Sax on the Web Forum banner

1 - 20 of 22 Posts

·
Registered
Joined
·
60 Posts
Discussion Starter #1 (Edited)
Hi all,
There are a lot of posts with specific questions, but I found none answering my questions:

Who is producing good quality replacement necks? Beside the big companies. I know:
I will try to extend the list with new findings. Because that was something I missed or did not found.
Experiences (good or bad) would also be interesting.

For tenor I know more. Kim Bock only makes tenor necks to my knowledge.

Second question is the material. All have different copper, brass, silver, steel plated, fibre, ... Actually this is too much for me. Does anyone have experience with the different materials? And the impact on the sound.

Background of this question is, that I am thinking about replacing the neck of my early SBA alto. The intonation is fine, but the high notes get thin.

Many thanks
 

·
Moderator
Grafton alto | Martin Comm III tenor
Joined
·
28,907 Posts
Background of this question is, that I am thinking about replacing the neck of my early SBA alto. The intonation is fine, but the high notes get thin.
What leads you to think that is caused by something wrong with the neck?
 

·
Registered
Joined
·
1,381 Posts
Don't worry about the material. It'll just complicate your search even more. I'd also advise against trying any neck without a trial period…. Buying and reselling necks is even more costly than with mouthpieces.
 

·
Distinguished SOTW Member
Joined
·
12,707 Posts
This may be a silly question but...does it thin with all mouthpieces?

Im guessing you started there as it is one the most frequent issue causing thin tone..

Also a good tech to check over everything.

Sba altos i have heard are all but thin. Not that ive heard or played a lot.

Im not a horn tech but id exhaust all these possibilities before jumping on the neck bandwagon.
 

·
Registered
Joined
·
5,458 Posts
Thank goodness I have never fallen into the neck-swap pit, but it seems to me that it would not be easy to make a neck that changes something fundamental about tone quality and yet has no ill effect on intonation. After all, the original manufacturer did spend some time designing the thing.

OP didn't specify whether he/she has done extensive investigation of reed and MP changes, but if not I would certainly go there first. Honestly, if you try a host of mouthpieces of widely differing designs and get the same results, I would probably suggest a different horn (not a different individual of the same model, but a drastically different design - like, going from a Balanced Action Selmer to a Conn 6M, or Martin, or Keilwerth or even a Buescher 400).

Oh, one last note -

Testing a lot of mouthpieces doesn't mean trying out 7 MPs all of which are Meyer #6 medium chambers or copies thereof. You need to try a bunch of different designs. Berg, Link HR, Meyer/clones, Dukoff, Brilhart Ebolin, Level-Air, Runyon spoiler, etc., etc.
 

·
Distinguished SOTW Member
Joined
·
12,707 Posts
Before doing a scattershot of mouthpiece go find a horn you can take your piece and go play several horns assuming you are around a shop.
If its thin on all of them...well you can pretty much guess.
If its not...
 

·
Distinguished SOTW Member, Forum Contributor 2007-
Joined
·
7,129 Posts
Oleg makes necks. You might also try a USA Selmer neck “Omega” era.
 

·
Moderator
Grafton alto | Martin Comm III tenor
Joined
·
28,907 Posts
I second anyone's suggestion that with necks you must try before buying, or make sure there is a return policy.

In my experience there is no such thing as a great neck. What you do get is a great combination of neck mouthpece and saxophone.

You can get the most beautifully crafted neck made from the finest materials, but if it doesn't gel with the rest of your set up, then it is useless.

I'm using an SBAalto and a Buescher TH & C. The SBA has no problem with high notes being thin. I did try another neck on my TH & C and it improved the sound in many ways, but the odd thing is it's just a cheap Chinese nneck, not a good one, but it makes the horn play better. HYow do toy explain that?
 

·
Registered
Joined
·
128 Posts
My experience (over 50 years) with saxes have made me a believer in trying and swapping out necks. Putting a Yamaha Custom G3 neck on a YTS-23 made the horn come alive. Barone and Cannonball necks on a decent Taiwan tenor are definitely an improvement. Tone and intonation are affected, though not as much as with reed-mouthpiece combos. Altos however are not as sensitive as tenors IMHO and a stock neck is usually just fine.
 

·
Registered
Joined
·
60 Posts
Discussion Starter #15
Generally I am very happy with the SBA. It has a great sound. I tried already several mouthpieces. Especially as I noticed some time ago already, that the favorite mouthpiece might not the favorite on any sax.
I currently play a Brilhart Personaline MP with a Flexitone ligature. A very good combination.

The neck thing came also to my mind, because I read some promising reviews. But I do not want to start the same thing as with mouthpieces, which I am already kind of addicted. I will try to sell some in the future as I already have too many.
 

·
Registered
Joined
·
1,381 Posts

·
Registered
Joined
·
929 Posts
While I think your problem might be in the setup you're playing on, a name I haven't seen yet in this thread that I'd reccomend is Mark Aronson:
http://www.aronsonsaxophones.com/custom-necks
I'm planning on getting a neck for my tenor from, as the neck on my tenor currently (which I bought separately from my tenor) is rather sharp in the upper register, and it doesn't have the same finish as the body of the horn. (silver plate vs lacquered.)
 

·
Registered
Joined
·
60 Posts
Discussion Starter #19
This list is getting quite big. I did not know, that there are so many out there making saxophone necks. Now I understand, that trying different necks is quite a big challenge.
I extended the original list. I tried to add the homepages of the various neck makers and not shop pages.
Many thanks to contributing to this thread.
 
1 - 20 of 22 Posts
Top