Should I sell my 198,xxx Mark VI for a Series III or 10M?

[Riff]

I was going to post this under "should i sell my 230xxx mark vi for a yanigasawa 991?" but I didn't want to intrude on someone else's thread.

Here's the story. I'm the original owner of this horn. I played it for 29 years and it shows it's use. Two years ago I bought a JK SX90R and put the VI on back up status. Since then I've taken the VI out four times and A/B'd it with the JK. The JK consistently blows it away. The last time I A/B'd them was just this week so the comparison is fresh in my mind. The VI simply sounds and feels "small" compared to the JK.

I've always wanted a good 10M but I've never spent more than a few minutes playing one so I'm not really that familiar with them. Just familiar enough to know I like their sound.
When I bought the JK I had originally planned on buying a Series III tenor to match my Series III alto but after A/B'ing them I went with the JK. I have no regrets.

So now I have this Mark VI just sitting in the case. I do have an emotional attachment to it but it's old, ugly, worn out and in a mediocre replacement case (perfect playing condition though- last overhauled in 1999). I figure I could still get $3,000 for it. Maybe more if auctioned on ebay.

$3K would buy me a nice 10M with maybe enough left over for a new Cannonball (another horn I think is cool). But I'd have to cough up another $600 to get a new Series III. What to do? Keep it for nostalgia or sell?

[BobD]

If you do really want a Series III I'm sure you could do an even trade. I may be trading my VI for a ref horn in the near future.

[Dr G]

Riff,

If you can get or make the opportunity to try a Borgani Jubilee, you may find it just your ticket. I had a BA for something like 20 years, went to a III, have played a Ref 36 for the last couple years, and just got a Borgani Jubilee in silver pearl finish. Between the Ref and the Borg', I'm set for tenors. The Borg' radiates sound like a great 10M, has its own character, and a no-compromise mechanism. You should be able to find one for a similar price to the Selmers. Check over in the "Misc Modern Saxophones" forum for other reviews on the Borg'.

Go for the tone,

George

:borg:

[JL]

You might consider getting that VI overhauled before making a decision. It could play like a different horn after an overhaul by a competent tech.

[rollen]

JL.

perfect playing condition though- last overhauled in 1999

[Mike Ruhl]

I can't believe I'm going to say this, being the vintage American horn bigot that I am, but I say keep the Mark VI.

Here's why: What will you have if you sell the VI and buy a 10M? You'll have two tenors of similar design concept, playing characteristics and tonal qualities. If you keep the VI, you'll have two tenors at basically opposite ends of the design/sonic spectrum. Unless you're turning into Bootman and have completely given up on the "Mark VI sound" :wink: , there may come a time when you'll want to return to playing it.

Ow, that hurt...I must now go play long tones on the Super 20 until I pass out.

[super20dan]

the 10m isnt any where near the horn a mk6 is. besides mk6s will continue to appreciate in value faster than any other horn. the 10m has nothing going for it other than sound in my opinion

[Razzy]

And remember that sometimes it's good to have a relatively small sound, such as in saxophone quartet or even just in a classical wind ensemble or pops orchestra.

I played a mark VI tenor in my high school wind ensemble this year. I blended perfectly with the section, and was able to balance out the "tame" nature of the VI's sound with a mouthpiece that cuts, a Meyer 6. Slapped some #3 vandoren javas on there and had a perfect sound for both jazz and classical.

Next year I am playing 1st alto sax in the wind ensemle, and I play a relatively crappy alto but still, it's basically a modern alto and reflects the sound of Yamahas in everything except intonation. This is not good at all for wind ensemble; it's difficult to control volume-wise with my mouthpiece (Meyer 5) and has sort of an inherent bright jazz sound, but also sounds "anemic" when compared to the Mark VI tenor. So it's not really of any advantage to have this sort of sound in the jazz band either.

I am getting a mark VI alto in September of next year, and needless to say I can't wait. No horn I've ever played is more versatile or in-tune, you just need to find a good one. I'd say, if you have a good one, hold onto it. You could either sell it for a lot more some day (the prices have only really been going up), or you could break it out when you feel that urge 8) The versatile tone is what these horns are really renowed for and I've found that the mouthpiece determines how much you cut or blend, much moreso than on, say, modern Selmers or Yamahas. The modern horns tend to cut no matter what you try to do.

[Riff]

Thanks for the input.

if you sell the VI and buy a 10M? You'll have two tenors of similar design concept
That's kinda why I want a 10M. If the JK is in the shop I can continue on with the Conn.

a Borgani Jubilee, you may find it just your ticket
I'd love to try a Borgani but there are no dealers in my area. Other than Roberto's who else stocks them? I rarely get to NYC. (I'm in Rochester, NY)

If you do really want a Series III I'm sure you could do an even trade
I showed it to Dennis at USA HORN when I bought my JK. He'd only offer about $1800 for it. After all, he's got to make some money on the transaction.


I suppose I could sell it and look for another VI but I'm sure I'd have to put up more cash because the cosmetics of my horn will limit it's resale value. I'm trying to spend as little cash as possible and maybe even come out with a profit.

[Mike Ruhl]

if you sell the VI and buy a 10M? You'll have two tenors of similar design concept
That's kinda why I want a 10M. If the JK is in the shop I can continue on with the Conn.
OK, I see. That makes sense.

I suppose I could sell it and look for another VI but I'm sure I'd have to put up more cash because the cosmetics of my horn will limit it's resale value. I'm trying to spend as little cash as possible and maybe even come out with a profit.
There's always eBay. There are those who like a scroungy-looking horn, especially a Mark VI. The fact that it's been recently overhauled helps.

[BobD]

Riff,

Either that VI is in pretty poor condition or you approuched it wrong at USA Horn. I wouldn't ask a dealer how much will you give me. Ask them would you take this VI for an even swap for a III? Even Rayburns up here in Boston would trade a III for a VI(Emilio almost gave me a ref54 for an average shape VI). So, it's not about how much they will give you for it. It's about a trade. Think about it. The dealer pays 3000 for a III and sells it for 3500. You come in with a VI that they can sell for 3800 and swap it for that III. They just made 300 extra on that III.

[Razzy]

VI for a III even trade? You can do better than that! I wouldn't conceive of it. Sell it to a private entrepreneur before you go that route, stores tend to rip people off, and with a quality mark VI you should at least look to make about 4 grand on it. If anything, ask your teacher or some fellow sax patron to look into private deals for you. Then use that money to purchase a new Series III, which costs about 3500. This way you're getting the horn you want and making 500 bucks or more in the process... trust me in that if you want to sell to a PLAYER who is looking for a horn to last him for life, you will make a GOOD deal if you look hard enough and hold out for the right one. so many music college students or high school seniors out there holding out for a great horn at a medium price such as 4 grand (damned good for a VI). If it's in perfect playing condition like you say, this is a very viable option.

[Mike Ruhl]

Like I said, there's always eBay.

[BobD]

You'd be hard pressed to get 4000 for a mid serial number average condition VI. I have bought horns like that in the Boston area for 3700 to 3800 from reputable repair techs. And that price includes minor servicing of the horn.

[conntenor]

I agree on ebay you can get a III for 3350 from the selmersaxman in perfect condition so if you can sell your VI for around 4000 you have made some profit (or not depending on if you choose to take your VI to the shop)

[BobD]

He's not gonna get 4000 for that horn.

[Mike Ruhl]

He's not gonna get 4000 for that horn.I agree. And I still say he'll get the most for it if he lists it on ebay.

[Riff]

Naturally I would take $4,000 if someone offered it to me :wink: but I don't think that will happen. Honestly, if I was buying this horn from someone else I wouldn't pay $4,000 for it!

The finger pearls are worn down on the edges, lacquer is about 50% (original though, never re-lacquered), low C key guard has been resoldered twice, cheap replacement case, epoxy palm key risers permanently attached by Emilio Lyons, some other minor imperfections. This ain't no closet horn- It's been played! As I said, it ain't pretty but it does play perfectly.
If I sold locally I'm guessing I'd get $3,000 easy, maybe $3,200 and on ebay possibly $3500 if I was lucky.

I've never met a dealer that was willing to trade even- used for new :shock: , but I guess it won't hurt to ask.

[michaelbaird]

Don't sell your VI. Mine is worth more to me than any amount of money I could get for it. Mine looks bad. It has dents and the lacquer is fading. It plays better than any other horn in my opinion, from trying new ones and old ones. Get it repadded with Selmer domed metal resonators. Brecker plays a scrougy looking VI. When your pull out a weathered Mark VI, people know you mean business. Its like whipping your d--- out!

[JEdge]

Id trade my silver III for an average VI without even thinking about it.

[michaelbaird]

Id trade my silver III for an average VI without even thinking about it. Amen!

[Riff]

I was playing my VI again just tonight. I must say that I've been spoiled by my JK. I just can't get into playing the VI anymore. Selling is seeming more probable.

I'm gonna be in NJ in a few weeks. I think I'll take the VI with me and visit USA HORN to make some comparisons. In fact I did just that a couple of years ago and ended up buying the JK over the Series III. Should be interesting to see if I still feel the same way.

[ABrit]

Riff,

Just flog it to another believer of the MKVI!! Make some money from them and buy another JK...... If that's what gives you what you want, then when it goes into the technician for repair..... you'll have exactly the same Horn(Nearly). No point in getting anything that has any resemblance to a MKVI, if you only take it out and play it 4 times in 2 years.

By the way didn't Lester Young play a 10M......... and how many Saxophonists tried to copy him over the years.......even some of the greats we now talk about?

Riff
The VI simply sounds and feels "small" compared to the JK.

michaelbaird
When your pull out a weathered Mark VI, people know you mean business. Its like whipping your d--- out!

Hmmmmmmm, nothing like impressing the women with your "MKVI" :shock:

ABrit

[DanF]

Wait a minute! I must have missed something here. Are you telling me that, in your opinion, a Conn 10M plays and sounds as good as a Selmer Paris Mark Vl? Or any other "Johnny-come-lately" horn? I agree with whoever told you to have a competent sax tech checkout your Vl. I'm wondering who the pro players are that are playing all these "new" horns. I'm serious. I'd like to know plays a JK that makes a living at it. OK besides that one guy. :lol: But seriously, it's your money and your time and talents. Be happy with whatever you do. In the meanwhile if you'd like me to ":keep" your Vl until you decide I'll give you my address. :wink: Good luck!

[Morry]

When your pull out a weathered Mark VI, people know you mean business. Its like whipping your d--- out!

I hope it's more impressive than that!

[Storamin]

When your pull out a weathered Mark VI, people know you mean business. Its like whipping your d--- out!
That's a very interesting anology. One that I hope I never ever see again.

[paulwl]

the 10m has nothing going for it other than sound in my opinion
:D ...and what else is there? You can't play snob appeal, mystique, or phallic totem status.

[averageschmoe]

i've toyed with a number of sixes in great repair that were just unplayable and yet so many are ready to give it more credit than something truly enjoyable to play. and in this instance we're not even talking prime serial number range. go with what works. only problem with finding a 10M is that they have the potential to be even more played out than your six.

[ABrit]

DanF Wait a minute! I must have missed something here. Are you telling me that, in your opinion, a Conn 10M plays and sounds as good as a Selmer Paris Mark Vl?

Hey, that's unfair to the Conn........... Stop putting the 10M down, they don't play that bad!!


DanF Or any other "Johnny-come-lately" horn?

Conn 10M is a "Johnny-come-lately" horn! :?

How many Selmer MKVI's were produced in total?

How many good MKVI's were made? :wink:

ABrit

[paulwl]

Are you telling me that, in your opinion, a Conn 10M plays and sounds as good as a Selmer Paris Mark Vl? Or any other "Johnny-come-lately" horn?
10M: introduced 1934
MkVI: introduced 1954

Now 1934 might have been so long ago it's prehistoric (thus making the 10M a "new" discovery for many players). Or Dan might be judging by his own circle of colleagues (probably all in his same age group and subject to similar trends and teachings).

It's often said in defense of unusual equipment choices that Big Name Player X, "who could play anything s/he wanted," chose Saxophone Y. The implication is that if you're not yet a Big Name, you can't necessarily play anything you want. But how much of that is plain old peer pressure?

[DanF]

OK guys get the knot out of your shorts. I was not putting down the Conn horns. I still have the one I started playing in 1957. I have never played a Conn 10 nor have I played a Mark Vl either. My observations were made by the number of pro players using Mark Vl's. And Abrit, I was not referring to the Conn as a Johnny-come -lately horn. I'm talking about the ones made after 1980. And yes Paulwl I am 56 years old and peer pressure don't mean "squat" to me. Does it to you? Read the last part of my post in case you didn't make it that far before you decided to make a big deal out of nothing. "Be happy with whatever you do".

[paulwl]

Well, that settles that then...

[paulwl]

(double post deleted)

[JL]

Well, everyone has their own subjective opinion on how well a sax plays and sounds. And I think it's great that the "MK VI is the greatest and only horn to play" scenario has played out and that the virtues of other horns are being recognized and rediscovered.

Having said that, I don't really understand the MK VI bashing either. I don't think it is possible for a horn to be one of the best ever made, by which all other horns are measured, and at the same time be a puny-sounding, out of tune, second-rate horn. Perhaps the subjective nature of all this makes that possible, but I don't buy it. Maybe we can agree that there are quite a few excellent saxophones, both vintage and modern, available and that the MK VI is certainly one of them. I've played a couple of horns that I liked almost as much as my MK VI tenor, and maybe one (my Buescher) that I like even more-----maybe. Anyhow, I'd never sell the VI.....never, ever.

[max]

The problem is that the "MK VI is the greatest and only horn to play" scenario has not fully played out - there are lots and lots of people out there that cling very tightly to the "VI is the only way" mindset.

It doesn't justify the bashing, but it's sometimes tough to resist taking the bait, especially when some VI-lover is droppin' trou...

[ABrit]

:idea:

Let's use some logic here! Lots of MKVI's made......... therefore lots of people own them. What is the ratio of "good playing" V "bad playing" MKVI's? Oh, if they're that good, how come a great many are always up for sale on e-bay and such like? Is everyone cashing in on their far superior MKVI :D ........ Owned by 'trane or Dex etc!

Can it make 'em play and sound like them?

How come even the bad ones are expensive?

Max.......... you are sooooo right :wink:

Sorry Riff, seemed to have got off the original track....... Go for the $3-$4K........and get yourself a bargain sax that you will play.

ABrit

[JL]

You're right max, and in less-enlightened circles than this forum, I have no doubt that the MK VI is still viewed as the only real sax. There is a silver lining, however. If that myth prevails, the prices on Martins, Bueschers, Conns, etc. may remain relatively low. Too bad the Super 20 has been discovered.....

[woodwindmaster06]

YOU DO WHAT YOU FEEL IS RIGHT, if the mark VI doesnt do it for you dont keep it just because it is a legend, go for what you feel will make you play the best.

[super20dan]

paul w-the conn,s key work is arcahic and slow and clummsey compared to the mk6 and i for one cannot play at my best on a 10m . i bought my mk6 new in1973 because it was the best sax avaliable not because i wanted to look cool on stage.

[paulwl]

Of course you didn't buy it because you wanted to look cool. You hopefully bought it because you gave it a good test and said "this is the horn I need." (And presumably not just because everybody else was playing one...)

[JL]

Certainly Riff should do what he wants and get the horn he thinks is best for him. Those of us who are warning him not to sell the VI precipitously are just trying to save him some potential heartache. I once sold a MK VI soprano in a moment of weakness (OK, I needed the $$) and I regret it to this day.

[Riff]

I've decided: I'm keeping my VI.
Funny how I arrived at this decision.
For the past six months or so I've periodically compared the VI with the SX90R and consistently preferred the JK (still do). Since the VI is sitting in the case unplayed I thought I might like to change it for something I might actually use, hence the quandry about selling.

The past few weeks I've been experimenting with different reed brands to see if I might want to switch. I tried each new reed on both the JK and VI, just moving the mouthpiece from one horn to the other so the only variable was the horn itself. Again the JK consistently won. Yesterday I went back to my standard Rico Royal 2-1/2 reed and the Mark VI suddenly sang again as it hasn't sung in months. The JK still sang better but I was surprised at just how much difference my preferred reed made with the sound of the Mark VI. It was enough to tip the scale of my decision to keeping the VI.

So a new dilema arises. Since I won't be taking my VI to USA HORN for comparison shopping I figure I might as well take my Series III alto to see if a switch to the SX90R alto is warranted. See my thread under ALTO SAX for opinions.

And finally, I have a Mark VI soprano that I hardly ever play. It's basically a closet horn in like new condition. Should I sell that too?
See me under SOPRANO SAX.

[Mike Ruhl]

And finally, I have a Mark VI soprano that I hardly ever play. It's basically a closet horn in like new condition. Should I sell that too?
See me under SOPRANO SAX.Yes, you should sell it to me, for cheap! :wink:

[conntenor]

Wow! for me choosing between series III and a 10M would be pretty difficult for me. Basically I would trial them for about a month each then decide which works for me.

[ghost of christmas past]

It's very much possible to eliminate most of the ergonomic advantages of the VI over a 10M (which would tend to change the terms of the VI vs. Conn question) - it is just costly, and challenging, to assemble all the right parts with the right horn.

There are at least 3 people I can think of that I would trust to do a set of mods like that. Actually, anybody who is genuinely competent with keymaking and who has access to a good array of wholesale parts - and maybe a fairly comprehensive familiarity with vintage saxes - can do it; I'm sure there are more than the 3 out there that I know of, in the wide world, who can also do a set of mods like that nicely.

Of the 3, I know one has a firm price in mind, for a job of that scope: about $5000-$6000, to a buyer, as a retail sale.

[michaelbaird]

You can get the same results with good Bueschers. They just need risers in the right places. Mine all play great and they are cheap and easy to fix too.

[ghost of christmas past]

You can also make the same mods to a Buescher (i.e. modernizing keywork) that you can make to a Conn.

Although there is a difference in terms of how many people will be offended, if they see what you've done (or had done).

[JL]

You can also make the same mods to a Buescher (i.e. modernizing keywork) that you can make to a Conn.

Although there is a difference in terms of how many people will be offended, if they see what you've done (or had done).

All offense aside, I can't imagine why anyone would feel the need to make any major alterations to Buescher keywork. I have a Buescher and MK VI tenors and don't find the VI to be superior in terms of ergonomics. But maybe that's just me.

[Hurling Frootmig]

I think the Selmer keywork feels faster than my Bueschers. I was playing my VII tenor and TH&C tenor and that was the feeling I got. My TH&C is my favorite horn I own but I do wish the low C# was not so stiff (it's been adjusted). Selmer style keywork seems to have more snap to it than the vintage keywork. Again, I'm not sure that it is faster it just feels faster. Only a sax player can understand that last sentence :lol:

[michaelbaird]

That is why I love my VI. I can improvise better when I play it. The horn doesn't limit me; I do.

[Hurling Frootmig]

I find that playing different horns help take me to different places musically when improvising. I find that I work with each horns strength and let that flow through me. I'm not really meta physical but that's the best way to describe it.

For what it is worth, I play my Buescher 400 TH&C a lot more than any of the other tenors I own because I really love the way it plays overall.

[DanF]

HECK NO!!!! Under NO circumstances! If you knew how fortunate you are to have one and not have to pay thru the nose to get one today. Soon as you sell it you'll be kicking yourself.

[michaelbaird]

If you want to know what a VI is going for these days, watch ebay. It would be rare or a stroke of luck if you found one locally that you could actually play and get for a decent price. The easiest solution is to just buy more saxes. :D So what if your close friends, co-workers and family members think you are crazy and eccentric. They just don't understand.

[chappy]

why no love for the Conn 10M?

I have played numerous tenors over the years and I think that my current 10M is one of the best players I have had. It literally screams.

[jd]

well i have sold a ton of horns over the years but never sold any of my mark 6s. ever ! ive tried just about all the classics and as far as sound and ergonomics and durability and intonation i prefer the 6s to everything. now ive heard guys sound great on the conns ,top hats ,kings ,martins but to me the 6s always plays and sound the best. i would take that mark 6 to a competant repair guy and have him set it up for you till it plays like butter!!!!! than post what you think of the mark 6. i would never trash a players choice of horn. thats personal preferance and i respect all the other brands but it sounds to me like something is wrong with your 6 that needs fixing. all the 6s that i have played over the years (about 40 and i own 6) played great when in good repair. i havent played a bad one. i have a 155*** that played "small" until i had my tech really go over it. he brought it back to life. i would just buy a 10 m outright if i was that curios about them. then if i didnt like it i would resell. as far as the series 3 i will say that i havnt played one that i liked as well as the mark 6 . ever . if i had a 3 id trade you in a heart beat .

[conntenor]

I own a series III and to tell you the truth it is a relief compared to my Conn 22m.h

[CodyW]

But a 10M will be more horn than a 22m

[JL]

i would take that mark 6 to a competant repair guy and have him set it up for you till it plays like butter!!!!! then post what you think of the mark 6. i would never trash a players choice of horn. thats personal preferance and i respect all the other brands but it sounds to me like something is wrong with your 6 that needs fixing. i have a 155*** that played "small" until i had my tech really go over it. he brought it back to life.

Yeah, definitely. This is what I was trying to say in my initial response way back when this tread got started. Maybe you had the horn "overhauled" a few years ago, but there are good techs and no-so-good techs.

With regard to playing "small," my experience with the one MK VI tenor I have (unfortunately I haven't had the experience of playing all the horns jd has), is that it plays as "big" as, or bigger than, any other horn I've tried or heard. I did play a Silversonic that had a bit more volume, but the VI had more punch and a richer sound. I also have a Buescher Aristocrat that I love to play, and sometimes I actually prefer it to the VI, but every time I return to the VI I realize what a great and special horn it is.

[michaelbaird]

The tone of a VI is a big as just about any other and the tone doesn't distort when alot of air is put into it. VIs need selmer metal domed resonators and the horn has to be set up properly. I love mine. My kohlert tenor, recently repadded with domed metal resonators, has a bigger mellower sound but my VI still sounds as good. It will do anything I desire it to.

[Riff]

I'm surprised this thread has come back to life. I thought it was over.

i would take that mark 6 to a competant repair guy and have him set it up for you till it plays like butter!!!!! than post what you think of the mark 6.

The horn does play like butter. (I still have it BTW)
My Keilwerth SX90R blows my mark VI away. Every now and then I take the VI out and play it for awhile. There is no doubt it is a great horn, but it is not what I want to play. As soon as I go back to my JK, the VI goes back on back-up status.

I have since played a few 10Ms and have decided I don't want one. They certainly sound nice, but the keyboard is too uncomfortable for me. I prefer the modern key layout.

VIs need selmer metal domed resonators...This is just your opinion.
My VI has never had metal domed resonators. I bought it new, I'm the original owner, it came with nylon resonators. It's been overhauled twice and I've stayed with the nylon resos. They work fine.

I own a Series III alto which has metal domes. I'm thinking of having it repadded with nylons. OTOH, I'm not very happy with my III alto. I may just sell it and get an SX90R to match my tenor.

I also have a Mark VI soprano. As the VI sopranos go its a pretty good one but I recently played a JK SX90II soprano. The Mark VI's days are definitely numbered.

[michaelbaird]

Don't underestimate the metal domed resonators. They have given my tenor new life. I can make that horn speak now and distort the tone in more ways than ever before. They took getting used to, almost had to learn how to play the horn again. I used the same ones on my Kohlert and they sound great.

[Riff]

...I can make that horn speak now and distort the tone in more ways than ever before...

I don't think I want to distort my tone. I assume you meant that in a positive sense? :?

[michaelbaird]

Most certainly in a positive way. Tonal inflection, changing the color of a tone can be just the expression a phase needs. Dexter uses it all the time. It seems I can focus and center my tone better with the metal resonators. I practice changing tonal inflections alot in the bathroom where I can get alot of sound richocet and I can get a better idea of how it sounds. Playing in front of a glass door also gives alot of sound feedback. It is hard to hear how you sound out in the hall vs how it sounds to you while playing.

[Riff]

I believe you when you say your horn plays much better after its repad/overhaul. When I had my VI overhauled a few years back, it played better than it ever had in the 27 years I had owned it. I attribute this to the excellent work of my repair man, not the type of resonators he used. I strongly suspect the same in your situation. Resonators may make a slight, and I mean very slight difference in sound but they simply can't be the determining factor in how well the horn plays.

You're absolutely correct that the sax has to be properly set up to play its best and I'd lay odds that this is why your horns play so much better. Stick with your repairer, make him your buddy, send him more business and I guarantee he'll continue to take care of you and your horns.

FWIW, my repairer told me part of his secret. On Mark VIs he uses Yamaha pads on the right hand stack and Lucien Deluxe pads on the left hand stack. He says that he has found that combination to give the best results. We discussed resonators before he did the work and in his opinion they don't make a difference in playability but can affect how bright or dark a horn sounds. I prefer the darkest tone I can get out of the horn so I went with the nylon resos.

As for your tone and how you can shape it, that's all you man- not the horn.

[michaelbaird]

My repairman can really tighten a sax. I've been using him for 15 yrs now. I play R&B mostly, my tone has to be centered and project to sound good in the mic. My VI can take large amounts of air and not distort.

[Nefertiti]

So I'm trying to figure out why this thread is still going on? Is there really that much to discuss on this subject? Just curious. :shock:

[michaelbaird]

The thread was going on because I got e-mail notifications that it was getting replys. Plus I would hate to see a VI go unloved.

[Birdman]

I agree with Michael don't sell the VI.

-Birdman