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BTW is this thread going to be the latest never-ending free ad on SOTW? (After sort of a "Rip Van Winkle" experience on here, I can now attest that this site has more marketing content than actual member queries. The circle is now complete.)
 

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Tenor: Eastman 52nd St, Alto: P. Mauriat 67RDK, Soprano: Eastern Music Curvy
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Discussion Starter · #82 ·
BTW is this thread going to be the latest never-ending free ad on SOTW? (After sort of a "Rip Van Winkle" experience on here, I can now attest that this site has more marketing content than actual member queries. The circle is now complete.)
If you want to assume discussing gear is an ad - SotW is basically a marketing forum
 

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If you want to assume discussing gear is an ad - SotW is basically a marketing forum
Don't think my comments are going to sell anyone a brand new Conn 12M, Holton C soprano, Martin Committee 1 alto, or Brilhart Ebolin mouthpiece...
 

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Here's some more great targeted content: 10Mfan mouthpieces, a career in medical billing, and how to flush your bowels. Nailed it!

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Discussion Starter · #85 ·
Don't think my comments are going to sell anyone a brand new Conn 12M, Holton C soprano, Martin Committee 1 alto, or Brilhart Ebolin mouthpiece...
Ah so we can only discuss vintage gear or it's all marketing :LOL:
 

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Selmer Paris Mark VI Alto 119XXX
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BTW is this thread going to be the latest never-ending free ad on SOTW? (After sort of a "Rip Van Winkle" experience on here, I can now attest that this site has more marketing content than actual member queries. The circle is now complete.)
This is just silly, we are talking about a new Saxophone that is hopefully coming to the market very soon. I am not employed or affiliated with Boston sax shop or NEXUS saxophones. I am simply passing on what information is provided to us from jack the primary designer of the Nexus lineup.
 

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The lacquer shouldn't have changed the sound since were talking about something thinner than a sheet of paper. What likely changed the sound was either new/different pads or work on tone holes.
It was in my first year of playing, but I played it before and after and it was very different. The sax had been in my family forever. After a mishap, my parents thought it would be a good idea to get it factory relacquered (in Elkhart, Indiana).

It wasn't the lacquer itself -- it was most likely the buffing and associated removal of brass. It was definitely not anything like setup or pads, etc. I played it for several years afterward and it always had the same character. The whole range was affected. Of course, the effect of relacquering (the entire process) on sound has been discussed at length here. Anyway, I have personal experience before/after, though at a very early stage in my playing.
 

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Selmer Paris Mark VI Alto 119XXX
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It was in my first year of playing, but I played it before and after and it was very different. The sax had been in my family forever. After a mishap, my parents thought it would be a good idea to get it factory relacquered (in Elkhart, Indiana).

It wasn't the lacquer itself -- it was most likely the buffing and associated removal of brass. It was definitely not anything like setup or pads, etc. I played it for several years afterward and it always had the same character. The whole range was affected. Of course, the effect of relacquering (the entire process) on sound has been discussed at length here. Anyway, I have personal experience before/after, though at a very early stage in my playing.
The reason I mentioned tone holes is because a lot of time they were impacted by buffing more than most places and that would greatly impact the Saxophones playability and tone. Even My Mark VI Alto had some tone hole damage that had to be repaired due to a relacquer thankfully the damage was very minimal and with a few taps of mallet it was corrected.
 

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The reason I mentioned tone holes is because a lot of time they were impacted by buffing more than most places and that would greatly impact the Saxophones playability and tone.
Interesting -- I have always been puzzled by the effect of rolled tone holes on sound, which seems to be clear. But this shouldn't make a difference, right? The roll on a tone hole is far smaller than any relevant wavelength. Yet it does make a difference. Are you thinking the effect of tone holes is via stiffness of the body, or mass, or?
 

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Interesting -- I have always been puzzled by the effect of rolled tone holes on sound, which seems to be clear. But this shouldn't make a difference, right? The roll on a tone hole is far smaller than any relevant wavelength. Yet it does make a difference. Are you thinking the effect of tone holes is via stiffness of the body, or mass, or?
Show me the data.

I have done a direct A/B on two different Conn 12Ms, mine and my friend's, one with straight and one with rolled. Obviously both with my mouthpiece. Right there, side by side, no time delay. They sounded and played....

EXACTLY THE SAME

I also did a direct A/B on a '46 10M rolled holes and a '49 without. No discernible difference, but that was a less valid comparison because the RTH horn was in poor condition and the STH one in excellent condition.

So, show me the data on rolled tone holes making a tonal difference. Rolled tone holes were developed so that delicate flute pads wouldn't be cut by the narrower rims of drawn tone holes (compared to soldered flute tone holes). It seemed to make sense, then, to apply them to saxophone as well even though the leather sax pads are much tougher than flute pads. The only major manufacturer ever to do this was Conn, who later dropped it (probably a manufacturing cost reduction). I have straight and rolled tone hole Conns and I have never seen any tonal effect attributable to the rolls.

Show me the data.
 

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Here's some more great targeted content: 10Mfan mouthpieces, a career in medical billing, and how to flush your bowels. Nailed it!
Having digestive troubles, are we Dr. G? (heal thyself...) (sorry couldn't resist...)
 

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Show me the data.
Interesting - thanks for that comparison. I don't have any data or comparisons and don't really care about rolled tone holes. They are harder to level in an overhaul, at least. But there does seem to be a general perception that rolled tone holes sound more spread. They tend to be found on horns that have a more spread sound. I certainly don't see a reason for this from an acoustical point of view. I believe there are two models of P. Mauriat tenors, System 66R and System 76 that have rolled and straight tone holes, respectively. If they are the same horn otherwise, a comparison could be done.
 

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Selmer Paris Mark VI Alto 119XXX
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Interesting -- I have always been puzzled by the effect of rolled tone holes on sound, which seems to be clear. But this shouldn't make a difference, right? The roll on a tone hole is far smaller than any relevant wavelength. Yet it does make a difference. Are you thinking the effect of tone holes is via stiffness of the body, or mass, or?
When they would buff many times the tone hole would get bent or warped by the pressure if the person wasn't careful for example when looking at the D tone hole on my MK VI before the overhaul it was a bit oval and uneven. This is why many relacquered horns value is soo much less. IF you still had the horn I'd suggest you take it to a really good tech and they'll fix it and you'll have an amazing horn again. By the way Gary Underwood in Orlando FL is an incredible repair tech for anyone in that area.
 

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Having digestive troubles, are we Dr. G? (heal thyself...) (sorry couldn't resist...)
I'm feeling better now, Steve, since passing a Rovner. The bowel flush was a very moving experience.

Maybe that algorithm for targeted messaging is better than I had hoped.
 
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