Sweet! I love its unique tone, even though mine has fallen a bit out of fashion since I got the Buescher.

 

If you ever find yourself with the time and can be bothered... it would be cool to hear a comparison between your Saxello and the Buescher. Ideally with the same mouthpiece.

 

This is wonderful!

 

Sounds just like a soprano saxophone. Looks neat, though. DAVE

 

No, it doesn't

 

Sounds like a clarinet. Nothing wrong with that. Though I prefer the tone that Bennie Maupin gets out of his Saxello on Head Hunters.

 

My thoughts as well and maybe a very mild bit of Kazoo at times, that said it sounds great in that format.
The player has found his own sound and is very comfortable with it. I would enjoy listening to them live.

I had a player try soprano mouthpieces at my studio on his Cannonball saxello, he did not sound like that. He ended up buying an H Super Session and he had a very mello and pleasing sound with it.

When I play my C Melody fellow sax players question what it is the patrons could care less and find it enjoyable.

 

Super nice how the two Drummers synchronized their motions😏

 

It does NOT sound like a clarinet.

It sounds like a soprano with a thick non-oboe-y tone. How much of that is player and mouthpiece, and how much is the horn itself, I couldn't say.

Consider this, starting around 2:16:

This Love of Mine (youtube.com)

Similar thick non-oboe-y sound, also on a King Saxello.

I find that this kind of soprano tone is easier to attain on old American sopranos than modern horns.

 

It does NOT sound like a clarinet.

It sounds like a soprano with a thick non-oboe-y tone. How much of that is player and mouthpiece, and how much is the horn itself, I couldn't say.

Consider this, starting around 2:16:

This Love of Mine (youtube.com)

Similar thick non-oboe-y sound, also on a King Saxello.

I find that this kind of soprano tone is easier to attain on old American sopranos than modern horns.

I guess we must agree to disagree, to my ear it has a clarinet-ish sound to it. The other clip you supplied sounds like a soprano to me. I am confident I can replicate that 2nd players tone on my soprano.

But as you stated and I agree it is a combination of horn, mouthpiece and player and as I said he is very comfortable in that format. A very solid player.

R ZZZ The fellow on the Cannon Ball saxello sounded bad and tried about 15 pieces until he got to the Selmer H SS and then he lit it up.

 

Well, the saxello has quite a different geometry compared to other sopranos and it is not just the curved bell and neck but it is shorter than other Bb sopranos and to get there the taper of the bore is much less of a cone and more cylindrical. But not like a clarinet. I am pretty sure I can pick out a King saxello out of any lineup of sopranos, it has a unique mix of "thick" core sound and overtones, almost like an EQ'd soprano with a very warm core. Definitely different from any other soprano.

 

Well, the saxello has quite a different geometry compared to other sopranos and it is not just the curved bell and neck but it is shorter than other Bb sopranos and to get there the taper of the bore is much less of a cone and more cylindrical. But not like a clarinet. I am pretty sure I can pick out a King saxello out of any lineup of sopranos, it has a unique mix of "thick" core sound and overtones, almost like an EQ'd soprano with a very warm core. Definitely different from any other soprano.

View attachment 184370

Interesting, and is the geometry different, as you describe, in comparison to King's other sopranos of the same vintage? I don't have one with me, but it seemed like early Bueschers, of this Saxello's age, also had quite a different geometry compared to modern sopranos.

One of my favorite soprano sounds was Kirk. Here's another track.

 

Sorry dissenters, but sounds like a soprano and kind of looks like one.

 

Sure, you put a bunch of farm boys in front of a Ducati and a Harley and they will tell you they look the same, the Harley has to be faster because it has more power as evidenced by the dB of the exhaust

And BTW, a Pekingese is more closely related to a cat than a dog

 

BTW, this is an assumption, but I'm pretty sure all modern saxellos, ie Cannonball, are "merely" sopranos with a curved neck and tipped bell. Or am I mistaken again....

Seems to me the guy in the OP is coming from a trad sound and fits there quite nicely.
Doesn't sound like a whole other instrument than say Bob Wilber here:

 

They were reputed to be 'pitchy' and that one certainly is. Growing up, I heard guys mention them but I never even saw a picture of one - I still thought I wanted one, until I saw a picture! Many years later, when Taiwan started making the copy of the Buescher 'Tipped-Bell' horn but with removable neck, I got one and to this day that's the only kind of soprano I want.

 

I just sold my PMauriat. The guy who bought it upgraded from his Selmer Series II and he was happy as a pig in sh8t. But having the Buescher tipped bell and the saxello plus another handful of sops so I had to unload.

 

Actually, here is the original version with the Borgani, Holton and King saxello. That was before the complete overhaul of the saxello. Apologies for some of the intonation but switching between sops is a real challenge because each of them has its own idiosyncrasies, not to mention the key work which is vastly different between the three as well as the different degrees of articulation or lack thereof.

But, as I said, I'll try to record something using only the room microphone and include the Buescher as well.

 

Actually, here is the original version with the Borgani, Holton and King saxello. That was before the complete overhaul of the saxello. Apologies for some of the intonation but switching between sops is a real challenge because each of them has its own idiosyncrasies, not to mention the key work which is vastly different between the three as well as the different degrees of articulation or lack thereof.

But, as I said, I'll try to record something using only the room microphone and include the Buescher as well.

Very cool. Also such a difference between all three horns. I also wonder how much of that is mic placement, I have a feeling room micing it would still show three very different sounds though. Interesting how the ranges of sounds from sopranos (plus the saxello) are so much more different than between tenor models.

 

Well, the King Saxello is clearly a soprano saxophone. By definition and by sound.

By all accounts, it has a distinct kind of tone quality compared to other American sopranos of its generation.

It is a reasonable assumption until actual measurements are presented, that its internal dimensions are NOT the same as the ordinary soprano of its generation.

Today's semi-curved sopranos, as well as the occasional semi-curved or bent soprano from earlier days, are by all accounts dimensionally the same as the standard straight soprano version and tonally essentially the same.

 

Well, the King Saxello is clearly a soprano saxophone. By definition and by sound.

By all accounts, it has a distinct kind of tone quality compared to other American sopranos of its generation.

It is a reasonable assumption until actual measurements are presented, that its internal dimensions are NOT the same as the ordinary soprano of its generation.

Today's semi-curved sopranos, as well as the occasional semi-curved or bent soprano from earlier days, are by all accounts dimensionally the same as the standard straight soprano version and tonally essentially the same.

Agreed, just look at the Boehm-style key work

 

Ok, I got three tracks, one each for the Buescher TT tipped bell, the 1928 straight Conn (bare brass, RTH) and the King Saxello. I was going to work a bit more on the upper register intonation but last night's gig at about 2% relative humidity and 80 degrees got me a blister on my lower lip - makes it hard to get high E speak.

Setup: Electrovoice RE20 behind my right shoulder, approximately 3 ft away pointed down at ~60 degrees towards mid-body of the instrument.
Effects: Mono to stereo (no panning), Reverb: CuBase "Church" at 2 sec (original 7 sec). No EQ or anything else;
Same MPC, reed etc. the MPC was just transferred as is from one sop to the other.

Dropbox

www.dropbox.com

Dropbox

www.dropbox.com

Dropbox

www.dropbox.com

Blister permitting (I have another gig tomorrow) I'll add the Borgani, and possibly Martin (1915) and Holton in the next few days.

 

Ok, I got three tracks, one each for the Buescher TT tipped bell, the 1928 straight Conn (bare brass, RTH) and the King Saxello. I was going to work a bit more on the upper register intonation but last night's gig at about 2% relative humidity and 80 degrees got me a blister on my lower lip - makes it hard to get high E speak.

Setup: Electrovoice RE20 behind my right shoulder, approximately 3 ft away pointed down at ~60 degrees towards mid-body of the instrument.
Effects: Mono to stereo (no panning), Reverb: CuBase "Church" at 2 sec (original 7 sec). No EQ or anything else;
Same MPC, reed etc. the MPC was just transferred as is from one sop to the other.

Dropbox

www.dropbox.com

Dropbox

www.dropbox.com

Dropbox

www.dropbox.com

Blister permitting (I have another gig tomorrow) I'll add the Borgani, and possibly Martin (1915) and Holton in the next few days.

They all sound uniquely great! Nice playing ! I can’t wait to hear the Holton 😃

 

p.s. here is a screenshot of the recorded tracks, trying to keep everything as close as possible:

 

They all sound uniquely great! Nice playing ! I can’t wait to hear the Holton 😃

Thank you, keep in mind there is no EQ, no more than a bare minimum reverb, no compression, all tracks are literally dry recordings. I can't play until the sore on my lip is healed, I hope tomorrow. 2% relative humidity for 2h without break last night .... But yeah, it's a nice project, I may be able to borrow a Conn curvy as well

 

2% relative humidity for 2h without break last night ....

Yikes that’s dry, ouch ! Using synthetic reeds ?