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CafeSaxophone Forum
Tech/maintenance My new "DIY" pads...
This thread follows on from my earlier one here: Why have pads had the same design for 150 years?
You may have also noticed I've been asking about resonators, key bounce, sprung weight of key cups, thin pads, cheap pads, cutting brass, and thread lock fluid.
Well, I've come up with an idea for a new type of padding system which takes some cues from Codera, Toptone, Jim Schmidt, and others who have designed what they feel is a better system than the 150 year old one of glueing leather, woven felt, and card into key cups.
I'm not quite there yet but close. I have fully re-padded my cheapie Jupiter 767 using my system with modified Tru-Seal pads, as mentioned in the previous thread linked above, (many thanks to @stitch ) and all works well. I dealt with Brandon at Tru-Seal and he was super helpful in making the pads how I wanted them. You may not know, but they do instrument rentals too and had to find a better way of padding due to marching band leather pads becoming soaked in the rain and swelling/leaking, hence their new water resistant synthetic pad seal.
But my pads aren't just about the sealing material. It's a new method of padding saxophones (and other suitable wind instruments with pads).
All pads (that's 23 on the Jupiter, bar the two tiny octave pads) are self-levelling, height adjustable at and after installation, removable or replaceable in 5 seconds (each pad, at any time), can have resonators changed in 2 minutes (each) should you fancy a different shape or material, or none at all, can have interchangeable sealing material (for feel), will retro-fit to existing instruments, and are an easier DIY fit than the traditional method if you can dismantle (and re-assemble!) your sax.
No shellac, hot glue, leather, woven felt, or cardboard. No melting glue, re-melting to adjust pads with picks, shims, irons, nor time-consuming adjustment of interconnected keys. You can even cut away almost all of your key cups to save weight if you like. Not many will, but manufacturers might. The 'key' ingredient to my design is magnetism. I don't think magnetically secured pads have been utilised previously but do let me know if I'm wrong.
At present I'm still perfecting the synthetic seal choice(s). It's a balancing act between feel, seal, and percussive noise, also considering stickiness, moisture and bacteria resistance amongst other things. There's also some fine tuning of the mechanics, waiting for tiny parts from around the world, so it's likely to be a few months yet before I perfect the balance of all these things.
If I brought it to market in due course I don't suppose techs would worry about end users being able to replace their pads with a pair of tweezers and a spanner or two, as most folks won't take their horns apart AND I'd have to overcome 150 years of the "traditional" method, which would be difficult. However, my system may offer techs the opportunity to speed up re-padding, especially as each of the 23 keys is individually height adjustable with just the turn of a screw. This assists greatly with pad heights and adjustment of connected keys. Pop out a pad, turn the screw to adjust, pop it back in.
It does however allow a competent end user a degree of customisation whereby they could switch reso type, sealing material, customise the rear of the pad, replace pads, or indeed re-pad without the current level of skill required.
This invention came to me as I have done DIY repairs for years but always stopped short of pad replacement (and dents - no easy answer to them!). The thought of glueing, levelling, shimming, re-heating to adjust, seating, fiddling with picks and irons... well, it just befuddles me. It's wizardry, hence finding another way.
I hope to make a (no doubt rather amateur) video very shortly showing how the new pads work. Do come back and have a look as all will become clear at that point.
Just in case it all works out, I've also applied for a Patent so I'm Pad Pat Pending at present. This revolves mostly around the magnetic attachment as the novel innovation.
I'd like to thank all those who contributed to my earlier threads and all those who might continue to follow my further exploits with this idea, especially all our esteemed techs here who may well spot flaws I've not thought through fully.
Video, photos and more info as and when... bear in mind I'm also trying to keep up the day job.
You may have also noticed I've been asking about resonators, key bounce, sprung weight of key cups, thin pads, cheap pads, cutting brass, and thread lock fluid.
Well, I've come up with an idea for a new type of padding system which takes some cues from Codera, Toptone, Jim Schmidt, and others who have designed what they feel is a better system than the 150 year old one of glueing leather, woven felt, and card into key cups.
I'm not quite there yet but close. I have fully re-padded my cheapie Jupiter 767 using my system with modified Tru-Seal pads, as mentioned in the previous thread linked above, (many thanks to @stitch ) and all works well. I dealt with Brandon at Tru-Seal and he was super helpful in making the pads how I wanted them. You may not know, but they do instrument rentals too and had to find a better way of padding due to marching band leather pads becoming soaked in the rain and swelling/leaking, hence their new water resistant synthetic pad seal.
But my pads aren't just about the sealing material. It's a new method of padding saxophones (and other suitable wind instruments with pads).
All pads (that's 23 on the Jupiter, bar the two tiny octave pads) are self-levelling, height adjustable at and after installation, removable or replaceable in 5 seconds (each pad, at any time), can have resonators changed in 2 minutes (each) should you fancy a different shape or material, or none at all, can have interchangeable sealing material (for feel), will retro-fit to existing instruments, and are an easier DIY fit than the traditional method if you can dismantle (and re-assemble!) your sax.
No shellac, hot glue, leather, woven felt, or cardboard. No melting glue, re-melting to adjust pads with picks, shims, irons, nor time-consuming adjustment of interconnected keys. You can even cut away almost all of your key cups to save weight if you like. Not many will, but manufacturers might. The 'key' ingredient to my design is magnetism. I don't think magnetically secured pads have been utilised previously but do let me know if I'm wrong.
At present I'm still perfecting the synthetic seal choice(s). It's a balancing act between feel, seal, and percussive noise, also considering stickiness, moisture and bacteria resistance amongst other things. There's also some fine tuning of the mechanics, waiting for tiny parts from around the world, so it's likely to be a few months yet before I perfect the balance of all these things.
If I brought it to market in due course I don't suppose techs would worry about end users being able to replace their pads with a pair of tweezers and a spanner or two, as most folks won't take their horns apart AND I'd have to overcome 150 years of the "traditional" method, which would be difficult. However, my system may offer techs the opportunity to speed up re-padding, especially as each of the 23 keys is individually height adjustable with just the turn of a screw. This assists greatly with pad heights and adjustment of connected keys. Pop out a pad, turn the screw to adjust, pop it back in.
It does however allow a competent end user a degree of customisation whereby they could switch reso type, sealing material, customise the rear of the pad, replace pads, or indeed re-pad without the current level of skill required.
This invention came to me as I have done DIY repairs for years but always stopped short of pad replacement (and dents - no easy answer to them!). The thought of glueing, levelling, shimming, re-heating to adjust, seating, fiddling with picks and irons... well, it just befuddles me. It's wizardry, hence finding another way.
I hope to make a (no doubt rather amateur) video very shortly showing how the new pads work. Do come back and have a look as all will become clear at that point.
Just in case it all works out, I've also applied for a Patent so I'm Pad Pat Pending at present. This revolves mostly around the magnetic attachment as the novel innovation.
I'd like to thank all those who contributed to my earlier threads and all those who might continue to follow my further exploits with this idea, especially all our esteemed techs here who may well spot flaws I've not thought through fully.
Video, photos and more info as and when... bear in mind I'm also trying to keep up the day job.
393 Replies
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67229 views
I have a newish Trevor James The Horn soprano that I bought from a friend to try out.
I really like soprano, and now I am wondering, well, "GAS" is wondering whether I could get a better soprano. I have been specifically looking at the YSS 475, because it is in my price range and because I have heard good things about it.
It would always be my second instrument, my first being alto (Yamaha 62). I might be going to (a well known sax shop in South London) this week to try some out and I hope I have the willpower to remain objective in the face of so much temptation. I have considered second hand but sopranos are so finnicky I think I would prefer to buy new or second hand refurbished from a shop.
But before I go was just wondering whether anyone on here has tried both saxes and noticed any real difference in how they both sound/feel etc?
I really like soprano, and now I am wondering, well, "GAS" is wondering whether I could get a better soprano. I have been specifically looking at the YSS 475, because it is in my price range and because I have heard good things about it.
It would always be my second instrument, my first being alto (Yamaha 62). I might be going to (a well known sax shop in South London) this week to try some out and I hope I have the willpower to remain objective in the face of so much temptation. I have considered second hand but sopranos are so finnicky I think I would prefer to buy new or second hand refurbished from a shop.
But before I go was just wondering whether anyone on here has tried both saxes and noticed any real difference in how they both sound/feel etc?
49 Replies
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3635 views
Cafe Moderator
Commercial
Cafe Announcements 📣 Rules update
You may have noticed a tickbox to accept our updated rules.
Please feel free to make comments here on the changes (or existing rules). A lot of time and thought went into these rules whose enytire aim is to make the Cafe a more pleasant place for all.
AI thank you.
Please feel free to make comments here on the changes (or existing rules). A lot of time and thought went into these rules whose enytire aim is to make the Cafe a more pleasant place for all.
AI thank you.
11 Replies
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109 views
In the near future a Pan American (Conn Stencil) Baritone will be offered in the yard sale.
Importantly, the sale is about good will, and largely some fund raising for the Cafe.
Some months ago, as I browsed the shelves of a music shop I was asked by one of the sales team if I knew the value of a certain used mouthpiece.
Well thats a different story I don’t want to detract from this thread except to say, I gave a very conservative figure to the new owners who had inherited a musical pile of stuff from a late relative, knowing that with the right market it could be worth considerably more and I gave them my number incase they needed any more help. That was my sole involvement.
Here we are some months later with the dust settling and they contacted me.
The main quest was to help them understand what Baritone sax they had.
As the discussion evolved it became clear that they would have to spend more time, energy and a bit of money than they had in order to move on bulky item that didn’t mean much to them.
With good causes in mind over a few conversations I got the go ahead to see if we could launch a double pronged attack on having the new owner see a modest amount for their trouble and the rest of any proceeds being donated to the cafe.
All of this while making the saxophone an attractive price for a new owner to complete a circle of good will.
Well, this was all a nice idea but the condition of the Baritone was as yet unknown to me.
I approached Pete Thomas with the theoretical idea to help the Cafe financially and he welcomed it in the face of continuing financial battle to keep the Cafe running without a loss.
I also contacted Steve Howard who I’m sure needs no introduction here to see if I could perhaps lean on him a little for the cause and help us out ensuring the thing would play ok.
Naturally Steve was quite sceptical about an old Baritone that none of us had seen, fearing it may require some expensive work. I completely understood and the Baritone that was due to arrive at my door could be a complete basket case. Either way Steve generously offered to take an initial look at it.
Roll on to it’s arrival and I was pleasantly surprised. No horror stories that I could see but none the less it needed to be looked at by someone who would really know.
I made my way over to see Steve who I haven’t seen in a long time. Great to catch up a bit and to see him tutting away at a couple of leaks on Selmer Reference 36 Tenor on his bench.
As soon as he had a moment to free himself from that we took a look at the baritone together.
First of all the case is shaped croc skin Selmer case thats completely intact but all baritones deserve better. Baritone players will no doubt be familiar with the manipulation required to close or open all the catches on something like this and the limited internal padding.
Opening the case I tried to see through Steve’s poker face to make sure he wasn’t going to run in the other direction and out of the door. He took it out and I soon got the impression that this was something that wasn’t going to conjure thoughts of “what have I got myself into now”.
After a quick blast up and down and another look, we came to a conclusion.
A good conclusion.
In short, it’s been pretty well looked after and has clearly been played a lot, with some lower body battle scars and lacquer is redone but mechanically it’s decent, regulation is pretty good for the most part and on the whole its a nice bit of kit thats about 80% good as it is.
I’ve left it with Steve.
He is very kindly contributing to the fund raising and the thought process is, a bit of a clean and lubricate, a pad or 2 and a look at a tone hole or 2 before this thing reaches the yard sale.
From there on, someone should just play it until the pads are trashed. Then get it sorted. So we are not looking at an overhauled 100% . Instead something tidy in good playing condition that will get someone up and running. It will be priced at the lower end accordingly.
Currently I’m hoping to find an inexpensive mouthpiece to go with it if anybody has any ideas.
As I’ve mentioned already, the owner gets a little for their trouble, the Cafe gets the rest. There are no middle man or maintenance proceeds. So to complete the cycle, this should be an attractive price.
Are you looking at your first footsteps into the Baritone world?
Do you know of an aspiring Gerry Mulligan, Ronnie Cuber or Dana Colley that needs a helping hand?
If you wish to know more about it especially if you have an eye on buying please feel free to message me before it hits the yard sale.
Here is the big caveat, the case and bulk of the item makes it undesirable to ship.
Collection in Hampshire UK is ideal but I’m not averse to helping with some kind of meet up to reduce your your travelling distance.
But all comments welcome in this thread.
I think Steve will make some comments photo contributions here as and when.....
Importantly, the sale is about good will, and largely some fund raising for the Cafe.
Are you interested in getting involved? If so please read on.
Here is the tale.Some months ago, as I browsed the shelves of a music shop I was asked by one of the sales team if I knew the value of a certain used mouthpiece.
Well thats a different story I don’t want to detract from this thread except to say, I gave a very conservative figure to the new owners who had inherited a musical pile of stuff from a late relative, knowing that with the right market it could be worth considerably more and I gave them my number incase they needed any more help. That was my sole involvement.
Here we are some months later with the dust settling and they contacted me.
The main quest was to help them understand what Baritone sax they had.
As the discussion evolved it became clear that they would have to spend more time, energy and a bit of money than they had in order to move on bulky item that didn’t mean much to them.
With good causes in mind over a few conversations I got the go ahead to see if we could launch a double pronged attack on having the new owner see a modest amount for their trouble and the rest of any proceeds being donated to the cafe.
All of this while making the saxophone an attractive price for a new owner to complete a circle of good will.
Well, this was all a nice idea but the condition of the Baritone was as yet unknown to me.
I approached Pete Thomas with the theoretical idea to help the Cafe financially and he welcomed it in the face of continuing financial battle to keep the Cafe running without a loss.
I also contacted Steve Howard who I’m sure needs no introduction here to see if I could perhaps lean on him a little for the cause and help us out ensuring the thing would play ok.
Naturally Steve was quite sceptical about an old Baritone that none of us had seen, fearing it may require some expensive work. I completely understood and the Baritone that was due to arrive at my door could be a complete basket case. Either way Steve generously offered to take an initial look at it.
Roll on to it’s arrival and I was pleasantly surprised. No horror stories that I could see but none the less it needed to be looked at by someone who would really know.
I made my way over to see Steve who I haven’t seen in a long time. Great to catch up a bit and to see him tutting away at a couple of leaks on Selmer Reference 36 Tenor on his bench.
As soon as he had a moment to free himself from that we took a look at the baritone together.
First of all the case is shaped croc skin Selmer case thats completely intact but all baritones deserve better. Baritone players will no doubt be familiar with the manipulation required to close or open all the catches on something like this and the limited internal padding.
Opening the case I tried to see through Steve’s poker face to make sure he wasn’t going to run in the other direction and out of the door. He took it out and I soon got the impression that this was something that wasn’t going to conjure thoughts of “what have I got myself into now”.
After a quick blast up and down and another look, we came to a conclusion.
A good conclusion.
In short, it’s been pretty well looked after and has clearly been played a lot, with some lower body battle scars and lacquer is redone but mechanically it’s decent, regulation is pretty good for the most part and on the whole its a nice bit of kit thats about 80% good as it is.
I’ve left it with Steve.
He is very kindly contributing to the fund raising and the thought process is, a bit of a clean and lubricate, a pad or 2 and a look at a tone hole or 2 before this thing reaches the yard sale.
From there on, someone should just play it until the pads are trashed. Then get it sorted. So we are not looking at an overhauled 100% . Instead something tidy in good playing condition that will get someone up and running. It will be priced at the lower end accordingly.
Currently I’m hoping to find an inexpensive mouthpiece to go with it if anybody has any ideas.
As I’ve mentioned already, the owner gets a little for their trouble, the Cafe gets the rest. There are no middle man or maintenance proceeds. So to complete the cycle, this should be an attractive price.
Are you looking at your first footsteps into the Baritone world?
Do you know of an aspiring Gerry Mulligan, Ronnie Cuber or Dana Colley that needs a helping hand?
If you wish to know more about it especially if you have an eye on buying please feel free to message me before it hits the yard sale.
Here is the big caveat, the case and bulk of the item makes it undesirable to ship.
Collection in Hampshire UK is ideal but I’m not averse to helping with some kind of meet up to reduce your your travelling distance.
But all comments welcome in this thread.
I think Steve will make some comments photo contributions here as and when.....
3 Replies
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64 views
Tech/maintenance Abalone key pearls
Needed to order from Amazon so I added a set of these to see what they're like: Bnineteenteam Key Buttons for Alto Sax, 9pcs Sax Abalone Shell Key Buttons Saxophone Key Button for soprano, alto and tenor saxophones : Amazon.co.uk: Books
Not expecting much. Most of the "real shell" pearls I've looked at seem to be covered in acrylic which means they're no different than a plastic key surely?
Anyway... for a fiver it's worth a go. Let you know what they're like once they arrive.
Not expecting much. Most of the "real shell" pearls I've looked at seem to be covered in acrylic which means they're no different than a plastic key surely?
Anyway... for a fiver it's worth a go. Let you know what they're like once they arrive.
98 Replies
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7270 views
Saxophones Saxophones, rarely discussed
Everybody knows the nice horns that get talked about all the time (Selmer, Martin, Yamaha, etc). Then there are the good instruments less talked about but I would say still fairly well known (a Yamaha Vito stencil for example).
How about a topic for those worthy saxophones (I'll leave the definition of worthy alone for now) that are rarely discussed?
Yesterday I 'discovered' the F.E. Olds Super:
Obviously beauty is in the eye of the beholder but I have to say that is a very cool looking alto! With an interesting story as well, that you can find if you dig a bit here or at the other forum.
So, what other models might fit the topic?
How about a topic for those worthy saxophones (I'll leave the definition of worthy alone for now) that are rarely discussed?
Yesterday I 'discovered' the F.E. Olds Super:
Obviously beauty is in the eye of the beholder but I have to say that is a very cool looking alto! With an interesting story as well, that you can find if you dig a bit here or at the other forum.
So, what other models might fit the topic?
133 Replies
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2221 views
Misc instruments What other instrument could you just not...
... get along with?
Lots of folks double or dabble; but have you ever fancied adding an instrument but just could not come to terms with it (or them)?
Myself, I fancy a blues harp/mouth organ. I just don't get it. Luckily, trying costs little in that case.
«this thread brought to you by the Department of Idle curiosity »
Lots of folks double or dabble; but have you ever fancied adding an instrument but just could not come to terms with it (or them)?
Myself, I fancy a blues harp/mouth organ. I just don't get it. Luckily, trying costs little in that case.
«this thread brought to you by the Department of Idle curiosity »
39 Replies
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845 views
Tone or Sound embrochure position with recessed jaw
my jaw is slightly recessed, not too bad but it is not even with my upper lip
i can still get an alright sound but should i be purposefully putting my lower lip foward in order to compensate for this?
i find forcing the lower lip further foward does make the reed feel like its more free, and easier to get altissimo notes. but long term it feels a bit uncomfortable and unnatural so i find myself subconsciously putting my lower lip further back over time
i can still get an alright sound but should i be purposefully putting my lower lip foward in order to compensate for this?
i find forcing the lower lip further foward does make the reed feel like its more free, and easier to get altissimo notes. but long term it feels a bit uncomfortable and unnatural so i find myself subconsciously putting my lower lip further back over time
9 Replies
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226 views
I bought this tenor saxophone a little over a year ago from my professor. I just recently picked it back up for a gig with friends. Out of curiosity, I wanted to do a little research into the sax to see if it was any good since I haven't played it much. I had never heard of this brand until my professor told me about it.
The brand is E.K. Blessing. However, I can not find a model number on it, at least not one that matches any of Blessing's model numbers. There are two numbers on the bottom back of the sax. I am attaching pictures.
I was hoping you all could work your magic on this one for me. Since I have so far found nothing. I have posted this on a few Sax subreddits, but they aren't doing me any good. I figured a saxophone-focused forum could help a bit more.
The brand is E.K. Blessing. However, I can not find a model number on it, at least not one that matches any of Blessing's model numbers. There are two numbers on the bottom back of the sax. I am attaching pictures.
I was hoping you all could work your magic on this one for me. Since I have so far found nothing. I have posted this on a few Sax subreddits, but they aren't doing me any good. I figured a saxophone-focused forum could help a bit more.
17 Replies
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392 views
Beginner Saxes Yamaha YTS280 v Trevor James EVO (Tenor)
Hi everyone,
I'm completely new to the world of making music—I've never played a saxophone or any other instrument before! However, I've always loved the sound of the Tenor Saxophone.
I definitely lean toward the darker tones you hear in Soul and R&B, rather than the brighter, lighter sounds.
Right now, I'm trying to choose my first horn and I'm drawn between two options:
Yamaha YTS-280: This seems to be the gold standard for beginners. It gets excellent reviews everywhere, comes with a great warranty, and has a really solid repair network.
Trevor James EVO: This one is catching my ear because it's described as having that darker sound I’m naturally drawn to. However, it doesn't seem to have as many reviews, the warranty is weaker, and the repair network seems a bit more complicated here in the UK.
I'd love to hear of any experiences of these two horns. Specifically, I'm wondering whether the EVO would be a suitable student horn, and whether the EVO would benefit from adding a Yamaha 4C mouthpiece right out of the box.
Thanks in advance and I appreciate any thoughts!
I'm completely new to the world of making music—I've never played a saxophone or any other instrument before! However, I've always loved the sound of the Tenor Saxophone.
I definitely lean toward the darker tones you hear in Soul and R&B, rather than the brighter, lighter sounds.
Right now, I'm trying to choose my first horn and I'm drawn between two options:
Yamaha YTS-280: This seems to be the gold standard for beginners. It gets excellent reviews everywhere, comes with a great warranty, and has a really solid repair network.
Trevor James EVO: This one is catching my ear because it's described as having that darker sound I’m naturally drawn to. However, it doesn't seem to have as many reviews, the warranty is weaker, and the repair network seems a bit more complicated here in the UK.
I'd love to hear of any experiences of these two horns. Specifically, I'm wondering whether the EVO would be a suitable student horn, and whether the EVO would benefit from adding a Yamaha 4C mouthpiece right out of the box.
Thanks in advance and I appreciate any thoughts!
27 Replies
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304 views
Miscellaneous Motorbikes
Señor Pig,
Would like to know more about this bike/side car.
More pics?
Thanks.
Might make a side car for the kids and grandkids, for the '79 XT500, if they buy a ranch/farm in the Rockies.
Off road only.
Would like to know more about this bike/side car.
More pics?
Thanks.
Might make a side car for the kids and grandkids, for the '79 XT500, if they buy a ranch/farm in the Rockies.
Off road only.
34 Replies
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545 views
Blog Mike's musings
Inspired by @Tenor Viols musings, I decided to create my own thread. Focused on my new 'journey' from Big Band music into the world of rock/pop music.. Not only the very different style of music but (for me) also the very different world of amplification, different mpc's, etc,
I
For the 1st 3 weeks, things started off really well! I was enthusiastic and so were the band. I was less enthusiastic on the 4th week when the nominal 'band leader' returned from a vacation, brought a ton of equipment along with him and basically drowned other members out.
During the 4th rehearsal (always on a Saturday), I noticed that my right hand felt a bit 'odd' but OK. That night, the pain in my right hand kept me awake. The day after (following internet advice) , I applied a bandage and ice. My guess is that I injured my hand during a "Fitness Session' the previous Friday. Since then , I haven't been able to play sax🙁. But I have been able to listen to some tracks that I've been asked to play🙂. Not exactly (no-one in the band does) but 'sufficiently recognisable'.
I
For the 1st 3 weeks, things started off really well! I was enthusiastic and so were the band. I was less enthusiastic on the 4th week when the nominal 'band leader' returned from a vacation, brought a ton of equipment along with him and basically drowned other members out.
During the 4th rehearsal (always on a Saturday), I noticed that my right hand felt a bit 'odd' but OK. That night, the pain in my right hand kept me awake. The day after (following internet advice) , I applied a bandage and ice. My guess is that I injured my hand during a "Fitness Session' the previous Friday. Since then , I haven't been able to play sax🙁. But I have been able to listen to some tracks that I've been asked to play🙂. Not exactly (no-one in the band does) but 'sufficiently recognisable'.
278 Replies
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19393 views
Beginner recording body and soul
not the best recording, played the head a bit messily, the reason the video is black is because i had my phone lying on the desk with the camera pointing down into the desk
been trying to work on my sound to get it to be large and warm
any tips or constructive feedback would be appreciated
6 Replies
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227 views
Tone or Sound subtone
is subtone supposed to be achieved by moving the bottom lip lower on the reed to dampen the sound? or is it achieved by just lowering/widening the airstream and keeping the embrochure the same?
found you can achieve a subtone by doing both but am not sure if one or the other is better, or if they can both be done interchangably. also i find doing the former (dampening the reed by moving the bottom of the lip lower on the reed) makes the sound slightly more thin and muffled than doing the latter variation of subtone.
found you can achieve a subtone by doing both but am not sure if one or the other is better, or if they can both be done interchangably. also i find doing the former (dampening the reed by moving the bottom of the lip lower on the reed) makes the sound slightly more thin and muffled than doing the latter variation of subtone.
3 Replies
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124 views
Saxophones Carrying a tenor on a (motor)bike?
I'm thinking of acquiring a secondhand Suzuki Van Van and learning to ride over the summer, the idea being that it will be fun, and more economical than my 4x4 for going to work and other short journeys, when the weather is reasonable. But on quite a few of those journeys I am accompanied by my tenor.
Anyone carry one on a bike, and got any advice please?
Anyone carry one on a bike, and got any advice please?
779 Replies
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84972 views
Tech/maintenance Just a general question to sax maintainers and repairers
Hi, and many thanks to any members who respond!
My question is whether I should give my Tenor Sax a complete overhaul (very probably!) and if so, whether I should look for a sax repairer who has specific knowledge, skills and reputation of overhauling 'vintage saxophones'.
TBH, I've asked questions on this topic to 'Google AI' and I've got some valuable responses. For example, the difference between 'regular sax maintenance' and 'complete overhauls'. Down to which local 'repairers' would be best qualified to overhaul my specific sax and the questions that I should ask them beforehand! All based on my specific Tenor sax model and year. Another 'Google AI' conclusion was that - on average - periodic 'minor sax maintenance' should be done every 1-2 years. And a 'major overhaul' might be needed every 5-10 years. My sax has had neither in 20 years!
So what I would like from experienced. informed and human sax repairers are their opinions on the answers that I got from Google AI based on the 'background 'below.
Background
I bought my 1961 'Buffet Crampon Super Dynaction' Tenor Sax about 20 years ago. At that time, it had been thoroughly 'checked out' and played easily in comparison to other 'vintage saxes' that I tried out. In the 20 years since, I've had a few minor 'playing problems' quickly inspected and fixed' by my local 'clarinet/sax' lady. Usually free of charge. But in these 20 years, my sax has never had 'periodic maintenance' or 'overhauls'
Lately (for the past 6 months or more), I've been really struggling to play my sax. With certain notes (G/G# in the higher octave) 'squeaking'. In my local sax lady's opinion (within 5 minutes) she said that the 2 octave keys worked fine mechanically. So that any 'squeaks' were probably due to my 'embouchure'. Which hasn't changed in many years.
A new Tenor Sax player recently joined my Big Band. He had sax that looked to me 'unusual'. I asked him what it what it was and said it was a John Packer JP042 Bb Tenor. He explained that it was a 'temporary sax' while he was getting his Yamaha 'restored'. He added that he wasn't yet sure which one he'd stick with. With his permission I briefly tried out his sax with my mpc and reed. TBH the 'playability' of his (new) sax with mine was a huge difference between day (his) and night (mine)!
Yes I fully realize that the 'ergonomics' of saxes has moved on significantly between 1961 and the first mention of the John Packer JP042 on the cafe in 2011.
I 'Googled (AI)' my problem and it's advice (with recommendations) was to have my Tenor Sax refurbished (overhauled) by someone who has the 'credibility' of restoring 'vintage' (1961) saxes.
My question is whether I should give my Tenor Sax a complete overhaul (very probably!) and if so, whether I should look for a sax repairer who has specific knowledge, skills and reputation of overhauling 'vintage saxophones'.
TBH, I've asked questions on this topic to 'Google AI' and I've got some valuable responses. For example, the difference between 'regular sax maintenance' and 'complete overhauls'. Down to which local 'repairers' would be best qualified to overhaul my specific sax and the questions that I should ask them beforehand! All based on my specific Tenor sax model and year. Another 'Google AI' conclusion was that - on average - periodic 'minor sax maintenance' should be done every 1-2 years. And a 'major overhaul' might be needed every 5-10 years. My sax has had neither in 20 years!
So what I would like from experienced. informed and human sax repairers are their opinions on the answers that I got from Google AI based on the 'background 'below.
Background
I bought my 1961 'Buffet Crampon Super Dynaction' Tenor Sax about 20 years ago. At that time, it had been thoroughly 'checked out' and played easily in comparison to other 'vintage saxes' that I tried out. In the 20 years since, I've had a few minor 'playing problems' quickly inspected and fixed' by my local 'clarinet/sax' lady. Usually free of charge. But in these 20 years, my sax has never had 'periodic maintenance' or 'overhauls'
Lately (for the past 6 months or more), I've been really struggling to play my sax. With certain notes (G/G# in the higher octave) 'squeaking'. In my local sax lady's opinion (within 5 minutes) she said that the 2 octave keys worked fine mechanically. So that any 'squeaks' were probably due to my 'embouchure'. Which hasn't changed in many years.
A new Tenor Sax player recently joined my Big Band. He had sax that looked to me 'unusual'. I asked him what it what it was and said it was a John Packer JP042 Bb Tenor. He explained that it was a 'temporary sax' while he was getting his Yamaha 'restored'. He added that he wasn't yet sure which one he'd stick with. With his permission I briefly tried out his sax with my mpc and reed. TBH the 'playability' of his (new) sax with mine was a huge difference between day (his) and night (mine)!
Yes I fully realize that the 'ergonomics' of saxes has moved on significantly between 1961 and the first mention of the John Packer JP042 on the cafe in 2011.
I 'Googled (AI)' my problem and it's advice (with recommendations) was to have my Tenor Sax refurbished (overhauled) by someone who has the 'credibility' of restoring 'vintage' (1961) saxes.
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