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Discussion Starter #1
My G,A,B,C are dead on pitch. Bis B-flat is 25 cents sharp. Side B-flat and 1/1 are dead on pitch, 1/2 is about 15 cents sharp.

Does anyone else have the same issue? Is it inherent to this sax? Can you suggest why the Bis B-flat is so sharp and what may be done to change it?

Thanks, in advance, for you help.
 

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I have 2 of them and I will need to check it out. I do know that the bis is sharp on my Martin altos so it may just be a Martin thing. I have owned these 2 Martins, a few Conns, Bueschers and Holtons and the Martin is FAR better in intonation. The Conns were the worst being about a half step off C1>C2 and almost a whole step off C2>C3. I play a lot of soprano and can deal with a lot of issues but not the horrible intonation. Martins rule on C soprano.
 

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Discussion Starter #3
Bruce, thanks for offering to check this out and also for the assurance that I lucked on to the better c-soprano!
 

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The first thing I would like you to check is to see if there is any lost motion in the upper stack keys. That means when closing one key closes another that there is any movement of the first key before it contacts the second. This would also include closing the low F key before it touches the bar that also closes the Bb Bis.

Once the effects of lost motion is examined, there are a couple of things that come to mind that you might try or ask a tech to do for you to mitigate this problem. One is to lower the height of the A key which vents the Bis, and the other would be to put a crescent in the mouthpiece side of the tonehole which vents the Bis. Unfortunately, lowering the A key would probably introduce lost motion in other keys---so that solution might be a trade off of sorts.
 

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The first thing I would like you to check is to see if there is any lost motion in the upper stack keys. That means when closing one key closes another that there is any movement of the first key before it contacts the second. This would also include closing the low F key before it touches the bar that also closes the Bb Bis.

Once the effects of lost motion is examined, there are a couple of things that come to mind that you might try or ask a tech to do for you to mitigate this problem. One is to lower the height of the A key which vents the Bis, and the other would be to put a crescent in the mouthpiece side of the tonehole which vents the Bis. Unfortunately, lowering the A key would probably introduce lost motion in other keys---so that solution might be a trade off of sorts.
Lowering the A key (LH2) would also lower the pad that closes then you play C, making C# fuzzy and/or flat. This might not be an entirely bad thing if you have a problem with high C# veering severely sharp, but otherwise it is probably not something you want to induce.

The basic problem is that bis-Bb is ALWAYS going to be sharper than 1/1 or 1/2 because the F# and F (or E) pads remain open. If you tune bis-Bb, then 1/1 and 1/2 will be flat. Pick your poison.
 

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Changing the A key opening is a bit hard as it is stopped by the G key on these which also must operate the octave key changeover.
 

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On my Martin tenor, the bis Bb2 plays about 10-15 cents sharper than the 1+1 or the side Bb. Bis Bb1 is pretty much in tune with the others.
 

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Discussion Starter #8
rleitch, what are bis Bb2 and bis Bb1?

Also, I would expect no correlation between a tenor and soprano, even though they come from the same manufacturer.
 

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rleitch, what are bis Bb2 and bis Bb1?

Also, I would expect no correlation between a tenor and soprano, even though they come from the same manufacturer.
Sorry, I meant to write Bb2 and Bb3!
 
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