Sax on the Web Forum banner
1 - 20 of 21 Posts

·
Registered
Joined
·
726 Posts
Discussion Starter · #1 ·
https://youtu.be/b-Uo8UhIK9M

Recently found this video, and it is one of the few that I can actually hear the differences between the saxophones! I like the Selmer Reference 54, Yanagisawa and Keilwerth. The Conn-Selmer has a typical, distinctive Conn sound which i feel less center, more spread. The Yamaha and some others has a lot brighter sound.

What do you think?


Sent from my iPhone using Tapatalk
 

·
Forum Contributor 2014-2017
Joined
·
650 Posts
The Yamaha 82Z was very bright. There was this progression of brightness from the 54, to the VI, to the Yamaha.

The Forestone was quite muted, in contrast to the preceding horn.

They all sounded like tenor saxophones, well in tune. I suppose you'd do well with any of 'em. We live in a golden age of equipment.
 

·
Forum Contributor 2014-2017
Joined
·
1,000 Posts
I was really surprised by the Rampone and Cazzani. It had a full throaty voice that was very appealing. And, despite its many critics, I’ve always liked the Reference 54.
 

·
Registered
Joined
·
726 Posts
Discussion Starter · #4 ·
And, despite its many critics, I’ve always liked the Reference 54.
I am also quite surprised I like the Ref 54 better than Mk VI, because in another video, definitely I hear the Mk VI is way better. The Mk VI in this video has some kind of shrill at the background.
 

·
Forum Contributor 2014-2017
Joined
·
650 Posts
How did you think the 54 compared with the VI? The host must've thought well of the 54, since he started with it, but I thought it suffered in comparison to the VI which immediately followed. Like a window opened and you could hear the rest of the range.
 

·
Registered
Joined
·
244 Posts
I was really surprised by the Rampone and Cazzani. It had a full throaty voice that was very appealing. And, despite its many critics, I’ve always liked the Reference 54.
I was also struck by the Rampone and Cazzani, probably the most distinct voice of the selections. I'd call it warm and smoky.
GREAT video to share, thanks!
 

·
Forum Contributor 2014-2017
Joined
·
650 Posts
Oh, you think that was background noise?

I'm gonna listen again (at the risk of wearing out "There'll Never Be Another You" for myself forever....).
 

·
Forum Contributor 2014-2017
Joined
·
650 Posts
Oh ****e, now youtube is queing up the baritone comparison....
 

·
Distinguished SOTW Member, Forum Contributor 2016
Joined
·
18,809 Posts
The JK and Ref 54 were tops, IMHO. The Yani close behind.

Honestly the VI sounded OK, but I agree the 54 was more interesting, and actually the JK sounded significantly nicer to me than the VI.

The Sheppard, Trevor James, Cannonball, Mauriat and Yama basically sounded like brightish modern saxes, not as much lushness or complexity in there, to varying degrees.
I was a bit shocked at the Yama 82, because sans a side-by-side I have always thought they stacked up quite well, sonically speaking. But it was not so here. Hella bright, hella reedy. Compare it to the Yani, which sounded so much more alive and complex.
The Conn hardly sounded like 'signature Conn'. It was lifeless and bland, IMHO, nothing like the classic Conn tone (which makes sense since nothing in the design is anything other than modern asian horn).
The Mauriat had the unfortunate circumstance of coming before the JK, which was just so much more of a complex-toned horn. Mauriat also seemed inconsistent, sonically, from register to register.
Mauriat and Cannonball are often touted as having 'that vintage sound', but as demo'ed here they reinforce my opinion that, well...no, not really.
The Eastman and Forestone both sounded thin and uncolorful to me.

Surprisingly, I was disappointed in the R&C: it was sorta lifeless, although its 'breathiness' was interesting....'smoky' as noted earlier, yes. Definitely unique, just not the sonic identity I would want my Tenor to have.

My 2 cents...
 

·
Distinguished SOTW Member
TENOR, soprano, alto, baritone
Joined
·
8,090 Posts
Keep in mind the MK VI has to be at least 44 years old and you have no idea of what pads are in it or what may have happened to it in all those years. However it is also true that Selmer had been increasing the volume and projection of its saxes since the 1920s and the MK VI was the ultimate expression of that, so naturally you might expect a brighter sound. With any sax, as with certain mouthpieces, there also can be a tendency to sound bright until you get used to it. In this comparison, however, assuming the player had not played any of them beforehand, this effect would apply to all the examples so 'brightness' should be relatively accurate. Then you have the effect of not having the optimal mouthpiece for each horn which could skew the results. About all you could say about this is that the samples played may or may not be representative of each of the classes represented, although in my experience my several run-ins with 82Zs and Ref 54s had the same results as the one on the video - I would have no use for them at all.
 

·
SOTW Columnist, Distinguished SOTW Member
Joined
·
23,491 Posts
It would have been nice if they where all played in the same key
That was my first thought also. At least for comparison purposes. Different keys do sound different.

I didn't make it through the whole thing, but did listen to the first few horns. Unlike some others on here, I much preferred the VI to the Ref 54. Yeah the 54 did have a nice warm sound, but it seemed to lack some of the punch and brilliance of the VI. Of course it's subjective and a matter of personal taste.
 

·
Registered
Joined
·
434 Posts
There is the different key issue, but it was also clear that the player was more comfortable on certain horns than others.....so how do you compare.....for example, until he got to the Forestone sax, I couldn’t hear of lick of vibrato....the first two Selmers sounded stuffy....and he was clearly uncomfortable with the Conn....He tried to finish off by stylin’ on the Eastman, but he was clearly more adept at managing the the P. Mauriat.

Did he play the same mouthpiece for every horn.....

I guess what is means is that there are a lot of good horn options out there. Our brave musician did a great job.
 

·
Registered
Joined
·
400 Posts
Personally I think if he had a metal mouthpiece it would have been easier to tell im not a fan of the sound of hard rubber mouthpieces with a few exceptions
 

·
SOTW Columnist, Distinguished SOTW Member
Joined
·
23,491 Posts
Personally I think if he had a metal mouthpiece it would have been easier to tell im not a fan of the sound of hard rubber mouthpieces with a few exceptions
??!!
What is the "sound of hard rubber mouthpieces?"
 

·
Registered
Joined
·
400 Posts
Maybe if he would have played something other that a ballad, so you could hear if the horns had any power to thier sounds. To my ears and its just most not all hard rubber mouthpieces are dead sounding. I have never been a fan of them on tenor, alto and soprano yes, but tenor no thank you.
 

·
Distinguished SOTW Member, Forum Contributor 2015-
Joined
·
34,375 Posts
Maybe if he would have played something other that a ballad, so you could hear if the horns had any power to thier sounds. To my ears and its just most not all hard rubber mouthpieces are dead sounding. I have never been a fan of them on tenor, alto and soprano yes, but tenor no thank you.
A ballad can be played with plenty of power - if the player chooses to do so. Similarly, if most all hard rubber mouthpieces sound dead to you, you are missing out on a lot of good mouthpieces.
 

·
Registered
Joined
·
525 Posts
I liked the Selmers the best, and preferred the Mark VI. It just had something extra to it, to my ears. No big surprise, all my horns are old Mark VI's except my SC991. I thought the Eastman sounded nice too, or maybe I just liked what he played.

But I have a 1947 10M that I'm STILL waiting to get back from overhaul! It's taking a long time, hope it's worth the wait. Waiting on a YAS-23, Jupiter and 24M too, I liked that Conn alto, even though it didn't play so good when I got it. After reading through that school instruments thread, thinking about finding some needy young talent for the altos. I donated a violin that I found at a garage sale and had refurbed to the youth symphony recently.
 
1 - 20 of 21 Posts
Top