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Distinguished SOTW Coffee Guru
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what! are you already out of balsamico again ?!
 

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I don't know if he's made any public comments about it as yet - but my information comes from talking to him personally when he dropped round for a spot of lunch.

Regards,
My mistake, got my Andys mixed up - it was Andy Brush I saw!

Regards,
 

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I laid on a nice buffet lunch - pasta salad, olives, spot of cheese, salami, nice bread - a splash of Milandro's excellent balsamic vinegar and a few bottles of choice beer.

But, er, why?

Regards,
I was just joking - but can we clarify which sax player contributed to the TJ Custom Raw Sax, was it Brush or Sheppard?

How do we get hold of Milandros Balsamic Vinegar? Will it help my sax playing?
 

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yes, definitely, rub it onto yourself and you will se improvements in your playing! :bluewink:

On a serious note, if you like balsamico, my brother has a balsamico company ( they sell wholesale) but they have an e-commerce section too for private buyers on line........
 

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This is a review that Dave O'Higgins wrote for the Signature Custom Sax

Signature Custom 鈥 new model first impression 23/1/08


I went to the Trevor James HQ which is a modern building on an industrial estate in Kent. I met half a dozen administrative staff & about the same number in the workshop, along with the rep, JP, the boss, & Dave Farley, the man who creates the horns painstakingly agonising over the tiniest details. I'd had a horn from TJ for about 6 months. It sounded good & compared well to the modern competition. I was impressed by how well put together it was. I took it on some gigs & got some nice comments, though it could not really compete with my trusted Mark VI (& neither can any other modern horn).

TJs were keen for my input & so I made a couple of suggestions: 1) remodel the action on a Mark VI 2) make one with no lacquer in the hope of bringing out a greater resonance, & if that makes it tarnish quickly & look old, then so much the better!

Dave Farley in the meantime created a silver tenor which I played at a masterclass in Bingley. That horn sounded great & made me very excited to try the new one. I was also anxious that my suggestions would not have helped & the new horn be a retrograde step. Dave brought me the horn & left the room in trepidation.

What did I think? To look at it's surprisingly shiny in itis raw state, though a little discolouration is already evident. It has the appearance of maybe a well kept 10 year old top marque horn. Feeling the keys without blowing the right hand felt slightly twisted towards the left with the Eb a little high. The left hand action was just right & the little finger keys really smooth & easy to operate.

How did it blow? I put on my Link 7* metal mouthpiece & a Rico Jazz Select 3M filed reed that was nicely played in & it went like hell. I could play all over the instrument, bottom, middle, top, altissimo, fast, slow, subtone & have yet to split or miss a note. The mechanism that initially seemed twisted was perfect when moving the fingers. Maybe the left hand D and F palm keys could be a fraction higher, but this still works beautifully. It was excellently set up, bar a tweak on the the G# grub screw & the grub screw above that (whatever that鈥檚 called) to seal my F# fingering (an adjustment I always have to make). The sound has definitely opened up compared to the previous models & this horn has a fat centre to it and also a wealth of overtones that give the sound a character & brightness that you can use as expression to change the sound: not just one sound as so many modern horns have. The subtone is beautiful & furry.

I was in a conference room & unfamiliar acoustic environment, so I had to do the cruellest thing & compare it with my Mark VI (the best horn I've ever played). Much to my surprise it sounded good next to it. Not better, but it held it's own.

A good way to check the intonation on a sax is to play in unison with another player you know & trust. My girlfriend, Judith, was there to help with this test & the Signature Custom horn was easy to centre in unison with the trusted Mark VI, so I don't anticipate any gremlins here.

The next step was to get the Signature Custom sax home & give it a damn good thrashing in a familiar acoustic. After one evening swapping between it & my Mark VI, including recording both, I can honestly say at this stage there鈥檚 nothing in it. Sure they both sound different, but both great. That's a staggering achievement. And what everyone鈥檚 been trying to do since Selmer lost the plans for the VI. And this is just the sound I'm talking about now. To play it is definitely easier to get round 鈥 thoroughly consistent over the registers with no apparent grey spots. The mechanism is excellent & set up like a dream. It's hand built so it will be very interesting to see how much the next ones vary (& I kind of hope they will!)

Dave Farley has achieved something remarkable here. He has done 1000 more things than just my 2 suggestions including using a new alloy, changing the design of the crook to bring out the overtones, meticulous attention to postioning of tone holes, venting of keys, etc.

I'm taking it to a gig tonight & will make further a report when it鈥檚 got a few hundred choruses under it's belt.

So far, very good.

Dave O'Higgins
Agreed Dave. I sold a MK VI and a Custom Z on my way to a TJ SC, which is the best tenor I鈥檝e ever played. Maestro, you are a wonderful player!
 

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@Warhen , adding to old thread is very good but you are answering a poster that hasn鈥檛 ben seen since 2011, so when you answer al older thread , just click on the avatar and it will tell you were was the person last seen, please be aware that the 鈥 recommended for you 鈥 threads are based on your search history ( and when there is none or little this is pretty random).

 

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I have met him personally and apart from being an excellent player is a great guy as well. Pretty straight forward. Dave is a huge underrated beast. At least for me his tone is perfect. I have tried the horn myself and to be fair I liked a lot. It would take for me a bit of getting used to concerning the neck angle and the keywork was a bit more spread than my reference 36 but nothing of a problem. The tone was massive. It didn鈥檛 remind me totally of a selmer. The tone is broader than a VI and the center was more on the鈥 heavy鈥 side in terms of character.
 
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