[Mark R]

Hi, I am the fortunate owner of this 343xxx Aristocrat https://forum.saxontheweb.net/showthread.php?368468-FS-Buescher-Aristocrat-tenor-156-model and know coming off of playing modern horns for years I am having to adjust, relearn hand placement, spend time with the horn to be more acclimated to it.

Have any of you other 156 owners done any modifications?

I have added cork to the palm and side keys. Still having some issues with side keys but wondering what others have done modification wise to their horns, if anything to their 156's.
Love this horns personality, sound, tonal flexibility, after playing my Eastman 52nd St I went back to the Buescher, what I sleeper for me, I had always heard Buescher was the choice in the classical circles, it's a great sounding horn for any genre and I'm really just getting acquainted.

 

[turf3]

I don't have one of these specifically, but with a newly acquired horn I usuallly have had to add (or sometimes remove) cork to palm and side keys; adjust the level of Eb/C keys so the C sits a bit lower than the Eb for easy sliding; simething similar at the LH table. Occasionally I have to bend a key touch a bit to one side or the other to fit my hand better. On my bass sax I relocated the left thumb rest well to the left (when you're behind the horn looking at it) and modified the octave key accordingly. On my Buescher soprano I removed the pitiful wee excuse for a RH thumbhook and replaced it with a generously sized one from Music Medic, located much further up the tube where MY thumb naturally falls.

So don't fear to modify the instrument (taking things slowly and always doing it the reversible way first) to fit you.

 

[ving]

I’ve got one of these, agreed! Great horn! I mostly play a mark vi, but when I use my Buescher I’m always surprised how much I like its immediacy of tone. I haven’t switched to it full time due to similar issues with keywork, but I also have not ever had the horn really set up well. Now that the think about it, maybe it’s time to invest in a better pad job and set up. I suspect it would go a long way to alleviating the issues I have with it currently..,

 

[Mark R]

but I also have not ever had the horn really set up well. Now that the think about it, maybe it's time to invest in a better pad job and set up. I suspect it would go a long way to alleviating the issues I have with it currently..,

This is not the case with this horn. A serious smooth great playing horn from top to bottom, no stuffy D, just ergonomics I have to work out coming from playing modern Taiwan made horns. After this horn shipped here it was very well packed inside a new ProTec XL case and bubble wrapped inside the case. My only issue then was the low C# key was stiff and after my local tech addressed that no problem now and this horn has a big fat open voice with some very colorful harmonic textures in the tone. Wish I had a MKVI too...but I'm growing more happy with this horn that cost less than a good overhaul from a premier tech. And as far as I'm concerned even thought the overhaul was over 2 years ago on this horn before I got it, excellent playing condition thanks to SaxQuest.

 

[JL]

I have a 156 tenor that I got about 15 years ago (can't believe it's been that long) as a backup for my MKVI. For a couple of years it became my first choice and the VI was the backup! I've since gone back to the VI mostly, but still love playing the Buescher. These are great horns. I suspect the reason classical players like them is they seem so easy to play in tune. But they are really aggressive horns with a huge sound and work great in any genre, but especially blues & R&B.

Anyway, the only modification I made was to put a cork riser on the D palm key. Otherwise I find the key work to be just fine. Easily adjusted to coming from my MKVI which has the nicest ergos of any horn I've ever played (maybe because I've been playing it for close to 40 years).

 

[lostcircuits]

The only adjustments I made to mine was to remove some relatively minor dents. Over the past year it has become pretty much the only tenor I play now, simply because I mostly play rock and funk and I like the aggressive nature of it. These horns are a bit finicky with MPCs. it's about the only tenor I have that does not get along well with my Brillhart Streamline nor my Theo Wanne Datta (the combination was just too aggressive).

 

[ving]

I have a 156 tenor that I got about 15 years ago (can't believe it's been that long) as a backup for my MKVI. For a couple of years it became my first choice and the VI was the backup! I've since gone back to the VI mostly, but still love playing the Buescher. These are great horns. I suspect the reason classical players like them is they seem so easy to play in tune. But they are really aggressive horns with a huge sound and work great in any genre, but especially blues & R&B.

Anyway, the only modification I made was to put a cork riser on the D palm key. Otherwise I find the key work to be just fine. Easily adjusted to coming from my MKVI which has the nicest ergos of any horn I've ever played (maybe because I've been playing it for close to 40 years).

I picked up my Buescher as a back up to my vi also! (after my vi was stepped on while I was teaching....ouch).
The thing I find interesting when I switch back to the Buescher is how you have to articulate or lay back on the beat differently as it speaks more quickly than the Selmer. I find I'm more used to my Selmer in that regard. But when I was playing in a jump blues band when I got the Buescher it was perfect!

 

[Sofiane]

Those are great horns!

 

[Sofiane]

The fast answer, richness of the sound, intonation and playability make it one of the best vintage horn on the market especially at such ridiculous prices.

 

[Mark R]

Update. The more time I play plus the change in neck strap position has me much more aligned with the horn and hand angle on the right hand lower stack/side key. Not as much of an issue as I first suspected and as I keep at it it will become second nature. Someone mentioned that the Datta was too aggressive, different strokes different folks and different results for individuals. I love how my Datta matches up with the 156. Had to experiment with ligature placement, I use the Enlighted lig almost all the way down to where the reed plate is to the end of the reed with a Riggoti Jazz 3M and I am super pleased with the playing experience of this horn.

 

[IBeOmega]

There is no such thing as a 'classical horn' or a 'jazz horn' - I learned long ago to throw that out the window. There are simply saxophones you like and saxophones you don't. Most makers will usually fall into one or the other for you, but it's all about your taste.

I don't own a Buescher tenor, but I do have a 140 alto and I have made two minor modifications.
I took sugru and made a 'ramp' at the bottom of the low C touch. This stops my finger from sliding off the edge of the key when coming from low Eb, and it gives me more comfortable purchase in general. I have long fingers so I'm always riding the far edge of those touches to begin with.
My Bueschers are not the only horns that have this. My three Yamahas all have the same add-on, and the Keilwerth bari I recently got will be getting it soon.
I'm currently letting a friend borrow the alto, but here's the one on my Buescher bari (the first one I made iirc).

The other mod is simpler, I took some more sugru and filled in the gap to the left of the thumb hook. I just like having some extra grip area for the pad of my thumb - I use Music Medic hooks on my Yamahas as well.

 

[click]

I love my 1951 Buescher 156 --- it likes a wide variety of mpcs, and seems very well suited to any style of music.

It is an archetype of the sax as a flexible instrument. No modifications on mine.

 

[Jazz House]

Hi, I am the fortunate owner of this 343xxx Aristocrat https://forum.saxontheweb.net/showthread.php?368468-FS-Buescher-Aristocrat-tenor-156-model and know coming off of playing modern horns for years I am having to adjust, relearn hand placement, spend time with the horn to be more acclimated to it.

Have any of you other 156 owners done any modifications?

I have added cork to the palm and side keys. Still having some issues with side keys but wondering what others have done modification wise to their horns, if anything to their 156's.
Love this horns personality, sound, tonal flexibility, after playing my Eastman 52nd St I went back to the Buescher, what I sleeper for me, I had always heard Buescher was the choice in the classical circles, it's a great sounding horn for any genre and I'm really just getting acquainted.

Congrats! That's a nice horn. I've got a 37 Aristocrat, which plays pretty much as you describe. Great intonation, big and flexible sound, predictable response. And it was cheap too!

I don't have too many mods on mine. I've got some risers on the palm keys and I've added some sugru to the RH thumb rest to extend it a bit on the left. I have pretty big hands, so I needed these modifications for to be comfortable.

I also have a 10m, which I love for very different reasons. I prefer the LH stack on the 10m and the RH stack on the Buescher.

 

[adamk]

140 & 156, my main horns.
Never modified just overhauled and occasionally setup over last 15+ years.

 

[Mark R]

Well stated and I agree 100%. Thanks for the tip, pics. I think that is a great idea and will plan to do this with my horn too. Thank you very much

There is no such thing as a 'classical horn' or a 'jazz horn' - I learned long ago to throw that out the window. There are simply saxophones you like and saxophones you don't. Most makers will usually fall into one or the other for you, but it's all about your taste.

I don't own a Buescher tenor, but I do have a 140 alto and I have made two minor modifications.
I took sugru and made a 'ramp' at the bottom of the low C touch. This stops my finger from sliding off the edge of the key when coming from low Eb, and it gives me more comfortable purchase in general. I have long fingers so I'm always riding the far edge of those touches to begin with.
My Bueschers are not the only horns that have this. My three Yamahas all have the same add-on, and the Keilwerth bari I recently got will be getting it soon.
I'm currently letting a friend borrow the alto, but here's the one on my Buescher bari (the first one I made iirc).
View attachment 258860 View attachment 258858

The other mod is simpler, I took some more sugru and filled in the gap to the left of the thumb hook. I just like having some extra grip area for the pad of my thumb - I use Music Medic hooks on my Yamahas as well.

 

[paulwl]

It's always been interesting to me that Buescher versatility appeals most to players at the two extremes: dark classical and booting, honking r & b. Along with a handful of free jazz people.

For the past 20+ years I've been advocating for them as great straight-ahead jazz instruments, right up there with Conn, Selmer and the rest. Yet that reputation has not spread among saxophiles.

 

[click]

It's always been interesting to me that Buescher versatility appeals most to players at the two extremes: dark classical and booting, honking r & b. Along with a handful of free jazz people.

For the past 20+ years I've been advocating for them as great straight-ahead jazz instruments, right up there with Conn, Selmer and the rest. Yet that reputation has not spread among saxophiles.

You know, that blank canvas thing is a real feature for the 156.

My Conns kinda want to roar if I loosen up the reins.

My Martins kinda default to a smokey blues vibe.

My Kings have a sort of sizzle to them.

But the 156 does not lean toward any preset anything. It just sounds like a tenor should sound, and is ready for the concert hall or the electric blues band or the tasty combo if I got the mpc and the chops.

All saxophones have that, but the Buescher has it in spades.

 

[Jazz House]

For the past 20+ years I've been advocating for them as great straight-ahead jazz instruments, right up there with Conn, Selmer and the rest. Yet that reputation has not spread among saxophiles.

You know, that blank canvas thing is a real feature for the 156.All saxophones have that, but the Buescher has it in spades.

shhhhhhh.....! Keep them cheap!

......

But yes, you're both right about Buescher tenors. They're immensely versatile instruments and can do just about anything.

 

[minicooper]

There is no such thing as a 'classical horn' or a 'jazz horn' - I learned long ago to throw that out the window. There are simply saxophones you like and saxophones you don't. Most makers will usually fall into one or the other for you, but it's all about your taste.

I don't own a Buescher tenor, but I do have a 140 alto and I have made two minor modifications.
I took sugru and made a 'ramp' at the bottom of the low C touch. This stops my finger from sliding off the edge of the key when coming from low Eb, and it gives me more comfortable purchase in general. I have long fingers so I'm always riding the far edge of those touches to begin with.
My Bueschers are not the only horns that have this. My three Yamahas all have the same add-on, and the Keilwerth bari I recently got will be getting it soon.
I'm currently letting a friend borrow the alto, but here's the one on my Buescher bari (the first one I made iirc).
View attachment 258860 View attachment 258858

The other mod is simpler, I took some more sugru and filled in the gap to the left of the thumb hook. I just like having some extra grip area for the pad of my thumb - I use Music Medic hooks on my Yamahas as well.

This looks great. I may have to try this on my 156.

Has anyone had any success in Oleg Key enhancers on a Buescher? The left pinky table is so flat

 

[turf3]

This looks great. I may have to try this on my 156.

Has anyone had any success in Oleg Key enhancers on a Buescher? The left pinky table is so flat

I bet you're coming from a Selmer or Selmer copy. That left hand table on the Buescher is perfectly designed for the way the left hand little finger actually works. The table keys are approximiately perpendicular to your little finger. You push on them, you don't pull like on the Selmer style. This way you're using the inherent strength of the finger (along its major axis) to do the hard work, and the big muscles down the side of your hand and into the forearm.

I'd suggest some time in the woodshed; I'm sure it feels different, but with some familiarity you'll see that it's actually a superior design compared to the tilting spongy low Bb key that always disappears from under your finger just as you need it to be solid and positive acting. That's why they had to put that slant on it. The Buescher/Conn/Martin style keys don't need that.