Ivan Meyer (Brazil) SotW Mouthpiece Pass Around - Page 5

Ivan Meyer Brasil · 08-07-2009, 12:17 AM

Quote:

Originally Posted by Dr G

Thanks, Ivan. Given your generosity, that makes it easier for me to decide to underwrite the cost of shipping mouthpieces to Europe so we can have one of the first multi-national mouthpiece passaround trials.

I have already received some queries about what to do if a SotW member likes the mouthpiece trial enough that they want to keep a piece. Would you prefer to sell it to the first person that likes it or continue the passaround and sell pieces after everyone has had the opportunity to try them? I tend to favor the second option as I consider it important that everyone that wants to try them has the opportunity.

DrG:

I agree with you that everyone should be allowed to test every mouthpiece, and selling any piece from the kit I sent to the pass around before all participants could test would not be correct with the next participants. So let´s consider the mouthpieces from the pass around not for sale until the end of the pass around. If any participant from the pass around would like to buy a copy of any mouthpiece from the kit, just take note of the name and numbers I wrote on the mouthpiece, and contact me. I can make clones of any mouthpiece sent for the pass around.

Best regards

Ivan Meyer

Brian · 08-11-2009, 05:42 PM

Ok, I've had my time with these and the "Three Tenors" are on their way to the next victim.

Initially, opening the box was a thrill. I was showing them off around the office like my wife getting a new ring. These pieces visually are stunning. Personally, I didn't find the finishing quality to be lacking at all, and I was a bit apprehensive about it after reading Dr. G's post. Not stunning in a Theo Wanne, or Jody Jazz DV work of perfect finish, perfectly smooth transitions ... but stunning in a handcrafted way. You will never mistake these for production pieces. The silver texture with engraving through to the brass was as good as I could have expected them to be. The rails, table, chambers, and tips, though showing a 'hand shaped' type of craftsmanship, did not have machine marks or other tel-tale scratches that I find on lots of pieces.

I love the track ligature. I am a fan of Lawton pieces, and have found that many of those that have imitated that iconic and most effective ligature to be lacking and cheap feeling. This arrangement is as good as the Lawtons ... fit into the track may even be more consistent.

The playing ... well ... my heart sunk a bit. I wanted so bad to love these pieces but found them not in line at all with my type of Tenor sound. All three are significantly more resistant than my Ponzol pieces and slightly more resistant than my Lawtons. Of the three, my favorite was the one marked Ayla 9 (.125). The "Extreme" was , well, EXTREME. The "Nina" was also fairly bright and caustic to my ear. The Ayla is a deeper open piece but not to be confused with dark. These are all variations of contemporary pieces to me. The Ayla was by far the fullest and richest sounding.

Interesting, though, all of the pieces played best with the included Fibracell reed. I played Fibracell on all saxes for several years before needing an intervention to finally go back to cane about a year ago. I hated putting that thing back on to test it ... boy was I surprised. I would venture to say that the pieces are designed specifically to work best with Fibracell (my opinion) ... that's how much difference there was. I played the pieces with JAVA reeds ... both broken in, and new, and for two of the three pieces I didn't like anything I was hearing. The fibracell played well, full, and responded throughout the whole registers ... even the altissimo ... on all pieces. I lost interest in Fibracell because of the inherent lack of focus and center (as well as consistent quality troubles) but like I said, these pieces seem to be designed to compensate and bring out there best when paired with them.

Ivan, can we send you mouthpieces to engrave? (only half serious ... I'd love to have a custom handcrafted finish to one of my Ponzols).

I'm sure someone down this test line that plays more in line with what these pieces provide, will have a better experience ... but for me, it's not a good fit.

Ivan Meyer Brasil · 08-12-2009, 01:40 PM

Brian:

Along the years I've being making mouthpieces, I realized that most sax players who want to buy a metal mouthpiece are looking for a bright contemporary sound. And most mouthpieces I make are really for that kind of sound. But I also make some different sounding pieces, when a customer asks me for a dark vintage sound. For this reason, all 3 mouthpieces I sent to this pass around are on the brighter half of the spectrum, as you pointed out.
Some facing details are prone to a little more resistance. The eliptic facing I use makes it easier to get the high notes, but also adds some resistance to the mouthpiece.
I can make a silver plating and an/or an engraving on your Ponzol mouthpiece. I just need to know what metal it is made of. It will look very similar to the ones you just tested. If you send me your mouthpiece, I will try to make a similar sounding mouthpiece, and send you back along with the one you sent me for engraving. You could test this mouthpiece and send it to the next pass around participants. Just send me a PM so we can talk about it.

Thank you very much for testing my mouthpieces and for you feedback.

Best regards

Ivan Meyer

Brian · 08-12-2009, 02:08 PM

Quote:

Originally Posted by Ivan Meyer Brasil

Brian:

Along the years I've being making mouthpieces, I realized that most sax players who want to buy a metal mouthpiece are looking for a bright contemporary sound. And most mouthpieces I make are really for that kind of sound. But I also make some different sounding pieces, when a customer asks me for a dark vintage sound. For this reason, all 3 mouthpieces I sent to this pass around are on the brighter half of the spectrum, as you pointed out.
Some facing details are prone to a little more resistance. The eliptic facing I use makes it easier to get the high notes, but also adds some resistance to the mouthpiece.
I can make a silver plating and an/or an engraving on your Ponzol mouthpiece. I just need to know what metal it is made of. It will look very similar to the ones you just tested. If you send me your mouthpiece, I will try to make a similar sounding mouthpiece, and send you back along with the one you sent me for engraving. You could test this mouthpiece and send it to the next pass around participants. Just send me a PM so we can talk about it.

Thank you very much for testing my mouthpieces and for you feedback.

Best regards

Ivan Meyer

How can someone not be impressed with this type of service. I will contact you, shortly.

dias161 · 08-12-2009, 11:28 PM

i've always wanted to try ivan meyer mouthpieces, because i read so much good stuff about them on brazilian saxophone forums. if i could try them out, it'd be great, but if not, guess i'll just have to save up and take a leap of faith.

Ivan, parabens no trabalho e fico feliz em ver que esta sendo reconhecido por mais musicos pelo mundo inteiro pelo seu trabalho. e se precisar de alguma traducao ou alguma coisa, soh falar.

Ivan Meyer Brasil · 08-17-2009, 04:41 PM

Quote:

Originally Posted by dias161

i've always wanted to try ivan meyer mouthpieces, because i read so much good stuff about them on brazilian saxophone forums. if i could try them out, it'd be great, but if not, guess i'll just have to save up and take a leap of faith.

Ivan, parabens no trabalho e fico feliz em ver que esta sendo reconhecido por mais musicos pelo mundo inteiro pelo seu trabalho. e se precisar de alguma traducao ou alguma coisa, soh falar.

Obrigado meu amigo

Todo começo é difícil, mas com qualidade a gente chega lá !
Grande abraço e obrigado pela ajuda ok

Ivan Meyer

Ivan Meyer Brasil · 08-17-2009, 04:42 PM

Quote:

Originally Posted by odsum25

Ok, I finally have time to post an alto review.

Again, the pieces are artistically beautiful and obviously handmade. The engraving is fantastic and not gaudy at all. I tried all six pieces on my usual weapon of choice, a silver plated Conn Transitional alto with the art deco engraving. Alto is my main horn and I usually play one of my Lamberson FMaj7 acetal pieces with Roberto's 3M or 3H reeds and either a Francois Louis or Ishimori ligature.

I really wanted to try to find a cane reed that worked well with these pieces and I think I found it with Robertos 3S. Rigotti 3S or Francois Louis 3.5 might be worth a shot as well, but I don't have any of those right now. (They are all different cuts of Rigotti cane.) The enclosed Fibracell reed does work well with the pieces, but I much prefer cane and think I got the Robertos to work just as well, if not better for me. The Lawton style ligature is again implemented well and I have no qualms about it.

I had mixed results on the playing side of things, much of it certainly due to my personal preferences on alto. Ivan included six alto pieces for this passaround. All have quite a bit of resistance, which may take a bit of time to get used to, and most have a significant baffle. The tip openings are all quite large as well, ranging from .095 -.103.

Ivan's alto tip openings seem to be as follows:

6 - .095
6* - .098
7 - .100
7* - .103

The first piece up on the list was the Bad Boy 7. It has a fairly steep baffle and a medium chamber. At first I did not get along well with this piece and found it difficult to control, but as I played it more I started to really like it. In the end I kept coming back to this one and I would say it is my favorite piece. It has a lot of power, as I expected, but is by no means overly bright or thin. I think this one has the most room for tonal complexity as well. The dynamic range is very good and I would have no qualms using this in a straight ahead situation. I would consider spending more time with this one, as I think I could get some pretty good results.

The Vintage 7 is probably the most traditional looking piece. I was somewhat surprised to see that it has a sloping concave baffle. Tonally, it is fairly middle of the road. This piece was quite resistant and blew well, but it did not have enough projection for me.

The Gold Power 7* was just too bright for my personal taste, so I didn't spend too much time with it. The middle register seemed rather buzzy.

The Qua 7 is made out of aluminum. Unfortunately, I did not get along well with it at all. It is pretty easy to blow and on the brighter side of things, but I could simply not get the intonation under control at all with this piece, even though I spent quite a bit of time with it.

The Yuli 7 was probably my second favorite piece. It blows strongly with a large dynamic range and a solid tone, but it again had a little too much buzz from D2 up for my taste.

The Baby Power 6 was simply too bright for me. The large baffle and smaller (.095) tip opening seemed to put me in a place I don't really want to be tonally. This one was also a bit difficult to control for me, though I am sure that could be rectified with more time on the piece.

All in all, I think that these pieces are well made, but not necessarily the type of pieces I gravitate to. I think much of this is do to my own personal taste. The Bad Boy is a very interesting piece and I am tempted to order one to try out for a longer period of time. The Qua was's intonation issues were quite perplexing because I did not have any problems with the other pieces. I was probably just something with the the way it interacted with my horn and embouchure rather than any problem with the piece itself.

Thanks to Dr. G and Ivan Meyer for making this passaround possible. I really enjoyed playing these pieces, even the ones that didn't click with me.

For the alto pass around, I made these 6 mouthpieces with very different tones. A couple are in the dark half of the spectrum, and most on the bright one. According to the tone preferences of each tester, I´m sure some pieces will match the preferences and some don´t, as odsum25 wrote.

Some facing details are prone to a little more resistance. The eliptic facing I use makes it easier to get the altissimo register, but also adds some resistance to the mouthpiece.

My personal preference is for large opening mouthpieces, and I always advice them. All these mouthpieces have big tip openings. So, they must be tested with low # reeds, and they really work better with pop / jazz cut reeds, like Vandoren Java.

Thank you very much for your feedback, odsum25.

Ivan Meyer

Ivan Meyer Brasil · 09-01-2009, 03:43 PM

Quote:
Originally Posted by jmoen3
Hey guys,

I just recently got my soprano, and I've been playing a CE Winds Gold Genesis, which gives me a smooth tone, but is sometimes hard to play and I have a few intonation problems with it.

I just gave this Ivan Meyer 'Dona' Piece a try, and I AM IN LOVE! I haven't experimented with any other mouthpieces, but I must say, this piece is so easy to play. I've never played anything this free blowing, not even my JJ DV NY 5 for alto. It also gives me a pretty warm, silky smooth tone. My Roommate thought I was playing alto down in the low register (which could me I need to work on my alto tone!)

I will comment more as I go, and I will probably do some sound recordings soon!

88888888888888888888888888888888888888888888888888 8888888888888

I'm glad you've fallen in love with one of my daughters. I've made it with my best genes. If you decide to marry her, I can make you a twin of her.

Thanks
Ivan Meyer

Ivan Meyer Brasil · 09-03-2009, 05:18 PM

Quote:

Originally Posted by jmoen3

Alrighty guys. I've had the pieces for a while, and although I've been stressed for time, I have been getting in every little bit possible.

Before my reviews, a little background. I've played for 10 years, 8 of which were in high school, where I was in the concert band and jazz band, after getting into college and deciding to pursue a degree in Computer Engineering, the extent of my playing was simply auditioning for jazz band, practicing and doing private lessons, which fixed the embouchure problem which I had for all of high school, and also has finally started to teach me to improvise, which was neglected at our high school. I'm not in private lessons this semester (complicated problems) but am still practicing daily (if I can).

I'll just say now, that every single piece is gorgeous, especially the ones with the vine designs. They all look great and I prefer the look of his mouthpieces to any other, especially liking the biteplate

.

Part 1:
Horn: Pan American (Conn) from roughly 1925-1930, Chu Berry Era (Belongs to a friend)
Reed: The Given Fibracell Reed.

(Didn't test altissimo with this horn)

I only spent about an hour total on this horn, giving about ten minutes to each mouthpiece, and all tests were done without tuning (forgive me).

Bad Boy 7: Initially was very hard to play. Warmed it up a bit and got a little bit more sound to come out, but it seemed to be fighting the horn a lot (problems with vintage horn possibly?). I was unable to control the octave from randomly popping in and out with this piece, and eventually just gave up on it. What did play had an awkward almost buzzy sound, at a medium volume.

Gold Power 7*: About the same problem as with the bad boy. It just wouldn't play, but this one was even worse than that of the bad boy. I couldn't even get it to work chromatically for me. Again, probably just a horn incompatibility. The brightness of the middle octave was way off the charts, and made the dark sound of the horn mix into a very weird manner, into something I didn't like in the slightest! Very loud though.

Qua 7 (Aluminum Piece): I was surprised by this piece, as it was abnormally light weight (as aluminum should be) so I was almost scared to use it, but I popped the reed on and just gave the mouthpiece itself a blow, and sound popped out exceptionally easily and shook the earth underneath me - LOUD!!!
I popped it on the horn, and although was a little harder to play than just the QUA mouthpiece, I found it a lot easier than the other two. It had a very different sound, and seemed slightly buzzy to me. It was exceptionally loud, but was a little hard to get to play at pp-ppp for me. I kind of liked the tone, brighter but with the power of the vintage conn's

.

Yuji 7: This one was pretty easy to play. It was a little on the bright side, and I thought it was free blowing and had a good tone, until I tried anything above C3. Then it was very hard to get out, and put my tone into an airy spin. I have some troubles with D3 on this horn, but usually not C3, and I can make it sound okay with my JJ DV NY mouthpiece. Everything else seemed fine, and exceptionally easy to control volume with this as well, although on the louder side again.

Baby Power 6: Also easy to play, maybe even easier than the Yuji. It had a sound more like that of the Qua, but without the buzz and although brighter, kept that same power I was talking about. I thoroughly enjoyed the sound of minor pentatonics with this mouthpiece. I found it harder to play soft with this piece, but I assume it was meant for those who want to play up against amped instruments.

Vintage 7: I actually found this piece the easiest to play out of all of them on this horn. It was quite the surprise to me. The sound seemed to flow directly with that of the pan am., meaning that it was keeping that super extra dark sexy tone but enhancing the power! I loved the sound out of it, and could definitely feel that combo for anyone looking for that vintage sound! Loud and soft were fairly easy to control, and it seemed to be maintainable throughout the range of the horn. A little harder to blow up top, but was still maintainable. I guess its true - vintage with vintage is best

.

The Vintage 7 was by far the best piece for the Pan American horn, with the Baby Power 6, a good ways behind, but in a different category all together

.

Part 2:

Horn: My Very Own P. Mauriat 67R.
Reed: The Fibracell Reed (Although I tried a new red java, which didn't seem too great with anything)

I did use a tuner for these tests and also included altissimo!

Qua 7: I found this piece to be Super Loud! It was shaking the walls of the practice room! I did find a few intonation problems, especially with the octave key though. I gave altissimo a try, and it seemed to come out pretty easily, but couldn't get any higher than normally. I did find that it keeps ALL of the notes fat, including top and bottom, even though it is a much brighter piece. Overall I'd say its Very bright, extra loud and fun to play.

Bad Boy 7: I found this one to be the hardest to control. I spent a good amount of time getting the intonation under control, but it kept going crazy, super sharp with octave, super flat without. A little shrill up top, and very open and huge down low. I found it to be fairly buzzy, but not so much that it ruined the piece. As for loudness, I'd place it about at the standard piece, maybe a little louder on average, but not hard to control in that regard, nor particularly easy. Good for a bit of a buzzy sound and possibly better on other horns for intonation/control of sound.

Gold Power 7*: This one was bright and buzzy all over the place. I actually thought it would go well with Little Richie or give you the alto version of King Curtis, but its not for what I enjoy playing. Overall pretty easy to control though; However, intonation got flatter for me down low. This piece was also considerably loud, and I got a lot of scowls from those that were looking at a bulletin bored across the hall when I played my first notes

. If you like bright, loud and buzzy, this is it. Altissimo was tough, but gave an interesting sound with half of the tone sounding to a much higher note, possibly the 6th above?

Vintage 7: This one plays almost just like my JJ DV NY, although slightly harder to play but the same extra Dark tone. It doesn't really project, but is perfect for someone who plays classic jazz. I like the piece, but lately I've been looking for a different type of sound. D3 and up a little sharper than with the others, and slightly harder to play, and altissimo was harder yet. I found the piece goes exceptionally easily between volume.

Baby Power 6: I found this piece to be my second favorite. Brightest piece by far, but not buzzy like the gold power or bad boy. I played this piece for a while, and I found that the bottom end of my horn was still huge, but just a little brighter. Easy to get the intonation worked out also! This one absolutely SCREAMED the altissimo. I hit G4 with this piece, and C4 was the highest I had hit before(intentionally). This piece was also exceptionally loud, and although I could play ppp, you could tell its made for f and up.

Yuji 7: This one was definitely my Favorite Piece! Fairly even toned piece, but upwards onto the bright side. Keeps everything smooth and sexy, but not dark like most of my mouthpieces. I got the intonation under control, and felt it was easy to control over the entire range of the horn, including altissimo, which popped out pretty easily up to my normal range. I believe there may be a little bit of a buzz, but I only felt it from D2 to F2, and it could probably be worked out with a little more practice from me. Found It to be the easiest to play of all of them, and VERY LOUD to very soft is easier than I've ever had. I actually found this more free blowing than my JJ DV NY. I really dug the sound of it mixing with the dark sound of my horn, and giving it a little bit more gusto. Very enjoyable to play.

Lots of different pieces, and not enough time in which to get my "full" time with them, particularly would like to work out all of pieces, especially would like more time with the Yuji! I'll have a lot more playing time tomorrow, and I'll be doing some recordings of these to go with a third and final follow up review, conducted with my P. Mauriat. I hope these are great reviews for you people, and I also will probably have more to add tomorrow, especially if I can get rid of the buzzy-ness on my favorite piece and maybe get the Gold Power and Bad Boy worked out.

Thanks for reading

Thanks my Brother

Ivan Meyer

Ivan Meyer Brasil · 09-03-2009, 05:26 PM

Quote:

Originally Posted by jmoen3

Thanks Ivan. I will see how my financial situation goes, as I love this piece.

Here are some sound clips of me playing a verse or two of "When Will Our Love Find A Way," from a transcription of Eric Marienthal.

I barely got this piece today, after hearing it last night. I practiced it for about 10 minutes before I recorded, so, as you can imagine, there are some rhythm/counting flaws.

My intonation on soprano is a bit sketchy, but I find the Ivan Meyer piece helps. Keep in mind I've only had my soprano for less than a week.

The first clip is of me on my CE Winds Gold Genesis piece with a Vandoren Java 2 1/2 piece.

The second is of me on the Ivan Meyer 'Dona' Piece with a Fibracel 1 1/2 reed.

I love the sound I get out of the Dona piece and even after hearing my recordings, I found I still liked that one more. Its so much more free blowing!

When Will Our Love Find A Way (CE Winds Genesis Piece).mp3
http://forum.saxontheweb.net/attachm...3&d=1251933318

When Will Our Love Find A Way (Ivan Meyer Piece).mp3
http://forum.saxontheweb.net/attachm...4&d=1251933318

Ivan Meyer Brasil · 09-10-2009, 01:13 AM

Quote:

Originally Posted by DanPerezSax

OK, I've overstayed my welcome with these pieces long since, so I guess I should do a review! First of all, presentation is a STRONG suit. I've never seen anything like these mouthpieces, and even the box they come in is gorgeous. The engraving is a very cool touch.

Now, to playing. First of all, I expected these to be very unresponsive and hard to play, since I'm used to about a .100 opening. They are not. My favorite was actually the #9 (Ayla) that I believe was a .115. They played well with my Marca 2.5 reeds as well as the Java 2.5s I had lying around. I got a somewhat darker, woodier tone than I do on my normal setup, but I am sure it would center over a couple weeks of shedding. I felt like they were uniform in tone color and response up until about the palm keys, where they lost some oomph. Interestingly, all three mouthpieces had similar sounds to me, but the #9 definitely felt the best. If I were going for a Henderson/Lovano vibe, I'd love to have one of these. Also, if I were made of money, I wouldn't mind having one around for such occasions as called for it.

First, I would like to thank all participants in this pass around for posting their impressions about how they felt the mouthpieces. Every opinion will help me improve my mouthpieces.
Up to date, only a few participants have already posted their impressions, but we can read huge differences on how my mouthpieces behave. I would point out 2 most important factors for that:

1) The sound from a setup depends a lot on the mouthpiece, but it also depends on the reed, the horn and (much) on the sax player.
2) The impressions we have when trying a mouthpiece and a reed different from the ones we are used to can be a lot influenced by how different these setups are.

Thank you very much

Ivan Meyer

saxando · 09-22-2009, 12:54 AM

Mr. Meyer,
I've checked your website (2 pictures attached), and I'm curious to know where do you get your solid brass bars from to make your mouthpieces.
Do they come from Taiwan or China or are they made in Brazil?

Do you only hand file them or are you involved in the whole process, including CNC computer-aided design technology?

Thank you,
Saxando

Ivan Meyer Brasil · 09-22-2009, 02:52 AM

Quote:

Originally Posted by saxando

Mr. Meyer,
I've checked your website (2 pictures attached), and I'm curious to know where do you get your solid brass bars from to make your mouthpieces.
Do they come from Taiwan or China or are they made in Brazil?

Do you only hand file them or are you involved in the whole process, including CNC computer-aided design technology?

Thank you,
Saxando

Quote:

Originally Posted by saxando

Dr G,
I play tenor saxophone and I'm not a pro. Wish I could only play it but still have to work for a living.

As soon as other SOTW members give these mouthpieces a try it'll be easier to know if they are suitable or not for anyone. I just expressed my opinion. I might not really liked the one I've tried, but someone else will do.

A true fact, despite different opinions, is regarding that he sells chinese saxophones which he claims to be similar or even better than standard Yamaha 62. Not talking about P. Mauriat or Cannonball ones, but cheap chinese saxophones.
It would be nicer to sell them stating that they're ordinary ones and suitable for beginers. This would turn him much more reliable rather than a musician interested in selling saxophones.

Best regards,
Saxando

solid brass fron Brazil + CNC + WORK HAND MADE = IVAN MEYER
http://www.ivanmeyer.com/audiovideo.html

Why Ivan Meyer's mouthpiece?
http://www.ivanmeyer.com/whyivan.html

Don't loose your time and money buying dozens of mouthpieces. Mr Meyer can make that perfect mouthpiece you've been looking for for years.
Ivan Meyer mouthpieces are computer designed and hand made by an experienced professional sax player, who began playing sax over 30 years ago. Every order form is carefully evaluated, and an unique design is defined to achieve the customer's requests. The mouthpiece blank is then carefully hand shaped to this design. A facing curve, the most important part of the mouthpiece for its perfect functionallity, is then designed using a computer program, acording to complex math rules used by the most famous mouthpiece designers and refacers along the world. The mouthpiece is hand worked again to achive these dimensions very preciselly. This precision is not usually achieved by the mass production processes of most sax mouthpiece makers. It can only be achieved by the hand made ones, in which mesures are made many, many times while in work, until perfection.
After this shaping and facing work, each piece is individually play tested by Mr Meyer. The mouthpice must match the customer´s sonority specification or will be discarded. Every mouthpiece must be easy to blow form the low register to the top tones. No projection differences are allowed along the registers. These and many other tests are performed before Mr Meyer can say "This is a perfect mouthpiece".
The mouthpiece is hand engraved with a beatiful leaves motif (see phographs). A finishing is then applied to the piece, according to the customer´s request.
Before shipping, the mouthpiece is tested again and thoroughly hygienized.

Thanks
Ivan Meyer BRAZIL
http://www.ivanmeyer.com/audiovideo.html

Quote:

Originally Posted by Ivan Meyer Brasil

Quote:

Originally Posted by saxando

Ivan Meyer is a good businessman and his site is ok. A lot of sax lessons and this has been helping people start playing saxophones.

However, I think his mouthpieces are overpriced and poorly crafted. I've really got disappointed with a model I tried. I would change 200 of them for a single Otto Link. No second thoughts.

He sells chineses saxophones at his site and he claims that after his adjustments an alto model will turn to be even better than a Yamaha 62 and sells it for over 800 USD. The same model is sold elsewhere in the country by 450 USD or even less. So far, I haven't read in saxontheweb anyone afirming that a cheap chinese sax can be as good as the Yamaha model.

Saxando

?????
Hello Saxando !
I am a musician and luthier in Brazil.
I also have a store of instruments to www.soprasax.com.br. My Saxophone is a Yamaha 855 Custom.
Thank you and see Ivan Meyer musician

Violoncello, Oboe, Sax, flute -
Jazz - Pop- Classic-
Oboe Solo

IMPORTANT NOTICE: No media files are hosted on these forums. By clicking the link below you agree to view content from an external website. We can not be held responsible for the suitability or legality of this material. If the video does not play, wait a minute or try again later.