Neck numbers
1 - 9 of 9 Posts
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2,590 Posts
I am sure someone will correct me, but, there are actually (at least) 4 necks.
The #1 neck came with the Tru-Tones, the #03 and #** (=02) necks came with the New Aristocrat and the #01 neck came with the New Aristocrat and the "regular" Aristocrats.
The #1 neck has some intonation problems in the short tube notes.
The #01 neck is reputed to have the best intonation.
The #03 neck is the rarest and reputed to have the best altissimo.
The #** neck seems to be in general disfavor, though no one has told me exactly why.
Mark Aronson in Iowa creates 01 and 03 necks from scratch as well as offering retapering services to take one of the other necks to 01 or 03.
Alan
The #1 neck came with the Tru-Tones, the #03 and #** (=02) necks came with the New Aristocrat and the #01 neck came with the New Aristocrat and the "regular" Aristocrats.
The #1 neck has some intonation problems in the short tube notes.
The #01 neck is reputed to have the best intonation.
The #03 neck is the rarest and reputed to have the best altissimo.
The #** neck seems to be in general disfavor, though no one has told me exactly why.
Mark Aronson in Iowa creates 01 and 03 necks from scratch as well as offering retapering services to take one of the other necks to 01 or 03.
Alan
Hi Alan,
I expected something like that (sorry, not exactly from you
), I mean, that this (among all the others) is a kind of religios stuff , isn´t it.
If the #1 is for TT it should fit to the TT the best, if the rare (I have read about it) #3 is for the Aristocrat, then it is the best for it (generally speaking)...and...
Who has ever criticized the pitch of Coltrane, Dexter or Art Pepper?...on the other hand, everybody is amazed of the pitch of Paul Desmond.
Now, you tell me the what is right.
Strange but exiting, all together.
I expected something like that (sorry, not exactly from you
), I mean, that this (among all the others) is a kind of religios stuff , isn´t it.If the #1 is for TT it should fit to the TT the best, if the rare (I have read about it) #3 is for the Aristocrat, then it is the best for it (generally speaking)...and...
Who has ever criticized the pitch of Coltrane, Dexter or Art Pepper?...on the other hand, everybody is amazed of the pitch of Paul Desmond.
Now, you tell me the what is right.
Strange but exiting, all together.
Joined
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2,590 Posts
Well, I can't speak as to all the opinions above, because some of them are only things I have been told.
I can say that:
1) I once had a TruTone alto that was sharp on middle C# and about 1/2 step sharp (i.e. D) in the upper octave. There are instructions in other places on this forum about neck alterations for thr TruTone. I have never tried them.
2) I did have the opportunity to test 01 and 03 alto necks back-to-back on the same body. The octaves on the 03 neck were spread for me (larger than an octave), while the 01 lines up pretty well. I didn't really notice a difference in the altissimo, but I wasn't concerned with that at the time. I play an 01. Many Rascher followers prefer the 03.
3) I have a TruTone curved soprano that plays better in tune than any other soprano I have had.
4) Your mileage will almost certainly vary.
Alan
I can say that:
1) I once had a TruTone alto that was sharp on middle C# and about 1/2 step sharp (i.e. D) in the upper octave. There are instructions in other places on this forum about neck alterations for thr TruTone. I have never tried them.
2) I did have the opportunity to test 01 and 03 alto necks back-to-back on the same body. The octaves on the 03 neck were spread for me (larger than an octave), while the 01 lines up pretty well. I didn't really notice a difference in the altissimo, but I wasn't concerned with that at the time. I play an 01. Many Rascher followers prefer the 03.
3) I have a TruTone curved soprano that plays better in tune than any other soprano I have had.
4) Your mileage will almost certainly vary.
Alan
Hi Alan,
I am sorry, I tried to be funny but my english is not enough good to do that...
There ARE differences, of course but they might be very little and here and there. Your setup, your way of playing, even the shape of your teeth and muscles around the mouth would determe what is "right" and the best for you.
That´s why the sax is an exeptional instrument, there is almost no right thing and wrong thing, almost nothing like "that´s the way it must be".
An endless journey, if you like.
Attila
I am sorry, I tried to be funny but my english is not enough good to do that...
There ARE differences, of course but they might be very little and here and there. Your setup, your way of playing, even the shape of your teeth and muscles around the mouth would determe what is "right" and the best for you.
That´s why the sax is an exeptional instrument, there is almost no right thing and wrong thing, almost nothing like "that´s the way it must be".
An endless journey, if you like.
Attila
Joined
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7,151 Posts
The Rascherian sub-culture is (at least partially) a reaction against that lack of "standards" (qualities valued in classical music and used as measures of excellence).Attila said:
What if anything this has to do with the neck issue, I won't speculate. Part of classical "standards" is backing up subjective judgments with the force of authority (ie: "every clarinetist must play an R-13").
The "why" of it is, in a way, unimportant. Give credit to Rascher's people here - he was hyperrational and always had reasons for doing things. (Closed C# is mellower in tone. F2 is a more reliable tuning note on any sax. Overtones are good for your playing in ways we can't, or needn't, even explain.)
The various neck fetishes are an exception. Here hearsay and mumbo-jumbo rule. That to me says a second generation has come into its own, people who didn't know the master personally. (Neither did I, FWIW.)
I guarantee you one thing, though. When Buescher sent out altos with different necks, they were not thinking of classical music. I'll bet anything it was an experiment to improve tunability with the new variety of mouthpiece designs that started coming in in the 1930s. Ie: a commercial, real-world, marketplace solution.
(FWIW, I tune best on the ** neck. But I'm a biter, non-obsessive overtoner, and play too much unserious music. So... :? )
All right, I surrend and here is my story:
I am 35(!)and I started playing alto last october from zero. Since, I have practiced 4-6 times a week 1-2 hours. I have no particular teacher but I took some lessons from some guys I know but nobody seems to have the time to deal with a "fool" like me and they are too busy without me, too. It took me a week to get a sound out of the horn but I make a good progress and I enjoy every second. I do have difficulties every day but I take them "as it" and try to solve them and move forward.
A few mounth ago I got a TT (it IS good), for that reason I don´t want to "blame" the horn if something does´t go right as it sould be. But on the other hand I try to get to know as much as it is possible just about everything what can effect my playing or can be helpful or dangerous. I know I would need a regular teacher, especially at this stage but on the other hand I enjoy "being selftought".
Since I am a heavy smoker :x I have difficulties with the breathing controll but I have a good ear and beside blowing the horn with fury I pay attention on every little detail what I discover in my play every second.
I do have help since I have been a crazy jazzfan since 9(!), I know the greatones and I hope I could develope a good attitude towards my practice and my aims. But it is sometimes difficult to do this almost alone.
And the top of it within a few years I would like to play the bari...
Does it sound enough crazy? Attila
I am 35(!)and I started playing alto last october from zero. Since, I have practiced 4-6 times a week 1-2 hours. I have no particular teacher but I took some lessons from some guys I know but nobody seems to have the time to deal with a "fool" like me
and they are too busy without me, too. It took me a week to get a sound out of the horn but I make a good progress and I enjoy every second. I do have difficulties every day but I take them "as it" and try to solve them and move forward. A few mounth ago I got a TT (it IS good), for that reason I don´t want to "blame" the horn if something does´t go right as it sould be. But on the other hand I try to get to know as much as it is possible just about everything what can effect my playing or can be helpful or dangerous. I know I would need a regular teacher, especially at this stage but on the other hand I enjoy "being selftought".
Since I am a heavy smoker :x I have difficulties with the breathing controll but I have a good ear and beside blowing the horn with fury I pay attention on every little detail what I discover in my play every second.
I do have help since I have been a crazy jazzfan since 9(!), I know the greatones and I hope I could develope a good attitude towards my practice and my aims. But it is sometimes difficult to do this almost alone.
And the top of it within a few years I would like to play the bari...
Does it sound enough crazy?
Attila1 - 9 of 9 Posts
