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Discussion Starter · #1 ·
I recently bought a Buffet Super Dynaction tenor, serial number 17xxx dated around 1971. I cannot get the tone I want similar to the tone in the link below. Mine is very close to that one, just 1 year apart.

https://worldwidesax.com/archived/buffet-1972-super-dynaction-sda-bb-tenor-183xx-w-f-archived/

There are multiple things I suspect. First, the sax has a slight bent on upper body seems starting at the G key. But the pads are adjusted and seals well. My technician suggests to leave it. Does that affect the tone? What a slightly bent body can affect?

I may also want to try out a different neck. Anyone has any experience or suggestion? I have great success with a Yanagisawa bronze neck on a Yanagisawa A600. I can't find any local music store has the Yanagisawa neck. It seems I have to buy without testing. So, want to see if anyone has tried this and what is the result.

Thanks.


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Discussion Starter · #3 ·
Why not just use the one in the sound file then?
Do you mean use the mouthpiece in the sound file? In the first sound file, it uses a Berg Larsen ebonite which is what I used. Yes, I can also experiment different mouthpieces. But also want to experiment the neck due to the great success I have in the Yani. And I learned that the neck can make difference that I can't get by experimenting many different mouthpieces.


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Do you mean use the mouthpiece in the sound file?
No I mean the same saxophone. If you have one horn you like, then get another one you want to sound like the first one, I don't understand why you don't just use the first one instead. Or do you no longer have the first one? And yes of course if that's the case to sound like the first one you'd need to be using the same mouthpiece.
 

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Discussion Starter · #5 ·
No I mean the same saxophone. If you have one horn you like, then get another one you want to sound like the first one, I don't understand why you don't just use the first one instead. Or do you no longer have the first one? And yes of course if that's the case to sound like the first one you'd need to be using the same mouthpiece.
Oh, that's not my horn. I just found the sound file on the internet to show what kind of sound I like when asking for suggestion. It is very hard to describe the sound in words.


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Do you really expect your horn with you playing it to sound the same as a different horn with a different player?

Its not gonna happen...and it shouldnt.

...ir am i not understanding your post?
 

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...ir am i not understanding your post?
I think you're not alone, now I realise the sound clip was different setup and different player. I'd assumed the same player based on the question.

So the bent body, neck etc. is a bit of a red herring. There's no reason why the same saxophone make should in any way way sound similar when played by a different person.

So to get the sound in the sound clip it's more down to mouthpiece and embouchure than it is getting the same make horn.
 

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Discussion Starter · #8 ·
Yes, I know I am not going to sound exactly like in the sound file, that's just a reference. If I am to describe the type of sound I want, I want a more focus and round tone. Like those in soft bossa nova music. However, the sound I am getting now is kind is big and spread. Like an 'All' sound versus a 'Eh' sound, especially in low Bb.


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Its more about the players ability to focus his airstream and the mouthpiece.

Some guys sound focused and dark on eveything. You have to find what works for you.

I think seraching for necks is really a good way to spend a lot of money and get nowhere.

Additionally, are you recording yourself or going off your impressions from behind the horn.

Frankly Im not in love with the recorded tone. Its a bit shut down and closed to me. But thats personal taste.

Im not saying it cant be done but when I think bossa I sure dont think Berg.
 

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there is no reason why a “ slightly “ bent body , provided that the horns seals well, would do anything to the tone.

Failing to achieve the sound that someone (else) may (or may not) have in his mind is what feeds the market, starting with mouthpieces and ending with vibrationalists implements.

The necks bandwagon shouldn’t be jumped upon if not to replace a missing one or buying one neck that the company which produced the horn actually offered as an alternative.

There are no answers in boxes.
 

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Discussion Starter · #11 ·
Its more about the players ability to focus his airstream and the mouthpiece.

Some guys sound focused and dark on eveything. You have to find what works for you.

I think seraching for necks is really a good way to spend a lot of money and get nowhere.

Additionally, are you recording yourself or going off your impressions from behind the horn.

Frankly Im not in love with the recorded tone. Its a bit shut down and closed to me. But thats personal taste.

Im not saying it cant be done but when I think bossa I sure dont think Berg.
Yes, I agree trying different neck is more risky. It is more expensive, the tenon may not fit, and the market is smaller.

So, what mouthpiece when you think of Bossa music?


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Do you really expect your horn with you playing it to sound the same as a different horn with a different player?

Its not gonna happen...and it shouldn't.
add: In a different room on a set of recording equipment which we have no idea about....

I think you are going on a bit of a wild goose chase here. Not sure anything you come up with, whether setup or different neck, fixing the out-of-plumb tube, etc....is going to get you to sound exactly like an online recording.

If the horn intones well, speaks well, blows well....IMHO, have the tube straightened (just because it should be - not, as Milandro mentions, because it will change the tonality of the horn) - and the keys readjusted if req'd, and enjoy the horn.

If you expected a more focused tone, and aren't getting it...either try some different mouthpieces, try working on your blowing, or be comfortable with the possibility that your horn blows wider in person than you expected.
 

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I'd say the original neck on a SDA, in good condition with a good fit, should be okay although there is no guarantee of that. Being a modern Selmer-type sax, you'll find that many necks would work on it with minor fitting. However, very few might improve the sax with no negative side-effects. I played a MK VI tenor with a bend and kink in it for years with no effect on the sound or playability. Frequently tenors get a forward bend from putting pressure on the sax while playing. A bend with no kink is easy to fix but you don't want to be there when its done. They put a fixture in the clamp collar which absorbs the blow, then they hit the bench with the top of the sax to re-set the body. If it has a kink it can still be worked out, just a little more time. Having the option, I would do everything possible to put the horn back to factory mechanical condition before deciding on what it can do/sound like.
 

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I've tried swapping out the necks (which are slightly different lengths) on my '64 and '68 SDA's and couldn't tell the difference.
 

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I think you'll find the the SDA neck is larger diameter than most others. Might be hard to find a neck from another brand that fits.
Seems to me a company named Gloger used to make after-market necks for SDAs.
gloger-handkraft.com/
 

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Gloger started his job making reproduction necks as close as possible to the original. When, years ago, I bought one from him he told me that the neck would be equally sounding and perhaps project a bit more.

That’s precisely what my neck did. I then bought an “ original “ sold silver neck which played pretty much like the Gloger and like the brass neck that I had bought originally with the horn.

Then he too started giving in the new trend of customizing necks.

The risk in something like that is that you are going to end up in the same situation of custom made mouthpiece which are very often bought and then sold because you don’t get what you want.

I see a definite increase of aftermarket necks for sale which were obviously bought and didn’t meet the buyer expectations .

Of course one can go on an endless trip exchanging necks mouthpieces and reeds and you will still pretty much sound like yourself until you don’t change your sound emission.

All of these things are facilitators, but you are the one who has to put in the stuff that you want to come out.
 

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But OP doesn’t want “ another neck that fits well and sounds good” he want it to make IT sound like someone else on a different saxophone.
 
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