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A friend of mine has bought several of these necks. I will soon go and take a look.

Their sale鈥檚 strategy appears to be a different one from other companies.

There are already many necks made in China at a very low price on ebay, but this company (are they makers or re-sellers?) appears to be able to customize their product (or so they promise).

It isn鈥檛 entire clear to me whether this means that they are able to actually reliably copy old necks or if they only adapt the tenon and the octave key to one neck alone?

If the first hypothesis is the case then the comparison to neck makers such as Gloger or the Blazersatelier Tilburg are fair but otherwise, what are we talking about?

True there are other universal neck makers which generally promise to give their own sound and then , within that framework, this would be an alternative to those.
 

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I am sure, after many expressed their positive thinking about their quality that these are essentially good necks.


As written before the entire neck replacement question can be reduced to two essential types of replacement necks.

One is the reproduction necks meant for the replacement of lost or damaged necks belonging to known models.

In order to qualify for that category a neck has to be a faithful reproduction (at the very least of the internal dimensions and fitting). Few makers ( Karsten Gloger or The Blazersatelier Tilburg and there maybe others) qualified under that definition (at least in origin).

Then you have the necks which seek to alter the sound of a saxophone upon which they are fitted. When you buy one of these they have one design which may or may not be inspired on a classic model ( Paraschos, Barone, Oleg, Mauriat and many many others) and by fitting it to your horn you are not concerned that it is identical to anything but that by changing the neck you will influence the sound somewhat (positively?) .

This became a trend after the 鈥80 when people saw that Michael Brecker had a silver neck (because his neck had been damaged) and started hypothesizing this was done to alter the sound of the original neck on his saxophone.

From then on a plethora of 鈥 makers" sprouted out and some saxophones came with 2 or 3 necks and people started thinking of changing necks around to alter the sound. ( as if it wasn鈥檛 difficult enough to match your saxophone, to your playing and a mouthpiece and a reed) inserting yet another variable in a long sequence.

The second predicament is not very different from altering the sound through mouthpieces. It may work, or not. In any case exact reproductions are not necessarily the discriminatory criteria.
 

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I suspect that German copper is something similar to French Brass which is NOT brass made in France but a certain type of brass I also think that it is possible this is made of German Silver ( which has no silver at all)

Yet again my Militaria collecting passion comes to the rescue, Gentlemen(and Ladies). The term "French Brass" dates back at least 200 years, and maybe further. During the Napoleonic Wars, French brass accouterments (Belt plates, cartridge box plates, buttons, gun hardware, Shako Plates, Ship's hardware, etc.) were being made with a high copper content brass, and this stand out feature was referred to by the British as "French, or Continental Brass" unlike the lighter colored, higher zinc content English brass used by the British Arsenals and Military contractors such as Enfield, Peter Tait etc. How it survived to be used much later in the musical instrument trade is another story.
 

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I went to see this friend whom has been ordering a few of these necks. We tried them.

They are good necks and we鈥檝e tried them on a few horns.

In all honesty the 鈥 plus鈥 of this product is mostly in the ability to have this matching a particular tenon size BUT...

My friend had few more necks that he had bought from an even cheaper Chinese source on ebay and those were not worse ( in fact maybe better finished) than the Power Necks but less flexible when it came to tenon diameter.

I wasn鈥檛 blown away from the quality of the soldering of the soldered shield.
 

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Hey all. This seems to be a timely thread for me, so I have a quick question. Please be gentle because I'm something of a novice.
Today the octave key snapped off the neck of my Yamaha YTS-21. Basically, the solder gave out for some reason. (I promise I wasn't manhandling it. I have no idea why it happened.) Under the circumstances, would I be better off to try and get it repaired or should I be looking for a replacement neck like the ones mentioned here?

Thanks in advance!
Soldering and even relacquering your neck will cost only few bobs.

The value is not such that it will be diminishing it at all.
 

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Now if the seller measured a Super 20 and had it fit that... well, I'd expect quite a few of these would fly off the shelf.
A friend of mine ( the one who bought several necks) got in touch with " Brenda" and they declared themselves interested in copying any neck that you may want to. They were even prepared to make C melody necks.
 

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why? Octave keys are often adjusted to meet the body activator they can ( with the exception of the underslung ones) pretty easily bent
 

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phosphor copper and phospor bronze are temrs used interchangeably by many sellers .

Ostensibly these people are not changing the neck profile for each model. They will live in a nightmare house if they were to do that for that kind of money.

Written, sitting at home, from a Mac computer with no pesky tapatalk either
 

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hardly a panacea in itself, the reason why people are taking to these necks is not only the price, but the fact that they come in a number of diameters and of octave key configurations,
 

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Bari saxophone replacements for selmer and clones are very easy to find and have been on offer for quite some time, jupiter necks are good and not at all expensive, if the diameter is not a match it can be worked upon.

Mark VI necks appear to be well replaced by jupiter
 

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The bad news is that all this attention on their products has cause them to put prices up
 

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is this not the counter face of the hammer indentations?, To my eye ever blob underneath corresponds to a 鈥 dent鈥 above

The entire concept of these necks (but also horns , I鈥檝e spoken about it some time ago) is strange. People go to great lengths to smoothen the surface and then you buy something that is by its own nature brought (again you pattern 鈥 hammer鈥 on top what do you expect the metal to look like underneath if not blobby?).
 

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this is the thread where I spoke about the Mercury Horns showing the same pattern


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I see more and more of these being sold around in the Netherlands. Not a bad return considering the buying price at the source and the fact that most are sold " privately".

Obviously the buyers think that the hammered " dimples" are cool and some even think they work the same (they don't!) as golf balls dimples.

Clearly an example of Cool Vs. Well conceived. Looks over function.
 

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probably @bmisf refers to something used in the bending of the tube covering the counter face of the dents , difficult to say, so he may clarify.

Selmer, apparently, uses wax, but they form the neck by hand, I think that this may be (as often happens) hydroformed and hard wax may be used in this process

this is a hydroformed neck by Music Medic in the video they say they fill the neck with pitch

 

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maybe the inner structure make the neck more difficult to clean , if it is wax some hot water may help.
 
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