“I play sax but mostly it plays me”
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Or most B&SAllora branded B&S
Or most B&SAllora branded B&S
I asked because there are some horns that you can pick up for loose change, and you have a nice horn for the price of an overhaul. Unfortunately they will still be worth about half the price of the overhaul. I learn a lot about these by reading posts by @JayeLID and @milandro.I don't think anyone ever asked that in the other thread but that's a good question. I really wasn't thinking about flipping or trying to make a profit as much as finding a great player at a reasonable price. But if you also stand to break even or better if it doesn't work out, that certainly doesn't hurt.
That word "worth" in the context of this thread is, I think, sturdiness, sound, reliability, mpc friendliness, ergos, and so on related to keeping and playing rather than flipping. If that is so, I cannot see the result as "unfortunate" but rather as very fortunate. Putting $500 into a horn that will be kept and played for the rest of one's life is not lost money, no matter what value the estate sets for it after the funeral. If things go well I might still be playing it after that!
That's great advice but I have notoriously bad luck with 'techs' who end up ruining my horns. My new/untouched horns have always been the best. This time because of my age anything new is going to last me as long as I need it - with little or no 'tech' work. But if I need some 'tech' work, I'm sure everyone will be happy that I have finally found one who is willing to do things the way I want, which is simply the way things were automatically done in the past - the right way.I like my horns in "like new" playing condition also. It's not at all necessary to buy a brand-new modern horn (at a brand-new price rate) in order to get one in perfect playing condition, or have it put into top playing condition by a good tech.
I should add, even a new modern horn right out of the factory isn't always in perfect playing condition, in comparison with a top-notch overhaul on a used horn. The OP is asking for 'best bang for your buck.' They won't find that buying a top-quality new horn.
I think of it now as the highest performance per dollar, or pound, or bit coin, etc. This resale is not involved in the equation for this particular point. So while there is a higher risk of not getting your money back on a resale if you don't like the end result, it allows for a higher (performance)/(monetary value) ratio if you wind up liking it. I have some altos like this, an angel wing F King (Keilwerth stencil) and a Gracin (Hammerschmidt). However for tenor I have a thing for Martins, and I have the itch to try an SML Rev D once I sell one or two. Or 10 to 20 mpcs. So far I have put zero of anything up for sale, so I may need to derive a plan B.That word "worth" in the context of this thread is, I think, sturdiness, sound, reliability, mpc friendliness, ergos, and so on related to keeping and playing rather than flipping. If that is so, I cannot see the result as "unfortunate" but rather as very fortunate. Putting $500 into a horn that will be kept and played for the rest of one's life is not lost money, no matter what value the estate sets for it after the funeral. If things go well I might still be playing it after that!
I just sold a Marin Indiana stencil for $700 and I already kind of regret it lol.Absolute best for little money IMO are vintage stencils and second lines, (Pan Am-Conn , Buescher-EBICo, Martin Indiana).
You can't overstate the value of having a good, trusted tech. I still miss Charles Fail, who used to have a shop in Atlanta. He setup my horns perfectly for me and I haven't found anybody since who did. The tech I use now is good. In fact, he's working on my two altos right now, so we'll see how it turns out. But yeah, I do get the struggle.That's great advice but I have notoriously bad luck with 'techs' who end up ruining my horns.
I suppose the problem is that you have to put that money in it (isn't $500 low for an overhaul now?) not knowing what the end result will be. You may end up with something you'll play the rest of your life but you may not. And then you have sunk costs that you won't be able to get back.That word "worth" in the context of this thread is, I think, sturdiness, sound, reliability, mpc friendliness, ergos, and so on related to keeping and playing rather than flipping. If that is so, I cannot see the result as "unfortunate" but rather as very fortunate. Putting $500 into a horn that will be kept and played for the rest of one's life is not lost money, no matter what value the estate sets for it after the funeral. If things go well I might still be playing it after that!
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I suppose the problem is that you have to put that money in it (isn't $500 low for an overhaul now?) not knowing what the end result will be. You may end up with something you'll play the rest of your life but you may not. And then you have sunk costs that you won't be able to get back.
I have an Aristocrat from the early 60's that's just beautiful. I'm not sure if it's pre or post buyout, but it still has that Buescher sound. I've been considering getting a re-pad done on it, as for whatever reason the pads don't have resonators. I'm also considering selling my YTS-875EX because I play mostly alto, and why have two tenors when I barely play one! I guess what I'm saying is, if I have to keep just one it would be the Buescher.Vintage Buescher Aristocrat anywhere in the range from '30s 'series one', through to late '40s / early '50s 156.
I think the Selmer buyout was around '63. So 'early' 60's could be either just before or just after the buyout. I'm not at all familiar with the post "156" Aristocrat tenors, but I've heard that the ones up to and maybe a bit past the buyout are pretty good horns. So, yours could well be very nice and worth getting a repad with resonators.I have an Aristocrat from the early 60's that's just beautiful. I'm not sure if it's pre or post buyout, but it still has that Buescher sound. I've been considering getting a re-pad done on it, as for whatever reason the pads don't have resonators. I'm also considering selling my YTS-875EX because I play mostly alto, and why have two tenors when I barely play one! I guess what I'm saying is, if I have to keep just one it would be the Buescher.
I just paid a little over two grand for my '49 Buescher 400 TH&C, including having a couple iffy pads replaced. This thing is a monster. I have a King Zephyr that I have almost as much into after the rebuild. It is a great horn, but the Buescher tops it.I think the Selmer buyout was around '63. So 'early' 60's could be either just before or just after the buyout. I'm not at all familiar with the post "156" Aristocrat tenors, but I've heard that the ones up to and maybe a bit past the buyout are pretty good horns. So, yours could well be very nice and worth getting a repad with resonators.
My point is that the Buescher horns from the most desirable era, which are top quality, pro horns, can be had at a very reasonable price.
That's a really good price for a TH&C. I was mainly talking about the Aristocrats because I think they tend to be a bit more undervalued than the TH&C, which generally goes for a higher price. But anything much below $3k for a TH&C in good playing condition, would definitely fit the 'best bang for your buck' category.I just paid a little over two grand for my '49 Buescher 400 TH&C, including having a couple iffy pads replaced. This thing is a monster.
I don’t think there’s a very good chance you’ll find a tenor you like more. So are you thinking of selling the VI or B&S? If you get a chance to play a 2001 or Medusa, you should check it out. I think the Yamahas and Yanis will lack the power you’re liking with the B&S, not to mention the really nice bottom end.Found a like-new B&S 'Dave Guardala' Artist Model tenor and I play the same mouthpiece on it I've been using since 1998, a Dave Guardala 'King Curtis'. Its a dynamite combination although I don't believe there's generally any advantage to be had playing a DG on a DG - just sheer luck in my case. In fact, when I played my VI after getting used to the B&S, the VI played small to me. Now I'm thinking of selling that and getting a new tenor if I can find one as good as the B&S. I have two in mind but they're hard to get right now - the Yamaha 'Atelier' or the Yanagisawa TWO33 (silver neck and bell). I won't buy any more old saxes unless they're still in new condition. I've always like my horns best when they were new - now at this late stage I'm not fighting that anymore - it has to be great and it has to be new.