[I_love_music]

Hello SaxontheWeb Forum, this is my first time making a post on this site. Welcome to myself! LOL. I'll keep it short: I've played sax for my whole life on and off, am now 23, and I'm thinking about buying a pro tenor sax model. I have tried quite a few over the last year, and feel that I can't go entirely wrong with a P Mauriat PMXT - 66 or an Eastman 52nd Street. However, I also discovered that Phil Barone saxophones exist, and they sound like they might be exactly what I'm going for sound-wise at a way more reasonable price (his vintage model). Here's my ideal sound to help you help me ( ), my thoughts on these two horns, and finally I'll ask you to compare them yourself, if you're able.

To help you know what I'm looking for, my ideal sound is on the dark side, but not completely muffled to the point where I feel like I'm not using the instrument to its maximum capabilities. So, I'm looking for something dark or even in the middle of dark and bright, but which can be pushed to the bright side, if needed. Or shall we simply say "project" or "go boom". As opposed to sounding only dark and "covered" 24/7, even when playing FFF.

As for the horns, I played and liked the P Mauriat, but my play test was too fast to really tell, and left me with the impression that it might actually be too dark, or not able to produce that wailing sax sound I sometimes want. As for the Eastman 52nd St., it was far more versatile, and probably closer to my ideal sax insofar as it was able to float smokily at a nice mF volume as well as fly straight into the FFF when I want it to. If I had to choose one I preferred overall, not considering price, I'd probably pick the Eastman - something about it sparks a little more inspiration in me I suppose. But I'm a big fan of getting a bang-for my buck, and Eastmans are rarely sold second hand, and even then can be expensive. On the other hand, I recently discovered Phil Barone and have read a lot of reviews, a lot of which were positive. Most importantly, it sounds like the PB Vintage tenor might have the type of sound signature I'm going for - dark but with the ability to go loud and project.

So with all that said, is there anyone out there who can compare the PB Vintage to the P Mauriat PMXT-66, and the Andreas Eastman 52nd St.? I'd love to hear more on this.

Finally, before you ask if I've read the PB reviews on this forum, the answer is yes. Yet none of them have ever drawn this specific comparison, so I felt justified in making this post.

Thank you all in advance!!

 

[Jazziswaswillbe]

Hello SaxontheWeb Forum, this is my first time making a post on this site. Welcome to myself! LOL. I'll keep it short: I've played sax for my whole life on and off, am now 23, and I'm thinking about buying a pro tenor sax model. I have tried quite a few over the last year, and feel that I can't go entirely wrong with a P Mauriat PMXT - 66 or an Eastman 52nd Street. However, I also discovered that Phil Barone saxophones exist, and they sound like they might be exactly what I'm going for sound-wise at a way more reasonable price (his vintage model). Here's my ideal sound to help you help me ( ), my thoughts on these two horns, and finally I'll ask you to compare them yourself, if you're able.

To help you know what I'm looking for, my ideal sound is on the dark side, but not completely muffled to the point where I feel like I'm not using the instrument to its maximum capabilities. So, I'm looking for something dark or even in the middle of dark and bright, but which can be pushed to the bright side, if needed. Or shall we simply say "project" or "go boom". As opposed to sounding only dark and "covered" 24/7, even when playing FFF.

As for the horns, I played and liked the P Mauriat, but my play test was too fast to really tell, and left me with the impression that it might actually be too dark, or not able to produce that wailing sax sound I sometimes want. As for the Eastman 52nd St., it was far more versatile, and probably closer to my ideal sax insofar as it was able to float smokily at a nice mF volume as well as fly straight into the FFF when I want it to. If I had to choose one I preferred overall, not considering price, I'd probably pick the Eastman - something about it sparks a little more inspiration in me I suppose. But I'm a big fan of getting a bang-for my buck, and Eastmans are rarely sold second hand, and even then can be expensive. On the other hand, I recently discovered Phil Barone and have read a lot of reviews, a lot of which were positive. Most importantly, it sounds like the PB Vintage tenor might have the type of sound signature I'm going for - dark but with the ability to go loud and project.

So with all that said, is there anyone out there who can compare the PB Vintage to the P Mauriat PMXT-66, and the Andreas Eastman 52nd St.? I'd love to hear more on this.

Finally, before you ask if I've read the PB reviews on this forum, the answer is yes. Yet none of them have ever drawn this specific comparison, so I felt justified in making this post.

Thank you all in advance!!

I've owned both a Barone Classic and a Vintage. And I've owned a Mauriat 66RUL Influence. I loved the Mauriat. Liked the Vintage Barone. I've tried the Eastman 52nd St. and I think that I might like it the best but I've never owned one and just never been able to afford one.
I have been told by two techs that their experience was that the Mauriats had problems after a few years. I played mine exclusively for a few years and it never had a problem. And I know pros who have played them exclusively without ANY issues so I hate to even mention it. Mine was originally set up at SAXQUEST. I'd recommend getting one from them. The 52nd St. is definitely worth trying.

 

[Jazziswaswillbe]

I've owned both a Barone Classic and a Vintage. And I've owned a Mauriat 66RUL Influence. I loved the Mauriat. Liked the Vintage Barone. I've tried the Eastman 52nd St. and I think that I might like it the best but I've never owned one and just never been able to afford one.
I have been told by two techs that their experience was that the Mauriats had problems after a few years. I played mine exclusively for a few years and it never had a problem. And I know pros who have played them exclusively without ANY issues so I hate to even mention it. Mine was originally set up at SAXQUEST. I'd recommend getting one from them. The 52nd St. is definitely worth trying.

Oh. I meant to say. If money is an issue and if the Barones are still much cheaper (I don't know anymore) they are very good.

 

[J-Moen]

Having an Eastman Tenor, that is my clear recommendation. I played it against a Mauriat 66r, Yamaha 62III-S, Cannonball VR (or big bell, can't remember), and the Eastman was very much the winner of these.

I waited patiently and found one used for a great price. But if you really want to save Money, wait for a used Barone to pop up, as that will be the biggest price saver of the bunch and I have heard nothing but great things about them.

 

[Saxaholic]

I do not recommend the Eastmans based on my experience with their build quality.

The vintage Barone is a great horn. Find a used one in great condition for cheap and you won't do much better.

The Mauriats have been hit or miss for build quality, especially the rolled tone hole models.

Whatever you end up getting, pay a very good tech to put a good setup on it.

Best of luck!!

- Saxaholic

 

[Zephyrwolf]

It seems like all these Taiwan horns sell for about 40 -50% less than their original price on the used market. Seems like buying a new car. One of the reasons I like vintage horns. Plus the vintage horns have so much more tone character. The 52nd street is the one I would choose out of this bunch. Maybe because its not trying to be a Selmer. Its possible to find a nice vintage tenor for about 1k that doesn't need any work. As the name suggests I'm partial to King, but I have seen some nice Martins go for close to that as well.

 

[KeithL]

There's another thread like this with a similar title where the OP admits to buying a used Barone and not liking it because he claimed it was too bright and cutting - hhmmmm?? When last we heard from him he was shopping Eastmans and Mauriats.

I believe people have widely differing experiences with these Taiwanese brands due to the setup work or lack there of. From 2004-2008 or so all of the Mauriats sold in the US went through Sax Alley and they were all taking apart and completely reassembled and setup by Tim. He and Shawna still do this with the Mauriats and Eastmans they sell. If here are major issues with bad soldering, tone holes, things being mis-drilled off center or cross-threaded, etc. they catch all this stuff and either correct it or send the horns back (I suspect in very rare cases) if the issues are too significant to be dealt with. If you buy one of these horns from WW&BW, Music 123, Amazon, etc. I can almost assure you that you are getting the horn just the way it came out of the factory and while they've gotten better over the last 15 years I still believe there is more variance there than what's coming of Yamaha or Yani in terms of consistency of build quality and setup.

 

[Jazziswaswillbe]

Yes. Hence my saying, if you get a Mauriat, get it from Saxquest!

 

[Jazziswaswillbe]

It seems like all these Taiwan horns sell for about 40 -50% less than their original price on the used market. Seems like buying a new car. One of the reasons I like vintage horns. Plus the vintage horns have so much more tone character. The 52nd street is the one I would choose out of this bunch. Maybe because its not trying to be a Selmer. Its possible to find a nice vintage tenor for about 1k that doesn't need any work. As the name suggests I'm partial to King, but I have seen some nice Martins go for close to that as well.

I am always on the lookout for a Zephyr - early '50's type era - that has been well set up, for a good price and I do not find anything close to $1000. In fact fewer seem to be showing up at all on eBay. A fully overhauled The Martin committee III, was on for months at
$1900. I don't know if it sold or not. But I am finding fewer good deals there these days. Might just be the days I look or ... the good horns aren't being sold on eBay. But I agree. A Zephyr that's well set up is a dream of a horn compared to lots of newer ones.

 

[Zephyrwolf]

Back in the 90's WW&BW was such a great company. You could get a shop check on anything for no cost. If you called you could talk to a pro musician.

 

[Reet McVouty]

First off, welcome to SOTW. Here you will find a wealth of opinions, just remember, most opinions are not fact based they're just opinions, some are good, some not so much. Anyway, I wouldn't recommend any of the horns you've selected, or any others for that matter. Everything is a personal choice, and what works for me may not be right for you as far as horns and mouthpieces go. So, here I go with my opinion. As far as what you seek for your sound concept it's going to be the mouthpiece that's going to be the biggest factor. Look for a horn that is quality built, has great ergonomics and plays relatively in good tune. Then, take your time learning about mouthpieces so you can select a proper piece to suit your sound concept. Good luck!