Reply to thread

Message: <blockquote data-quote="moxie" data-source="post: 422164" data-attributes="member: 7684">Well, I'll be dipped, you've done it, DavidUK!!! I'm freed!!  I've done so much research, I often think that if I had spent half that time practicing I'd be an impresario.  I was, of course, aware of that catalog, but never studying altos, I missed that logo.  And, seeing it in the holy Grassi catalog (as Grassi-holy as MMM's article), lets me rest about this stupid LOGO!  As always, though, with Grassi, questions (but per MMM:--we may never know)--I've always read that the earliest Grassi saxophone production may have been in Milano, or at least the corporate offices, but my mid 12k serial is not really that early (and, mine DOES have "Made In Italy"), but the rest of that logo is exactly what I have.Also, articles have been written about "internet knowledge", and when you have little to go on in the first place, circular paths can happen.  DavidUk mentions the "Martin Busine" article on SOTW, which oddly enough, is mine!  As a matter of fact, the horn on the left in my photo IS "Marty", my beloved horn I bought to come full circle back to bari after 48 years "off".  Even though I loved it, it [ATTACH=full]14189[/ATTACH]had had had some intonation woes that I have since learned it was my job to overcome , and I was pouting that some doubted his "Grassiness".  When I saw "Ida" (the logo horn) for sale, I convinced myself that a backup horn was justifiable to this old Grandpa hobbyist, but if I really was forced to admit it, I wanted IN to the Grassi club.  When she arrived, looking almost as stunning as "Marty" I was stunned by the odd logo, but, at least, having the two side by side, anyone with eyes could see they were identical, made by the same hands, and sounded identical, except for "Ida" being a little less flat in the middle A (playing it with the G# key depressed makes it perfect) (I use Ida in a concert band--do you say "wind orchestra" in Europe?!) and intonation on long held notes played with the bass clarinets make being very close important.To MMM--Yes, the BTB brace IS different, but I wonder if either the stencil customer or Grassi may have wanted the differentiation, All Martin Busines have that brace, although not all are Grassi, especially the tenors.  That brace, btw, is similar to that of Orsi, at least from what I've seen, but different.  Theirs are shaped like a human eye opening, where the MB tapers on the bell side but is round on the body side.  I sometimes wonder if we put too much stock in BTB braces, seems likes they could be very easily swapped.To JayeNM, "previously JayePDX"---I've always been confused about you and "JayeLID" on SOTW, now I'm wondering if you had yet another username and are one and the same.  Being a big Grassi fan and a big Beaugnier/Leblanc/Vito fan (my OTHER bari), you have responded kindly to several of my posts, especially my oddly constructed (trouble adding pics, again) "My Martin Busine--IS--A Grassi" post there awhile back.  And, are you still lost in the desert?  I'm also lost midway between Chicago and Milwaukee.  And here is your LH pinky table pic:Lastly, to all Grassi bari fans, they seem to be, to me, almost dead-bang copies of Conn 12m.  Has anyone seen or played them side by side??  And, if you ever have seen or have considered a Yanigasawa (or probably also Vandoren) 'piece modified by Eric Greiffenhagen (sp?) to what he calls a "double chamber", DO IT.  Best thing I ever did for Ida's intonation. Well, I'm going to go back to the "DoorBell" and introduce myself the way I am supposed to, I like it here, I came here because it seems like there was more of a world-wide following (more Grassi knowledge??, more Beaugnier??), but I do "see" some of the same faces.</blockquote>