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I would love to try something like that but my problem is:

1) the expense; and

2) I have a weirdly purist attitude about horns and sax playing; though I play in a way which is anything but "classic," I aim for the sound of older musicians from the '30s-'50s; kinda Pete Brown via Boyce Brown via Ernie Henry via Gene Quill; and those guys generally got there without wide openings and boutique reeds and Yamahas. That sound has to do with equipment and resistance and accessories, I think.

Still, I am fascinated by the whole neck thing.
 

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I left a note yesterday on Steve's web site, saying I have a tenor version of this neck and it's just perfect. The issue with the original neck of my Mark VI is that the palm key notes tend to be a little weak and resistant feeling. The new neck makes it like it's a complete horn, even sound and scale from bottom to top. Altissimo is easier too.

The biggest difference between my (now gone) Mark VI alto and my current one, a 44K SBA, is this same even characteristic from bottom to top. On his website, Jack Finucane discusses measuring and analyzing a lot of necks, including the Super Balanced necks, and trying to make his Heritage neck emulate the characteristics of the SBA. For tenor, at least for me, he seems to have done it. The sound of the new neck is just a bit clearer and more responsive - not really different in any way, but like a veil has been lifted.

I understand the idea of trying to keep a certain integrity to an instrument, but I don't feel my new tenor neck has changed my horn or how it plays in any way, but just cleared a few muddy things up. It's not one of those "Get a **KILLER** Sound With a KlangBoogey" deals, it's just a better neck. An awful lot of very well-known musicians bought new necks from Selmer (and other places) to help their horns, so I don't feel that it's unjustified.
 

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I left a note yesterday on Steve's web site, saying I have a tenor version of this neck and it's just perfect. The issue with the original neck of my Mark VI is that the palm key notes tend to be a little weak and resistant feeling. The new neck makes it like it's a complete horn, even sound and scale from bottom to top. Altissimo is easier too.

The biggest difference between my (now gone) Mark VI alto and my current one, a 44K SBA, is this same even characteristic from bottom to top. On his website, Jack Finucane discusses measuring and analyzing a lot of necks, including the Super Balanced necks, and trying to make his Heritage neck emulate the characteristics of the SBA. For tenor, at least for me, he seems to have done it. The sound of the new neck is just a bit clearer and more responsive - not really different in any way, but like a veil has been lifted.

I understand the idea of trying to keep a certain integrity to an instrument, but I don't feel my new tenor neck has changed my horn or how it plays in any way, but just cleared a few muddy things up. It's not one of those "Get a **KILLER** Sound With a KlangBoogey" deals, it's just a better neck. An awful lot of very well-known musicians bought new necks from Selmer (and other places) to help their horns, so I don't feel that it's unjustified.
Hi Steve, Çould you copy and paste that in the comments on my site. I think it would help for the people reading the review.
 

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Just posted an in depth review and comparison sound clips of the Boston Sax Shop Heritage alto saxophone neck. What difference can a sax neck make you ask? Well check out the review and you will see..........
Yes ! Thank you for this!
 

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"I left a note yesterday on Steve's web site, saying I have a tenor version of this neck and it's just perfect. The issue with the original neck of my Mark VI is that the palm key notes tend to be a little weak and resistant feeling. The new neck makes it like it's a complete horn, even sound and scale from bottom to top. Altissimo is easier too.

The biggest difference between my (now gone) Mark VI alto and my current one, a 44K SBA, is this same even characteristic from bottom to top. On his website, Jack Finucane discusses measuring and analyzing a lot of necks, including the Super Balanced necks, and trying to make his Heritage neck emulate the characteristics of the SBA. For tenor, at least for me, he seems to have done it. The sound of the new neck is just a bit clearer and more responsive - not really different in any way, but like a veil has been lifted.

I understand the idea of trying to keep a certain integrity to an instrument, but I don't feel my new tenor neck has changed my horn or how it plays in any way, but just cleared a few muddy things up. It's not one of those "Get a **KILLER** Sound With a KlangBoogey" deals, it's just a better neck. An awful lot of very well-known musicians bought new necks from Selmer (and other places) to help their horns, so I don't feel that it's unjustified. "



that's what I was hoping to hear.
 
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