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TENOR, soprano, alto, baritone
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You have a really nice tone! Sounds like a good horn.
 

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Hey! What’s your horn’s serial number? I’ve got a 29,xxx silver plate tenor. I’ve been told 1. It’s probably a Standard 2. It’s most likely a jade rollers with the rollers switched (!!) and 3. It’s probably an Export - because that is the only Grassi that appears in descriptions as having silver plate. And - I was told yesterday that ‘it’s a student/intermediate horn - not worth more than $600’ - by a potential buyer. I have it on eBay right now. But I think I’ll take it off. Nobody wants to pay close to what I have in it. It’s a wonderful sounding horn but it’s my third favorite of my three tenors, but ONLY third in terms of the ergos. The left hand pinky table is different than I’m used to. I’d have to play only it for a week to get really comfortable with it.
Love your sound. Very very nice.
 

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Hey! What’s your horn’s serial number? I’ve got a 29,xxx silver plate tenor. I’ve been told 1. It’s probably a Standard 2. It’s most likely a jade rollers with the rollers switched (!!) and 3. It’s probably an Export - because that is the only Grassi that appears in descriptions as having silver plate. And - I was told yesterday that ‘it’s a student/intermediate horn - not worth more than $600’ - by a potential buyer. I have it on eBay right now. But I think I’ll take it off. Nobody wants to pay close to what I have in it. It’s a wonderful sounding horn but it’s my third favorite of my three tenors, but ONLY third in terms of the ergos. The left hand pinky table is different than I’m used to. I’d have to play only it for a week to get really comfortable with it.
Love your sound. Very very nice.
thanks! photos your Grassi?
 

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Hey! What’s your horn’s serial number? I’ve got a 29,xxx silver plate tenor. I’ve been told 1. It’s probably a Standard 2. It’s most likely a jade rollers with the rollers switched (!!) and 3. It’s probably an Export - because that is the only Grassi that appears in descriptions as having silver plate. And - I was told yesterday that ‘it’s a student/intermediate horn - not worth more than $600’ - by a potential buyer. I have it on eBay right now. But I think I’ll take it off. Nobody wants to pay close to what I have in it. It’s a wonderful sounding horn but it’s my third favorite of my three tenors, but ONLY third in terms of the ergos. The left hand pinky table is different than I’m used to. I’d have to play only it for a week to get really comfortable with it.
Love your sound. Very very nice.
There are silver and nickel plate Grassi that weren’t necessarily export model and I have never seen jade rollers on silver or nickel plate, so, no, in all likelihood it was born that way. Grassi used for quite some time also green pads too on some horns.
 

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There are silver and nickel plate Grassi that weren’t necessarily export model and I have never seen jade rollers on silver or nickel plate, so, no, in all likelihood it was born that way. Grassi used for quite some time also green pads too on some horns.
Thanks. I bought it as a ‘nickel silver’ horn. But was told sternly by a potential buyer that Grassi NEVER made nickel silver horns. I’m glad you straightened that out for me.
 

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Loos exactly like mine. Same bell to body brace. Is this a standard or ...? Mine is a 29,xxx serial number.
the bell to body brace was common to the majority of Grassi and yes, it is standard. This would be a “ standard model” (although there was never a model really called like that)
 

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the bell to body brace was common to the majority of Grassi and yes, it is standard. This would be a “ standard model” (although there was never a model really called like that)
Thank you. The few people talking to me about my Grassi keep giving me erroneous information. One is: ‘your Horn is a beginner/intermediate model.’ Any truth to THAT? It certainly plays like a pro horn.
 

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Well, despite the fact that there are some professionals using Grassi, at the time when they were made, a standard ( which includes the export and the so called “ jade rollers” ) model wasn’t intended to be their best model, they came up with MANY better models (in terms of mechanics that is) Professional, Worderful, Prestige, Professional 200.

Many just look at any Grassi and think they were all the same and they weren’t.

One of the main difference was having a “ Balanced Action” or not.
 

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Well, despite the fact that there are some professionals using Grassi, at the time when they were made, a standard ( which includes the export and the so called “ jade rollers” ) model wasn’t intended to be their best model, they came up with MANY better models (in terms of mechanics that is) Professional, Worderful, Prestige, Professional 200.

Many just look at any Grassi and think they were all the same and they weren’t.

One of the main difference was having a “ Balanced Action” or not.
Do you know which model Eli Degibri plays? I ‘heard’ again, in trying to have conversations with people about Grassi’s, that he plays early one - ‘maybe’ a jade roller.
 

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Well, despite the fact that there are some professionals using Grassi, at the time when they were made, a standard ( which includes the export and the so called “ jade rollers” ) model wasn’t intended to be their best model, they came up with MANY better models (in terms of mechanics that is) Professional, Worderful, Prestige, Professional 200.

Many just look at any Grassi and think they were all the same and they weren’t.

One of the main difference was having a “ Balanced Action” or not.

Oh. And what is a ‘balanced action’ ?
 

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The Jade and Black roller standards were, from everything I have seen, the same horns really. I mean, same body tube and neck design, same key mechanics and layout.

I think what MIlandro means by the balanced action is the Selmer-esque pinky table as opposed to the ones the OP's horn or the Jades have. That was a major difference between their upper-shelf models and these. With that said, for a traditional pinky table the ones on these and the Jades is a good table, pretty responsive and comfy.

(Do Jades/standards have in-line stack holes ? I cannot remember now...been a while since I had one in here )

I would say that given the quality of build, the tone, the response....it would be inaccurate to call a standard or Jade a 'student' model based on today's very iffy use of the term. If I were selling one, and someone asked that question, I'd say "in today's terms this is an intermediate horn, if that term is worth anything".
As many folks here say.....it is the player that may be student, intermediate,, advanced, etc....not the horn
 

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the balanced action is the arrangement that makes the bow and bell keys not dependent from the use of long rods.

This mechanism (which semer introduced with the Balanced Action model) has been copied in some models by grassy but NOT in the cheaper models.


READ THIS from Wikipedia


https://en.wikipedia.org/wiki/Balanced_action


The problems to solve
The left hand key table had been an awkward feature of the saxophone from its earliest days. The bell keys were the heaviest keys with the heaviest action on the saxophone and the weakest of all the fingers were tasked with operating them. Drawbacks and compromises were inherent in the old layout with the long hinges running down the lower left side of the instrument. The pivots on the left side put the arcs of the key action in a direction that forced some degree of pushing left-to-right across the saxophone to operate the keys, in a weak direction of the finger away from the palm. Long arms to the lowermost key cups caused a tendency for them to bounce slightly upon closing. The long hinge tubes were also in a position vulnerable to damage from impacts on the left side of the instrument, especially the C♯ hinge that extended to a high post on or near the bow.

Minimizing the amount of left-to-right push was an objective that favored short lever action in the cluster, at the cost of leverage to gain positive action in operating the keys. The problem could also be mitigated by angling the key touches downward towards the body off the radius of the arc, but that was only a partial solution. With the adoption of articulated G♯ key action operated by the bell key mechanisms, more leverage from the table keys became necessary. Enlarged key tables considerably increased the leverage of the B and B♭ keys although the left-to-right push was more severe owing to the larger arc radius of the larger keys. Some increase in leverage was possible with the C♯ key, although its position in the table limited its design options.

Conn's pretty good solutions[edit]
With the C.G. Conn 6M and 10M saxophones, the low C♯, B, and B♭ key touches were mounted angled strongly off the radius of the action. The G♯ key touch was mounted on a horizontal pivot and on the same plane as the bell key touches.[5] That layout mitigated the cross-push issue considerably and compared favorably to those of competitors King, Buescher, Martin, and, at its introduction, Selmer. With the 26M and 30M "Connqueror" saxophones, Conn mounted all of the left cluster touches on horizontal pivots and moved the cluster closer to the left hand stack keys.[6] That was a good ergonomic solution with action in the strong direction of the finger, but the mechanism was complex, costly to produce, and required extra adjustment. The C♯ pivot was also shortened and connected to the cup with an angled arm on the Connqueror models, mitigating some of its vulnerability. After these instruments were introduced, Conn's development efforts stagnated and the Connqueror models were discontinued in 1943.

Selmer's better solution[edit]
The right hand bell key layout introduced by Conn (for baritones) and King in the early 1930s provided the basis for Selmer's ultimate solution, shifting the bell 14 degrees to the left and mounting the table keys on pivots located over the right hand stack keys. With the arc of the action reversed, the table keys were pushed downwards towards the body tube in the strong direction of the finger. The lever arm of the C♯ key touch was lengthened, with considerable benefit. The bell key arms were shortened in that arrangement, adding mechanical advantage for positive key action and mitigating the tendency to bounce that had plagued the old style bell keys mounted on longer arms. The more compact mechanism reduced the mass of the bell keys, lightening the action. The reversed pivot direction also provided an opportunity to design a linkage for the C♯ key touch to gain mechanical advantage in overcoming the spring holding the cup in its closed position, allowing greater spring strength for a more robust seal of the pad. With those changes in action, the bell keys finally became balanced with the action of the rest of the horn, hence the name. The new layout also resulted in better protected mechanisms and more robust bell braces. The long, vulnerable hinges on the lower left side of the horn were replaced with shorter hinges in a less vulnerable position. The bell brace could be moved to the left side, with more options available for designing it for optimal protection and that is what Selmer did.

Subsequent developments[edit]
The Balanced Action was initially offered with two options for bell design, a short bell and a long bell. The short bell was freer blowing but resulted in intonation problems in the lower register. A high F♯ key was offered as another option. That option was not widely adopted because of its reputation for causing poor intonation with the Balanced Action and its Super Action and Mark VI descendants, although it later became a feature on most professional class saxophones.

The Balanced Action gained prestige through its use by the jazz saxophonist Coleman Hawkins, who made a splash with his return from France to the US and recording of Body and Soul in 1939.

With Selmer's next model, the Super Action introduced in 1948 with offset right and left hand key stacks, the basic layout of the modern saxophone was established. The Super Action also featured a removable bell and adjustment screws for keywork, which have become standard on modern saxophones. Further ergonomic improvements were offered with the Mark VI introduced in 1953, which became the most widely used professional class saxophone produced in the mid twentieth century.

King was the first manufacturer other than Selmer to adopt table key mechanisms derived from those of the Balanced Action, in 1949. By the late 1960s, the new style mechanisms were on virtually every new model being introduced. The legacy mechanisms were continued on some student models into the 1980s. Improvements to the original mechanism added by Selmer and others include enlarged key touches, tilting key touches and rollers, and reinforcing braces for the top pillar supporting the mechanism, a vulnerable point at its introduction.
 

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Do you know which model Eli Degibri plays? I ‘heard’ again, in trying to have conversations with people about Grassi’s, that he plays early one - ‘maybe’ a jade roller.
I play a "jade rollers", according to some serial number data on the net, late 60s or more likely early 70's, and from pictures and videos Degibri's horn definitely looks identical. Feature by feature; rollers, pinky table etc, all "old fashioned" mechanisms, so yeah, an early model I'm pretty sure.
 
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