There was a thread on this awhile back and I can't seem to find. I'm thinking about changing the bend in the neck so it aligns better to my body type.
I’d think twice before doing this, it could have an effect on sound or intonation. Although it may be very slight. I think Jimmy Giuffre has this done on tenor.Make sure you get a good and experienced tech to do it.There was a thread on this awhile back and I can't seem to find. I'm thinking about changing the bend in the neck so it aligns better to my body type.
I'm curious also, but why not? I think Jimy Giuffre had it done in order to use a more clarinet like embouchure, so the mouthpiece/neck was more of a downward angle.I'm curious about the details of what the problem is. The neck strap adjusts the height and the head is designed to tilt a lot more than slightly forward or back, on top of the player's neck.
Picture an alto sax with the mouthpiece going nearly straight into the mouth (traditional pedagogy). Then picture the player tilting the head way up and back to produce the 45° angle the mouthpiece is typically inserted into the mouth as on clarinet (which would be horribly uncomfortable). Another way to achieve this "clarinet angle" would be to keep the head erect and pull the bottom of the sax way back which puts the right hand and arm in an awkward playing position but slightly better than the first choice. A lot of young tenor students tend to play like this, but they also tilt their head down to keep a traditional mouthpiece angle.I'm curious about the details of what the problem is. The neck strap adjusts the height and the head is designed to tilt a lot more than slightly forward or back, on top of the player's neck.
You're preaching to the choir here Gordon. Have you ever seen David Sanborn play? The only reasonable bending in a sax neck IMO is what some models of soprano have so the mouthpiece can go straight into the mouth and keep the sax pointing down at a comfortable angle.Saxoclese, isn't the solution to use an embouchure (and angle) that is appropriate for sax?
Would these people put a bend in a trumpet lead pipe to lower the instrument, more like a clarinet's "posture"?
Would a cyclist want a cycle saddle put in his car?
Very informative reply Dave-I too was thinking that cutting the neck angle at the tenon would significantly reduce the overall volume. Interesting remarks about Harle having a few intonation problems.Roberto Buttus of Sequoia Saxophones made a neck with a steeper angle for alto and gave it to me the last time I was over in Friuli. It's a fantastic neck and resolves some of the usual alto tuning tendencies rather well - much to my surprise. I don't use it often because it forces me to play in a more clarinet-like way, much favoured by classical saxophonists these days, and that's not presently my focus, but it is a very good neck.
I was working a lot with Harle in the early 90's when he had his Buffet neck modified and I did feel it gave him intonation challenges thereafter. I think Harle's issues came from the cutting of the neck that Bill Wrothall did, without re-adjusting the volume of the neck (or whatever you'd call it). Buttus' neck is the correct volume and taper, just a different angle.
I would very strongly advocate against cutting a normal neck to achieve this. You could ask Mr Buttus to make you one, his prices are very reasonable, <info at sequoiasaxophones.com> is his address.
That is true, however there is another characteristic that is also important and that is the "taper". A substitute neck that has close to the same volume as the original may or may not have the same taper which is not consistent from one end of the neck to the other. The photo below shows the measurements taken from the neck of a Selmer SBA alto.Even if you have a capable tech, I wouldn't risk changing the angle of an original neck. You would be better off searching for an aftermarket neck with the desired neck angle, and then spending a few dollars having a tech adjust the tenon and receiver. In my experience, an aftermarket neck with a similar internal volume to the original neck ought to work well. You can measure the internal volume by filling the neck with water (covering the octave vent with plastic wrap, and the cork end opening with plumber's putty,), and then pouring the fluid into an accurate measuring cup. Necks that hold a similar amount of water will have a similar volume.