[abadcliche]

I've had the good fortune to arrange a factory tour and meeting with Alex Hsieh, president of P. Mauriat. I'll be going next month (December 2011).

Do you guys have any questions, concerns, recommendations, feedback, ideas that I might want to keep in mind as I walk through? I am not a P. Mauriat employee, just an interested saxophone repairman who likes going to saxophone factories, but is there anything you guys would like me to be thinking about and/or possibly convey to the builders of these saxophones as I make the trip?

If I am allowed, I will take some photos and post them on my website upon my return.

 

[BigMack]

Here's one for you. I just bought a PMST 86 UL and the acid wash wears off easily on the bell. Not a big deal to me but some people may solely buy the horn for it's vintage look. This may come as a surprise to those who are anal about the appearance of their horn. But for those whose are tone junkies like me can care less but it could affect the sales of this killer horn.

 

[Grumps]

If I am allowed, I will take some photos and post them on my website upon my return.

See if they will let you get a shot of the back door, and what if anything is moved out of it. :bluewink:

 

[skeller047]

I think a discussion with the designers and technicians on what makes their horns different from the competition - in particular Yanagisawa and other high-end Taiwan brands, such as L-C, Barone and T.K. Melody. I think we'd all be interested in things like "our bore is closer to a true parabola" or "we specifically place tone holes to make overtones as in tune as possible".

That's assuming of course that they actually do stuff like that, and have thought about it enough to be able to discuss it (without revealing secret formulas).

 

[abadcliche]

BigMack and skeller, excellent suggestions. There was also a question in one of the deleted comments from CarlH about stock mouthpiece quality, which is another good thing to think about.

Skeller047, that is actually something in particular that I had in mind as well. I am happy to see that their latest horn the 76 2nd edition tenor has a "bore that is unique to P. Mauriat". Doesn't hurt that I really like the horn either. But its good to see that they realize they need to differentiate.

 

[Bubba06]

Perhaps what they're doing comparably to the other "Big Four?" There's a tour of the Selmer factory on their site with what they do to everything as it makes the way out of the factory. What's different about their process?

I'm especially interested considering your expertise.

-Bubba-

 

[DavidW]

Ask if they have any plans to offer a bass?

 

[whaler]

I like the rash of deleted bashing and collateral damage comments. Maybe he knows where the good strip clubs are?

 

[milandro]

well, it would be nice that you would video your tour and publish it, in parts, on you tube.

P.Mauriat only recently bought their factory and before of that, they operated as a trading company (nothing wrong with that! Most of the so called Taiwanese companies known to us are!) .

Their factory doesn't, in all probability, produce all the models that they sell (you can surprise me if you show us the contrary!).

On Taiwan it is customary for factories to specialise in making certain horns which are then bought by other companies . In other words not every company makes Sopranino and Baritones ( I am afraid that there are no bass saxophones made on the island and that one has to go to China for that!) . I would be most curious to see if they can show you any of these actually being made (not only on display or being vigorously polished by some worker willing to pose with one made elsewhere) in their factory.

I would, of course, particularly like to see if they are making the new straight alto and tenors over there.

 

[Roger Nordling]

Please point out to Alex that the high E of the 66 Line of horns is out of tune. Its too sharp.

 

[Pete Thomas]

Please point out to Alex that the high E of the 66 Line of horns is out of tune. Its too sharp.

I didn't notice that. Are you talking about tenor, alto, sop , bari; all the horns? Top E is usually something you sort with a set up, can't it just be lowered by a bit of extra cork?

 

[Stephen Howard]

I'd be interested to know exactly what they outsource. I know some companies confine themselves to making bodies only, and bring the keys and other fittings in from another maker.
If you get a chance to see the finishing plant I'd be interested in what process they're using for the fake vintage finish (spray, dip, wipe on etc.)...and what it might be made of.

And how much of the manufacture is automated.

The tone hole rolling machine in action would make for an interesting video (for me, anyway).

Regards,

 

[Pete Thomas]

I'd be interested to know exactly what they outsource. I know some companies confine themselves to making bodies only, and bring the keys and other fittings in from another maker.

I think this is extremely likely. It would explain why so many taiwanese horns look identical, but may not be when it comes to the sound. Wr all know slight differences in bore size and manufacturing process could make vast differences in sound. But by using keywork that is outsourced they could appear to be exactly the same horn as one made in another factory with a slightly different body.

Whether any company would divulge this type of information is up to them, but I suppose if you had an entire tour but saw no keywork actually being made, then that is a clue. But then they might make some proprietary keywork and buy in some. It would make sense to do that, e.g. make your own baritone low A, but use standard parts for some other keys. Whatever cuts costs without reducing quality or sound character is good business practise. Presumably that's why Inderbinen use Yamaha Keywork.

 

[bkobog]

for me, I will like to find out more about how they construct the rolled tone holes and how they handle the various finishing?
personally, I have been hearing more and more good things about P.Mauriat.

 

[whaler]

I'd be interested to know exactly what they outsource.

That probably won't happen, but then Mercedes probably wouldn't like to do that either.

 

[abadcliche]

This is an excellent discussion! Thank you all for the input. I apologize for not responding as much as I used to, I've recently moved to a new place in the countryside and internet is slow at best.

From what I know (and I could be wrong- hopefully I'll know more once I get back), Mauriat is moving from the trading company as Milandro mentioned towards a more vertically integrated and proprietary manufacturing structure, and what I am hoping to see the most of is their first step in that direction- a very very substantial step- their own factory and tooling. I think evidence of this movement (Bubba mentioned differentiation, which I think is or at least really really should be also a strong motivating component) can be found in their new 76 2nd edition horns; the marketing material I recently was given for it uses the first sentence to say that the body tube is unique to P. Mauriat. (And IMHO its also a great horn. Yeah yeah I know I sell them- go try one and buy it somewhere else if you like it, but just try one if you haven't.) With regards to outsourcing, I doubt they'll give me a percentage, but I expect the answer will be somewhere along the lines of "less with each passing day".

I'm definitely excited to see it firsthand. This will be my third saxophone factory I've visited- first one was Yanagisawa in Tokyo, next one was an OEM in Vietnam that makes horns for a lot of folks, now Mauriat.

 

[Pete Thomas]

With regards to outsourcing, I doubt they'll give me a percentage, but I expect the answer will be somewhere along the lines of "less with each passing day".

Ver likely. There are things that any manufacturer would want to keep confidential. Not usually for any nefarious reasons. Just because some people might jump to (wrong) conclusions if they don't completely understand the way the business works.

BTW, please give Alex my honest regards when you see him.

 

[abadcliche]

Will do, Pete.

 

[stevesklar]

bring me back some functional samples !!

I'm interested in the process they use, and their reasoning for various brass/bronze content, RTH and straight Tonholes, and finishes.
Also any input on their design (diameter) of toneholes, etc.

and let's not forget functional samples !!

 

[Roger Nordling]

I didn't notice that. Are you talking about tenor, alto, sop , bari; all the horns? Top E is usually something you sort with a set up, can't it just be lowered by a bit of extra cork?

I refer to the 66r tenors. The high E is too sharp,you can put more cork under the key so it wont open as much.This will bring the pitch down but does not feel right as the palm D and F are still opening more.