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Discussion Starter · #1 ·
I've owned an 82z tenor for some time and have liked it, but lately I've been finding that it just lacks a bit of character to the sound. Would something like an UL w/o F# offer more for me?
 

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I played an 82Z UL for about seven years. I loved it. Then I started to feel the same way as you. It was just lacking some character or depth to the sound. It started to sound "two-dimensional" to me. I haven't tried the model without the high F#. Some people say it makes a difference. I ended up with a Mark VI. It had the depth and character that I was looking for. Good luck!
 

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Until you have the most desireable, adored, valuable horn in the world you will always wonder whether your horn is lacking something. I have got (and have had) several great horns at home and none of them make a sound until I put some air through it.

Reminds me of an anecdote I heard once:

A legendary sax player is just crushing it on the bandstand and at the break an adoring fan comes over and says 'Man, that MarkVI sounded great!'. The player gestures to the saxophone sitting quietly in its stand and says, "How does it sound now?"
 

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Discussion Starter · #4 ·
I played an 82Z UL for about seven years. I loved it. Then I started to feel the same way as you. It was just lacking some character or depth to the sound. It started to sound "two-dimensional" to me. I haven't tried the model without the high F#. Some people say it makes a difference. I ended up with a Mark VI. It had the depth and character that I was looking for. Good luck!
Yeah, I've been toying with the idea of finding a Mark VI. I wasn't sure if there was a less costly modern horn solution.
 

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I've owned an 82z tenor for some time and have liked it, but lately I've been finding that it just lacks a bit of character to the sound. Would something like an UL w/o F# offer more for me?
You might want to try a different neck. I once had a silver 82Z with G3 neck (nice sound, nevertheless), and with a gold-plated Phil Barone neck the sounds changed (for the better). I couldn't afford any other neck yet wish I could try a Ponzol, Selmer or Bosner (is that wachamacallit ?)
 

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Discussion Starter · #6 ·
I did buy a G3 neck for some issues with high A. It definitely works better than the stock neck. Would one of the necks you mention really offer more to my sound? I had just assumed a different horn might be in order.
 

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I had the luxury of playing a new lacquered 82Z tenor and a late Mark VII side by side for 2 months a while ago and I kept the Mark VII and sold the 82Z. Despite the slightly more challenging ergos of the Mark VII and the ease with which the 82Z played I knew fairly quickly which sound I preferred.

Yeah, I've been toying with the idea of finding a Mark VI. I wasn't sure if there was a less costly modern horn solution.
 

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Interesting to see that at least two members of SotW have gone from 82Z tenors to Borgani Jubilees in the last few months. Check the Marketplace to see their 82Z tenors for sale (now sold, I believe).

I went from 30 years or so on Selmers (Balanced Action, Serie III, Ref 36) to a Jubilee and haven't looked back.
 

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Discussion Starter · #9 ·
Jubilee? What the heck is that? I must be out of touch...
 

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Dr. G I also have a Borgani but it's a soprano. Very well made black nickel with gold plated keys and a one piece, the intonation is great also. Hav'nt tried the tenor yet but I'm set on my keilwerth at least until I play something else that drives me crazy. Jajajaja But, can't let my wife know I already have two tenors. I will definitely have to sell some gear before anymore spending. I'm still curious though. Your jubilee model is the same model as Lovano's right? Take care.

sent from Mikey's Super Inspire 4G
 

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Interesting to see that at least two members of SotW have gone from 82Z tenors to Borgani Jubilees in the last few months. Check the Marketplace to see their 82Z tenors for sale (now sold, I believe).

I went from 30 years or so on Selmers (Balanced Action, Serie III, Ref 36) to a Jubilee and haven't looked back.
Yes, but if you listen to the timbre of their recent posts you can sense at least a bit of hankering for that departed Z...
 

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I'm still curious though. Your jubilee model is the same model as Lovano's right?
Similar - the Lovano model is, as I recall, silver pearl finish with gold plate mechanism. I believe it shares most of the same keywork and body geometry. I play a silver plate Jubilee tenor these days. I find it to be a very flexible horn. I tried it with the Lovano style Francois Louis Spectruoso 350 and heard too much of the Lovano tone. With my modified (thanks again, Juan Caino) V16, I sound like me and love it.

Check the Borgani section for various raves about these horns - limited production from the factory of 12 workers and limited distribution in the U.S. help make these horns a sleeper.

http://forum.saxontheweb.net/forumdisplay.php?101-Borgani
 

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Yes, but if you listen to the timbre of their recent posts you can sense at least a bit of hankering for that departed Z...
Sure, most anyone that spends too much time at SotW will probably have latent GAS. On the other hand, the person that bought my first Borg' Jubilee used it to replace a Mk VI <gasp>. Some people like to keep a backup horn around - I s'pose the 82Z is a good choice for that. :twisted:
 

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Yes, but if you listen to the timbre of their recent posts you can sense at least a bit of hankering for that departed Z...
I was one who recently switched from an 82z to a Borgani. A hankering for the departed Z? Ya, probably a little. it's a great horn. Would I switch back given the opportunity? Nope. The Borg is just too sweet :)
 

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Where's BorganiBoy???

Heck, he kept his moniker "Mauriatboy" for all the time he was playing a Yamaha...

Now he's one of the Collective.
 

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I think over time most people get disenchanted with their sound in some way and naturally it has to be the horn... Quite a few Mark VI players have switched to other horns and are happy the did, it's all relative.
 

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Maybe try some different mouthpieces/reeds. I know that when I got my Keilwerth I was hating it with the setup I had on the previous horn. I tried several different mouthpieces and reeds and finally found a setup that I love.
 

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Pateseguin, try different mouthpieces. It'll be much more economical in the long run. And if you really feel the need, get a G3 neck; though in my experience the difference was marginal.
 

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In my opinion:
  • The sax itself is responsible for 10% of the sound
  • The mouthpiece and reed is responsible for 30% of the sound
  • The player is responsible for the remaining 60% of the sound
Anecdote: Back when I was a newcomer to the saxophone, I developed a clear, clarinet-like sound. One day I brought my gear to work and showed it to a seasoned jazz player. When he tried it (same horn, same mouthpiece, same reed), the resulting sound was raw and loud - pure rock'n roll.
 

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Similar - the Lovano model is, as I recall, silver pearl finish with gold plate mechanism. I believe it shares most of the same keywork and body geometry. I play a silver plate Jubilee tenor these days. I find it to be a very flexible horn. I tried it with the Lovano style Francois Louis Spectruoso 350 and heard too much of the Lovano tone. With my modified (thanks again, Juan Caino) V16, I sound like me and love it.

Check the Borgani section for various raves about these horns - limited production from the factory of 12 workers and limited distribution in the U.S. help make these horns a sleeper.

http://forum.saxontheweb.net/forumdisplay.php?101-Borgani
Just saw Joe on Monday, he was playing a Pearl Gold Jubilee with gold plate mechanism and a silver neck.
 
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