Saxophones My new one-of-a-kind tenor

[thomsax]

On your "custom" SML there is a detachable joint between the body and bow. As far as I remember the ordinary SML's are soldered between the body and bow. I wonder why he changed the construction? I'm just curious. I think a sax like yours is going to be a real milestone.

Thomas

 

[rhysonsax]

I haven't examined an original SML close-up. I guess that Leopold is just following modern design practice in various areas, including the body-bell brace, the 'balanced action', the style of pinky keys, the octave mechanism and lever. The body-bow joint might just be for similar reasons.

Maybe I'll make contact with Leopold. I have had some email discussion with the guy for whom this SML was originally modified.

Rhys

 

[daveysaxboy]

So how much was this baby??????? she is very nice

 

[rhysonsax]

So how much was this baby??????? she is very nice

You never ask a lady her age and never ask a gentleman how much he paid.

Rhys

 

[kevgermany]

So how much was this baby??????? she is very nice

The English version of his web site is here: http://www.meinsax.de/umbau english.htm
and the price list: Werkstatt | Leopold Kondratov (but it's German).
Probably find this link the most helpful: http://meinsax.de/produkte%20english.htm
Gis is German for G#.

He quotes from just under €3000 for a conversion, and from €5355 for his own tenor.

 

[Fraser Jarvis]

Look on the website Rhys included in his first post, i think "almost" all will be revealed on there...

 

[rhysonsax]

I had an interesting afternoon yesterday down at Steve Howard's workshop with Pete Thomas also in attendance. It was fascinating see and hear Pete's superb R&C tenor and also his 'Goofus'.

We also all examined and played my re-built SML tenor. Steve found and cured a minor leak, re-corked the neck and also spotted a ding in the bow that I hadn't noticed.

Pete liked the tone of my SML but was glad that he still preferred his own R&C ! Interestingly we all agreed that while the tone is great, the ergonomics of the horn that aren't quite so good. The tone is basically exactly that of the SML donor horn and the new keywork has some minor ergonomic niggles. The low Bb key is too long a reach and the F# (trill) key isn't sited quite right. Pete and Steve both thought that where the body has been cut and rotated, it hasn't been turned quite enough to match the hand position of a good modern horn. I hadn't noticed that before, but see what they mean. Not a problem for me, but maybe it could have been better.

On Leopold's special keywork, the keycups are pivoted in the centre and can either be used with them floating, or locked off after setting up. My ones are all locked off.

The more I play the horn, the more I really like the tone. It's got a bigger sound than my Selmer and is great down at the bottom end. Tuning is fine, except for a couple of notes that stand out: A2 is quite sharp and high front F (alt F) is a bit flat.

I was contacted by the guy who had originally got Leopold to modify his SML. I asked him why he decided to sell it and here is what he said:
Very powerful and beautiful sounding instruments. I just got very short hands and prefer the early MK VI key board so I did played it for a while but went back to my MK VI.

So it seems that the ergonomics of the new keywork played a part in why the former owner sold it on.

Rhys

 

[kevgermany]

Rhys, How did the ergonomics compare to the R&C?

 

[rhysonsax]

Rhys, How did the ergonomics compare to the R&C?

I didn't play the R&C, just admired it from close up. The bore at the end of the R&C neck was absolutely huge but the bell diameter was actually quite small. Sounded great.

Rhys

 

[kevgermany]

I didn't play the R&C, just admired it from close up. The bore at the end of the R&C neck was absolutely huge but the bell diameter was actually quite small. Sounded great.

Rhys

From the photos Pete posted last year, I think it's beautiful. Way beyond me.... I can only dream, but I couldn't do it justice, either.

 

[Pete Thomas]

Pete liked the tone of my SML but was glad that he still preferred his own R&C !

Yes, I thought it was a great tenor, very interesting. But I've always liked SMLs anyway.

I had originally thought the keywork was meant to always be in the "loose" position, that was the way it was on the Martin I saw at Frankfurt last years, and like Stephen, i thought it was an interesting idea that didn't quite work as it didn't seem to seal on some of the pads. But when tightened, as an easy way to adjust for levelness with the tonehole or change pads without rermoving the stack, it's a great idea.

Maybe I'll get Leopold to do my Grafton.

 

[kevgermany]

Maybe I'll get Leopold to do my Grafton.

🙂))🙂))🙂))🙂))

 

[milandro]

You never ask a lady her age and never ask a gentleman how much he paid.

Rhys

:blowkiss:...........no, a gentleman definitely wouldn’t speak about how much he paid for the lady in question ........🙂))

 

[Doodah]

:blowkiss:...........no, a gentleman definitely wouldn’t speak about how much he paid for the lady in question ........🙂))

Said gentleman's wife could be reading this. When I die, I'm afraid my wife will sell my instruments for the price I told her I paid.

 

[milandro]

Said gentleman's wife could be reading this. When I die, I'm afraid my wife will sell my instruments for the price I told her I paid.

I’d be interested to buy your Mark Vi and your super 20 for the 100€ that you told her that they have costed you......

 

[kevgermany]

I’d be interested to buy your Mark Vi and your super 20 for the 100€ that you told her that they have costed you......

I'd pay 10% more AND cover the forum contribution.

 

[milandro]

:shocked: from the Oxford Dictionary:

meddle |ˈmedl|
verb [ intrans. ]
interfere in or busy oneself unduly with something that is not one's concern : I don't want him meddling in our affairs | [as n. ]

 

[zannad]

I have this Toptone which has similar pivotal keys - and the pads are the special toptone ones made of some synthetic material; the action is very fast and crisp - best I've ever tried so far.
http://imageshack.us/photo/my-images/703/toptone1.jpg/

 

[littleplum]

When I started playing again in 1995 I bought a Trevor James alto that was called the Evolution. It had floating pads fitted and never needed any adjustment in the 12 years that I played it and my student who still uses it has never had any problems either. I have not seen another one like it as the others are called revolution.

 

[Out in the sticks]

I have just bought a unique tenor sax from a dealer in the USA and thought you might be interested to hear about it.

It was originally an SML Rev. D from about 1954, but it has been radically rebuilt be a tech in Munich called Leopold Kondratov. My horn is pictured on his website: http://www.meinsax.de/fotogalerie.htm

Not only does it have a modern keywork, it also has unique mechanism with each key cup having a ball joint in the centre which allows it to float for a perfect seal before being tightened up.

There is a ring around the body below the strap ring where the body tube has been cut and the lower part rotated to give a 'balanced action' style (rather than the original in-line tone holes). The ergonomics are as good as most modern horns; only the F# auxiliary key (RH) isn't very well placed as it's too far back for me. The left and right hand pinky keys are fine.

It's a heavy beast but still comfortable to hold and play. The tone holes have rolled rims and all seem to seal properly, even after its trip across the Atlantic. I really like the silver plate finish.

The horn blows beautifully from bottom to top. I've never played an SML before, but the sound is lovely: slightly similar to my MkVI but with distinct differences. Easy at the bottom, clear at the top and a big sound throughout. Intonation seems to be good as well.

Rhys

Hi Rhys, did you hang on to this I had bid on this when it was for sale on ebay, I was actually just curious if you still had it and if you were thinking of getting a change I may be interested.