[baritonesaxophone]

Does anyone have, or have any experience, with Keilwerth's newest pro model baritone sax, the SX90R Shadow? Please leave comments and your personal opinions on the product. Good intonation? Any major problems? Any minor problems? Any major improvements or advantages? Any Minor improvements or advantages? etc.

 

[Joe Jazz]

Seems to me it was mentioned here previously that they were not as sturdy as the brass models. Didn't Dave Kessler mention a bent bell lip on one he had? You should use the search function.

 

[Randall]

Superb bari, no issues. The prototype that was at the Musikmesse before production was a REAL prototype and had intonation issues.
If you have the scratch, this is a FINE horn. Think more of a Selmer vibe than any JK before it, but with more grunt. I felt it has more flexibility than the usual SX90, of which I am a die-hard fan.

 

[xraydog]

Are they still making them? Anyone have them in stock?

Randall...... do you know if JK ever made a nickel silver bari w/o the shadow treatment (ie. one that looks like the other JK NS horns)?

Rick D

 

[Finnerski]

Are they still making them? Anyone have them in stock?

Randall...... do you know if JK ever made a nickel silver bari w/o the shadow treatment (ie. one that looks like the other JK NS horns)?

Rick D

No they didn't make a plain nickel silver bari, just the alto and tenor were made that way.

 

[Finnerski]

Seems to me it was mentioned here previously that they were not as sturdy as the brass models. Didn't Dave Kessler mention a bent bell lip on one he had? You should use the search function.

I don't think this is true. My tenor is nickel silver and I have knocked it into chairs that that would have dented up brass, and didn't even leave a mark on the nickel silver. It's a harder material than brass.

 

[Randall]

Rick, no, there were none made like that, that were shown. Of course they are all nickle silver (but with an unbrushed finish) before they put the black nickle plating on. I am fairly sure it is not entirely out of the realm of possibilities to get one with the NS alto/tenor brushed finish. But you are looking at a long wait and a lot of cash IF it were possible. I haven't been in touch with Mr. Keilwerth in a while and I am not sure how involved he is now with the company. I got my special order after waiting for a whole year for him to decide to finally do it. Funny thing about that order....the very day I decided to give up on getting my request granted and was going to order a black nickle Guardala bari, the OK came through from Germany on the JK SX90R in satin silver.

 

[Joe Jazz]

I don't think this is true. My tenor is nickel silver and I have knocked it into chairs that that would have dented up brass, and didn't even leave a mark on the nickel silver. It's a harder material than brass.

Perhaps it was the thickness of the metal on certain parts the bari? No such problems ever mentioned on the Shadow alto or tenor.

 

[Randall]

Xray,
I heard they were not going to make the regular/plain black nickle plated brass baris anymore and the only black nickle choice you would have would be the nickle silver Shadow.

 

[Joe Jazz]

I found the post from Dave Kessler I was talking about. It was from 6/4/07, titled "Shadow bari-just got one in". He said the bell lip was easily flexed and that it did not seem sturdy. Might want to see what else he said....

 

[commuter]

I have owned a shadow Bari for about a month, and couldn't be happier with it. I chose it after comparing it to a YBS32, a Yani 1, and a serie iii. All four horns were played with the same mouthpiece, and the play tests were recorded on a Zoom H2N. The Japanese horns weren't quite in the same price class, so those comparisons might have been a bit biased. All four horns have good ergonomics, and the tuner (left that test out of the Yamaha comparison, for logistical reasons) said they all had good intonation. The 901 was a bit flat in the palm keys, but tha would have been manageable with practice. Both the shadow and the Selmer were spot on all the way up to f#.

The Yamaha is a school horn, and was fine. All three of the others were played side by side on the same day with the same reed and in the same room. Playing the Serie iii was a treat, and that horn almost came home with me. In the end, the recording made it easy to decide; the shadow sounded most like what I want.

Now, it just keeps getting better! Regular practice keeps the tone developing and makes the good ergonomics even more familiar. Leaving home for longer than a regular work day now has an extra source of frustration - I want to get back to playing my shadow Bari!