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Forgive me for going off topic. I bought a BN Guardala (018XX) new from WW&BW. I had 2 BN's and a silver plate to choose from. The one I bought had extremely high key heights, but as compared to the other two has a sound that seems to envelope the player...from behind or in front of the horn. Lately, as I've started playing again and am aware that there is nothing Selmer-like about the sound, and that expression is limited compared to my YTS-61. The Guardala has no sizzle, and something of an unpleasant sound compared to a late VI. I guess I'm asking if anyone here has experienced this or has any thoughts.
 

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Does yours say “Made in Germany” on it? Perhaps you bought one of the few Amati ones.
 

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Forgive me for going off topic. I bought a BN Guardala (018XX) new from WW&BW. I had 2 BN's and a silver plate to choose from. The one I bought had extremely high key heights, but as compared to the other two has a sound that seems to envelope the player...from behind or in front of the horn. Lately, as I've started playing again and am aware that there is nothing Selmer-like about the sound, and that expression is limited compared to my YTS-61. The Guardala has no sizzle, and something of an unpleasant sound compared to a late VI. I guess I'm asking if anyone here has experienced this or has any thoughts.
I have three B&S Guardala tenors and two 2001 series tenors. They are some of my favorites and the horn I play most often. I have owned or currently own most other tenors made, to include a YTS61. I personally think the B&S does a very close MKVI sound and feel. I own two of those as well. I do think the Yamaha 61 is a great tenor.
 

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Yeah, a YTS61 can really be a great horn with an amazing ringing tone. Here’s a clip of Hollis Gentry (sadly gone but played a 61 Tenor and alto) playing one:

https://youtu.be/S3jQhvK8mqw
 

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Discussion Starter · #25 ·
Yeah, a YTS61 can really be a great horn with an amazing ringing tone. Here’s a clip of Hollis Gentry (sadly gone but played a 61 Tenor and alto) playing one:

https://youtu.be/S3jQhvK8mqw
Wow. REALLY NICE! That horn could be passed off as ANY of the best horns. Which proves: if you sound great, you’ll sound pretty damn good on ANYthing that plays in tune!!
 

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I sell saxophones. I had a working rock player at my house one day. He played a Guardala, YTS61 and my 72 MKVI. He liked the 61 best. They sounded very similar to me. I sold the 61. I think one of the other elements of these comparisons is the mpc. I play B&S horns. I have over time picked out the mpcs that work best for me on those horns.
 

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I sell saxophones. I had a working rock player at my house one day. He played a Guardala, YTS61 and my 72 MKVI. He liked the 61 best. They sounded very similar to me. I sold the 61. I think one of the other elements of these comparisons is the mpc. I play B&S horns. I have over time picked out the mpcs that work best for me on those horns.
Which mpcs remained after the testing and selection process (long process, I believe) as the best working and "cooperating" on yours B&S?
 

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Which mpcs remained after the testing and selection process (long process, I believe) as the best working and "cooperating" on yours B&S?
Honestly, I've found my Allora B&S to be the most mouthpiece friendly horn I have, a YTS-62 and a Conn 10M are the other horns I have right now.
 

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Im not sure how exhaustive my process has been but FWIW on alto I have been using a Selmer Super Session (E) for several years now, and on tenor its a Morgan Excalibur (7) that killed any GAS. Other than reeds I dont think Ive bought any sax related equipment for 5 years or more now.
 

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I own three 2001 and 2001 VI alto and tenors and I previously owned Blue Label alto and a B&S 1000. Ergonomics are the best I have tried in 40 years of playing
 

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Which mpcs remained after the testing and selection process (long process, I believe) as the best working and "cooperating" on yours B&S?
You are correct about a long process. I don't think they are in any way not mpc friendly its all subjective. I play a 10mfan Black Widow. I played a Robusto for a long time before that.
 

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Very mouthpiece friendly and shapable tone, depending on the mpc you use. I generally go for a darker tone with an early Woodwind Company or Sumner piece. When I’m looking for a little edge or projection my go to piece is a metal link from the 80s I had Phil-Tone do his magic on.
 

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Very mouthpiece friendly and shapable tone, depending on the mpc you use. I generally go for a darker tone with an early Woodwind Company or Sumner piece. When I’m looking for a little edge or projection my go to piece is a metal link from the 80s I had Phil-Tone do his magic on.
I think that's probably where the difficulty lies, it seems like pieces really can change the sound of the horn quite a bit.
 

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I think that's probably where the difficulty lies, it seems like pieces really can change the sound of the horn quite a bit.
Isn’t that true of any horn? Why else would we all have several mouthpieces? Some are dark, some bright, some loud, etc... The mpc and reed effects the tone of every horn I’ve played.
 

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Isn’t that true of any horn? Why else would we all have several mouthpieces? Some are dark, some bright, some loud, etc... The mpc and reed effects the tone of every horn I’ve played.
Not sure. My Yamaha 62 no matter what always seemed to sound pretty much the same. The character of my 10M seems to shine through whatever I use as well.
 

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Maybe Yamaha Men hid in the sax the secret of unchanging sound ;-)
But seriously, I agree with all of you - robbieg, Jerry K., saxcop - mpc is subjective thing, can change (with reed) the sound, but players decide about sound.
Best players technical skills and "voice apparatus" can make the sound more or less brightness or dark, smoother or agressive overtones, etc., but there is always a limit because of the mpc and reed material and construction characteristics. Sax decides about possibilities how far the player can achieve the sound target (acoustic perfection).
Before my first B&S I had to struggle with other 2 saxes, of course I did not know then that I was struggling, and that I could do the same better and easier ...
The better sax-mpc-reed - the best ending effect. And more health stays because less physical effort is needed.
 

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Yes, I agree with you KeyPi.
 

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(... the better sax-mpc-reed - the best ending effect ... and more health stays... )
What we do not appreciate until we have health problems.
That's why I like B&S 2001 (and other B&S series) - solid and ergonomic, pleasure from low to high notes.
 

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I think I bought the one you are talking about. Early 2001 with sandblasted / clear laquer finish. I am really not much of a sax player but the most intriguing thing about this horn is that I took it out to an unplugged matinee and managed to play in whisper mode (they usually don't allow anything louder than a blues harp) with a Streamline MPC / Peter Ponzol 2 1/2 reed - and it was the best-sounding super soft sax sound I have ever been able to produce. The mechanics are precision engineering with adjustable set screws, never seen anything quite like that.
 

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... the best-sounding super soft sax sound I have ever been able to produce. The mechanics are precision engineering with adjustable set screws, never seen anything quite like that.
Far and away the best and easiest horns to play when it comes to sub-toning! Complex, rich, can whisper like no other! All modern day B&S horns have outstanding engineering, build quality and I’m sure they will outlive us all!
 
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