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Discussion Starter · #1 ·
An appeal to the combined wisdom of Buescher lovers, technicians and any body with an opinion.

problem: a year ago my beloved 2973~~ TH&C tenor arrived from the US , freshly re-padded by the vendor.
Out of the box it played beautifully and intonation presented no obvious problems.
I continued to use my Selmer signet as main practice instrument as I spend a month at a time away from home earning a non-musical living
I nervously played my first gigs in over 20 years , too nervously it would appear as my 'iron grip' appears to have effected the key heights .
On my return from work I noticed that I could not get the instrument to play in tune and subsequently took it my regular technician ., who found it to be seriously out of alignment and did his best to rectify the problem , unfortunately not completely .

There is a distinct difference in pitch between LH &RH clusters - particularly in the upper register , if the RH cluster is in tune by varying the mouthpiece than the LH is sharp , if the LH is tuned then RH is flat,
This may have been present originally but not as much , anyway. not discernably so .

The mouthpiece in question is mid 70's Berg Larsen 100/2 SMS .

The TH&C is all that I hoped it to be in tone and ergonomics , but this intonation "disorder" is not part of the plan.

Suggestions?
 

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Discussion Starter · #3 ·
No , the pads are new [ less than 30 hours playing ] as it was re-padded when I bought it .

I'm sleuthing through the archives and have saved your list of old forums .
Its a strange one , my technician was of the opinion that he may get it a little truer but had already spent a few hours on key heights .

The Berg is a long shank , high[ish] baffle peice and there seems to be a body of evidence out there that its not always an ideal combination for veteran saxes- this is an early "40's sax .

however works perfectly on the Signet , which from all indications is 400 rebadged.
 

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Silver Fox -

I have not played a sax with better intonation than my 354,xxx 400 TH&C. By way of background, I bought the horn about 2-years ago from Junkdude, played it for a while and then had Matt Scott at Music Medic do a set-up on it and make some minor repairs. Please note that Junkdude did a very good set-up on the horn to begin with, an opinion which Matt Scott confirmed.

I have found my TH&C to be very mouthpiece friendly. Specifically, I have used an RPC 120B, a Tenney Jazzmaster 7, a Meyer 5M (opened by Adam Niewood to 0.100"), a Mouthpiece Cafe House Blend 7* and a Tenney SS Berg 110-2 (ramp baffle), among others, all with excellent results. The only intonation quirk is that Eb2 has a tendency to go sharp, however this is so with every mouthpiece listed above and is easily managed (as long as I'm paying attention:mrgreen: ).

You should not have any problems with a Berg 100-2, intonation-wise. It does sound to me as though something has gone awry with the key heights, however, which is something which your tech ought to be able to straighten out. Don't forget that any sax is delicate and no matter how well packed it is, shipping can take it out of regulation. Also, with a new pad job, there will be some "play in" affect, so the horn probably would need attention anyway. One specific mechanical quirk which I have found with the TH&C is that the octave mechanism can go out of adjustment, such that the synchronisation between pips is off. I had this happen at a gig and it resulted in both pips being open at the same time. Although it was just for an instant. this timing problem was enough to throw off the horn altogether. My local tech was easily (and inexpensively) able to fix this problem.

Once you have had your tech really go over the horn such that you are confident there are no mechanical problems, then play it until you're really used to it and I suspect you'll find the intonation to be just fine.
 

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Discussion Starter · #5 ·
Thanks for the detailed feedback, I'll give the Octave key coordination close inspection .

Strangely enough , playing the TH&C alongside the Signet yesterday [this is the first time I've had them together as the Signet lives on the oil rig usually] the Buescher behaved as it should , albeit requiring a little more "squeeze" on the reed to achieve perfect pitch .

I'm sure the pads have bedded since I first received it , but it was packed beautifully with foam strips under keys and links.
a real tribute to the professionalism of Kim Slava , Dr Sax in Madison Wisconsin.

If I can figure out how , I'll attach pix of the TH&C alongside the Signet.
 

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The signet would have LH bell keys though, correct?

I do find that I have to "get used" to the intonation differences of each horn. It's not that any one is really better than another by much, but if I play one for a while and then I go to another, it takes me a bit before everything seems to line up subconsciously.

Pete
 

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Discussion Starter · #7 ·
The signet would have LH bell keys though, correct?


Pete
Correct , haven't managed to upload the pix, the camera data cable has left the house.

Almost identical profile of the 2 , with the Signet less "flared " in the bell than the T H & C , more significantly neck profile identical but about 20mm/ 3/4" shorter at the mpc end.
 
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