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TENOR, soprano, alto, baritone
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Thoughts on what? It has to be done any time the 'set-up' (corks, felts, pads) is changed. It has to be done to regulate the intonation of the sax or to change the power/projection. Stan Getz was said to favor a 'closer' set-up that helped him get his signature sound. I like to maintain the original factory set-up on my horns or maybe a little more open.
 

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edit update:

Recently I had a late Buescher 400 tenor. Circa '70-71 underslung, amber rollers, snap-ins , nortons, Giant tone..

When I got it the key height was very high (compared to my VI)..finally I took a look at it, I was surprised to see how easy it was to lower the keys stacks. I did it myself using tiny pieces of thin rubber mpc toothguards, the thin size gave a perfect key height, It did not affect tone or response.

When I had my tech replace my homebrew system his felts were a bit too thick and the action now felt almost too low..! this still did not seem to affect tone or intonation significantly, it may have been a bit more subdued, but to be honest I did not play it much as I soon sold it help finance my lovely new Sop...:whistle:
 

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Distinguished SOTW Member, Forum Contributor 2013
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edit update:

Recently I had a late Buescher 400 tenor. (now sold) When I got it the key height was very high (compared to my VI)..finally I took a look at it, I was surprised to see how easy it was to lower the keys stacks. I did it myself using tiny pieces of thin rubber mpc toothguards, the thin size gave a perfect key height, It did not affect tone or response.

When I had my tech replace my homebrew system his felts were a bit too thick and the action now felt almost too low..! this still did not seem to affect tone or intonation significantly, it may have been a bit more subdued, but to be honest I did not play it much as I soon sold it help finance my lovely new Sop...:whistle:
What is the consensus with the Buescher 400's? I saw one for sale here locally for what seemed like an incredibly low price. But looking at the pics it seems more like a student horn at best.

Was there a big difference between the earlier ones and the late ones?
 

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Was there a big difference between the earlier ones and the late ones?
A few obvious things lost over the years:
• Bell keys from behind to the left side but before they went over, the linkage changed from a cool pinned connection to an arm on the long rod and a roller on the pad key.
• Linkage changed on the side Bb and C as above lost connector.
• Engraving.
• Bye bye silver tone ring
• Nickel plated keys
• I think the neck changed from underslung in the later ones.

Later ones still play outrageously well.

To answer the original question, I was guided by Emilio Lyons saying the opening for the lower stack should be about the width of a pencil eraser. I've seen a lot of variation from really close to really open. I've kept my own instruments at different openings. Martin C3 tenor is very close but a '42 Handcraft tenor is about as open as I can make it without clattering. My 105 Mark 6 has mostly the original set up. It is close but materials compact and it probably was even closer. I played another original that a friend recently flipped which was closer than mine. It played great and felt very fast.
 

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TENOR, soprano, alto, baritone
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There was a big difference between the 'real' Bueschers and the ones made after Selmer bought them out around 1963, but the post-Selmer Buescher 400 was still a good sax. I had a tenor, bought new in '64, and it had a great sound.
 

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Bruce Belo raised the key height on my alto flute.
He did it gradually while i was there and i tested it with each change until it was the best it could be .
 
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