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One does have to wonder... if all these added pad cup supports you see these days are there because the old way was somehow deficient, or is new metal just not as strong and/or supportive as the old.
Wonder away. This is not the reason for design. If you do any research into the instrument at all, you will find why they put those there.

Facts are quite important.
 

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I saw the horn and had a go at playing it. Nice! Overall it offers a satisfying experience (with exception of the pearls feeling a little " sharp" ) but it didn't struck me as to be an innovative horn for anything other than the triple arms. The rest has been seen before........maybe not on the same horn! The combination of the rolled with not-rolled toneholes is ........puzzling. Does it do anything or it doesn't? I wouldn't know for sure.......but again, it is certainly well made. I tried tenor and alto in a not sound proof but somehow isolated cabin......it was rather bright to me (also when Nitai Levi tried it with a different mouthpiece )but it could have been a product of the cabin , Stephen Howard thought it was not bright at all.......there you go!
 

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The combination of the rolled with not-rolled toneholes is ........puzzling. Does it do anything or it doesn't?
I think that was a product of trial end error. Peter's opinion is that further up the body rolled tone holes do nothing, but lower down they help to get a big sound. I don't know, but whatever the result is a lovely horn.

he mentioned that unlike the Keilwerth rolled tone holes which can go out of whack because Keilwerth solder on the key guard post afterwards, and so the heat from that can cause the tone hole rolled rims to move. On the Pro one they solder the key guard posts first so as not to get that problem.
 

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The guy that is selling them is even skeptical of the "vintage reserve brass" claims. Maybe they should bind his hands after the review he gave. Not exactly "glowing".
 

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My school has one of the tenors to try out(over the serial number it said 5 out of 100). I got to the play the alot earlier today at the Morehead State Saxophone day. I Liked the tenor alot, not so much the alto. I think i'll stick with my Yamaha 62-II
 

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Re: Peter Ponzol Pro One model saxophones by Antigua Winds (LONG!!)

Sorry it's taken me so long, but I finally got a chance to take both the Pro-One alto and tenor out for a spin. Before I go any further, though, I should mention that the horns were on loan to me because I do some business consulting for a local dealer, and that Antigua's California representative is a personal friend. All that said, I'm a player first, so I'm not going to post gushing reviews just because these people are my friends-if I didn't like the product, I'd just keep silent.

So… on to my experience with the horns: I do a lot of section playing, and because of this I always consider a horn's performance in an ensemble setting to be the true "acid test" of its performance. Lately I've been playing a lot of alto and tenor (more than bari it seems, much to my chagrin), so my very first test-drive on both horns was in big bands this past week. Tuesday, I played the tenor for part of a set, and Thursday I ran the alto through a few tunes. The Pro-One tenor blended well in the section and gave me no pitch problems at all. The alto was a little less sure in my hands from the outset-it blended well but the scale weirded me out, so I switched back to my regular horn after a couple charts. The other alto guy (a Stan Kenton alum) tried it later, and I have to say he sounded REALLY nice on it, so maybe I was having a strange night. It happens.

So…on Friday, I got out every stand I owned and prepared for a shoot-out. The horns I used to compare to the the Pro-One saxes were:

Alto: Selmer Mark VI 213XXX
Tenor: Selmer SBA, Yamaha Custom Z

I began with the tenors. First impressions of the Pro-One: It's a very pretty horn, and it comes in a very nice contoured case with backpack straps. The case features a prominent logo that isn't to my taste, but guys in the band liked it, so maybe I'm just funny that way. It's also a heavy horn-noticeably heavier than the Selmer, and although I didn't have ready access to a scale it seemed heavier than my Yamaha Custom Z. The lacquer color is nice, about the same shade as the Yamaha, or ever so slightly darker. Construction is very solid, with a three-point bell-to-body brace. It's a horn that FEELS expensive. There's some engraving on the rim of the bell that reminds me of the Cannonball saxes, but I can't decide if I really like it or not. YMMV.

Sound: very nice. It's focused, and similar in sound to the Yamaha-could be that the domed metal resonators help give it some extra punch. Nice scale, though it does get squirrely on palm D and Eb, so the player might have to to lip those notes down. The Pro-One had a VERY in-tune middle D… unnervingly so, in fact, since that's a sharp note on both my regular alto and tenor. The Antigua subtones nicely down low, and can bark when pushed. The altissimo register is easier to hit than on my SBA, not as easy as the Yamaha Z.

Ergos: Very fast keys to get around... on par with my SBA. One thing that bugged me, though, is that I had to move my left thumb below the thumb-rest to engage the octave key, which I find to be a distracting annoyance although I realize it's something that can be adjusted by a competent tech. The palm D is a little low for my taste, and if I owned the horn I'd use a riser on that key. E and Eb are nice, though. The Pro-One has a lifter that prevents sticking on the G# key, and if I could steal that for my Selmer alto and tenor I would-it's a GREAT feature. The LH spatula keys tilt, which I appreciate. Generally, the horn had a substantial grip distance, which I think will be a nice benefit to players with big hands (as women go, I've got biggish hands, so I can relate). It's also stiffly sprung, and some players will need to adjust this as many of us do for Yamaha horns.

The RH thumb-hook seems to have a bit of a step up from the body, which felt good in my hands. The Pro-One also includes a metal thumb-hook, which isn't my favorite as I find them to have a bit sharper edges than the plastic hooks found on many horns. The fork F# key is very nicely designed, and easier to locate than just about any horn I've played. There isn't as big a target on the front F key as on the Yamaha, but that would be easy enough to get used to. It also had quieter action than my Z, which was a pleasant surprise.

Overall - this was a nicely-built sax that I'd have no hesitation about taking on a gig, or on tour if I was flying and didn't want to bring my SBA. For the price, it's an excellent value, and on par with the "big four" horns being sold today.

Moving on to the alto… my first concern was with the scale, and I discovered (much to my surprise) that the Antigua alto had a nice, even scale all the way up when played against a tuner, so my insecurity in the band probably had more to do with its difference from my regular horn than with any inherent pitch problems. The sound on the Pro-One was bright and focused-penetrating enough to ring the plate on my piano for several seconds after I stopped playing it. Different from my VI, and although I like my horn's more spread sound (sorry, Pat), the Antigua was a very nice-sounding horn.

Ergos: The Pro-One alto had the same issue with the low octave key as the tenor….grr. The palm key heights on this horn were awesome… probably better than any alto I've ever played. The low Bb key on the LH spatula was nearly unreachable, though-to the extent that it could be a deal-breaker for me (and I don't have small hands!). Be sure to check that if low Bb is an important note for you on alto.

Overall: Although the Pro-One alto didn't give me the same "wow" as the tenor did, I have to say that both saxes are evidence that Antigua is taking their pro-level horns very seriously, and if I were shopping for a new horn today I'd give these a long, hard look. At the price point ($2200-$2500US seems to be the street price), they offer great value, and they're obviously ruggedly-built, so if you ever need to use their Mark VI-style lyre attachments for marching-band stuff, I think they'll hold up nicely to that sort of playing.
 

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I've tried two altos and two tenors. From a brief check (no disassembling) they seems very well made. They felt great, every key in a good postision (for me at least), with the exception of a sharp rim to the pearls. It was a significant problem IMO. All four ot them had this issue. They should fix it. Both alto and tenor were very responsive with a bit bright but full tone. I didn't especially like some of the marketing about the instrument. Overall I'd say it was good and at least as good as some of the known professional models I've tried, objectively.
 

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Just caught up on this thread,WOW its sure heavy going.Would fancy a blast on the Tenor pro1.As some wise people have said proof is in the pudding and i dont care which place its made as long as its sounding great,oh no i put my head on the most wanted block now.
 

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After reading this thread, I want to ask a question. Does any one knows where I can find the #1 of 100 Pro one Alto and Tenor? I heard only first 100 sets of Pro one has the engraving.

Can some one tell me where I might located the # 1 of 100 Alto or Tenor?
 

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After reading this thread, I want to ask a question. Does any one knows where I can find the #1 of 100 Pro one Alto and Tenor? I heard only first 100 sets of Pro one has the engraving.

Can some one tell me where I might located the # 1 of 100 Alto or Tenor?
No idea about #1 (or even if such a thing exists), but both the alto and tenor I tried were heavily engraved. If you're interested in one, let me know and I'll put you in touch with the dealer.
 

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Thanks diva

What I heard,only the first 100 have the identity engraving " 1 of 100" " 2 of 100" until " 100 of 100" so that is why i am interested in " 1 of 100" Alto and Tenor.

The guy I meet in NAMM told me that all of these 100 set of Alto and Tenor also comes with Signed certificate from Peter ponzol as the proof.

That is why I am interested in " 1 of 100" Alto and Tenor.

If you do know about that Alto or Tenor, do let me know.

It is late I need to go to bed now.... Thanks anyway.
 

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Ponzol put his name on some WWBW-branded instruments some years ago. I guess they're OK according to this post.
It seems Ponzol just endorsed the WWBW brand in print (WWBW catalog). He said "I think you will agree with me when I say that these are among the best horns coming out of the East, and maybe even better than some very well known model s when it comes to sound."
 

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I think the problem for Antigua now is really feeding the market....it's pretty difficult to locate a Pro-one...actually I think it's very difficult to locate any Antigua product right now!..wonder when will they be able to fix this problem.
 

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Where are you located?
 

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I think the problem for Antigua now is really feeding the market....it's pretty difficult to locate a Pro-one...actually I think it's very difficult to locate any Antigua product right now!..wonder when will they be able to fix this problem.
I guess it is clear on what is going to happen, if what I read on the other thread is true, the demand for Antigua Horns are bigger than the supply of the Antigua horns.... then I guess naturally it will force the price to go up.

Honestly, I have been watching them for last couple years, worldwidely speaking, they do grows at a surprising fast rate.
 

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Well that means we should have heard from some early buyers by now. Surely some of that demand on the supply should have come from some of our members. Dying to hear from them.
 
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