Sometime in the future. I will measure the key heights of all my Martin altos. Will be interesting comparing the different years.
That information could help threads like this.
Handcraft
Handcraft Master
Troubadour
Typewriter
Committee 1, 2, & 3
Indiana
All saxes can be opened up (higher key-heights) and can be set with less key-heights as well. We use to talk about factory set-up but what is that? I re-padded a Kohlert Modell 1927 soprano and it was not possible to use the key-heights (factory set-up) because the old pads were thicker than the new "Snap-On-Pads" (metal back) I installed. I had to built up between the pad and the key cup.
A good tenor player told me he had his modern Yamaha opened up så it could "sing better". His tech opened up his modern Yamaha så it could sing better. He also told me that he lost key action with higher key-heights. So it's about to compromise? If we play in a orchestra or you play as only hornplayer at home or in a band, do we all need the same set-up on our saxes?
It would interesting to see if the differences when it comes to key-height, between differnt Martin alto saxes through the years. How to mesure?
Old Martin saxes have "wider octave" compared to Conn, Selmer, Buescher, King ..... saxes from the early 30's. The range of saxes were pretty much the same back then. From low Bb to high F 3 (ok Martin C-melody "Home Model" are keyed from C1 to C3). The sound/voice of an old Martin is different compared to other saxes made by big saxophone manufacturers. We like the charming voice of an old Martin. It's "wider". It's in tune but the timbre is different.
The music industry changed in in the 30's. Most of the music was played live; radio broadcasting, "stonecake" recordings, danceband in bigger or smaller dancehalls, clubs, at home, at schools ..... . 1935 became a "watershed" in Sweden. For the first time more recordings were sold instead of sheet music. In the 30's the music became more "standardardized" to meet the needs. More big radio productions (later televison), more recorded music, the "A 440 Hz" standard ..... . There were no/less demand for charming saxes in expensive music production. Conn, Buescher (True Tone), H.N. White/"King" (Voll-True) saxes became trademarks to show that it was a modern"tamed" sax with modern voice. No more High Pitch saxes, the timbre became more modern, the A 440 Hz standard became more dominant .... . Martin started to make the "Committee" saxes but kept the old models, and gave them new names, as well. In 1947 Martin took the last bore patent on an American made saxophone ( I don't know if Eagle Powell ..... ?) called the "polyconical bore". In the late 40's the contempoary music expanded thier small jazz combos, R&B and later on Rockabilly, Rock & Roll with more country influences ..... . Louder to match the juke boxes, radios in cars, transistor radios ..... it was the same as the mp3 and computer sound is today.
Some older saxplayers I have met are convienced that the American saxes were more flexible when it came to tuning. When players pick up an older saxophone with a complete new cork and the tune (blind) by thier ears without a tune fork, piano they are often closer to A 444 Hz than A 440 Hz.
Lots a ramble from me. I can't play sax all day long.
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