more aggressive baffled/metal mouthpieces, FL or Oleg ligs, etc. to brighten/enliven the sound...hmmm...? For "contemporary" music anyway.
Haven't tried/heard enough of the Ref. 36 horn to have a definite opinion there. Yani's are excellent horns all around though, too. Many other makes have quite a distinctive sound. I don't often hear others say the other makers saxes are "bland" -- maybe Yamaha's "bland" sound is just the Yamaha sound...? Not that it's "bland" to me, but sometimes it's like there's just Yamaha, Selmer, and everything else...and with that consideration some might think "Selmer" to be "bland" also!...?
The other obvious comparison being with the Reference 54 -- which to my ears has a distinctly colored sound -- more spread, mellow, darker. For "jazz", right? It got me thinking though, why so many couple them (and other Selmer horns) with more aggressive baffled/metal mouthpieces, FL or Oleg ligs, etc. to brighten/enliven the sound...hmmm...? For "contemporary" music anyway.
Trecht et al, I'm also so impressed with the Trevor James Signature Custom RAW- just a gorgeous, full tone! I've owned or tried the following, and nothing has compared with the TJ: Selmer MK VI and Reference 54, Yamaha EX and Z, Yanagisawa pro, Eastman 52nd St., Schagerl pro. I have not tried the Mauriat 66, Tenor Madness 500, Viking, or Cannonball pros, but would like to!
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