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Hey,

I was recently checking out other horns cause I want something that sings a little more and projects more back to me as a player than my Martin does. I discovered that a) my Martin is still an awesome horn but b) that horns with light necks like a Conn Chu Berry or a modern Yani seem to project back better to me. I guess it's 99% psychology and 1% the effect of a lighter neck that resonated more :mrgreen:

I carefully put the Conn Chu neck on my Martin - wasnt able to fully insert it - and played: and I got a lot of the Conn feeling on my horn.

So I'm wondering: did any of you guys experience with other vintage horn/after market necks on a The Martin tenor?

Best
Hannes
 

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First, I don't think weight (thickness of the metal) has anything to do with it. I once experimented by wrapping a neck with a pound of clay and it didn't change the way the horn played at all.

I've tried many different necks on the Martin Committee, vintage and modern, and I couldn't find one that had acceptable intonation. The Martin neck is a little longer than other vintage necks because the body joint is a little lower down the body tube than some other vintage horns. I think it's a tough match.

I'd love to find a good replacement neck for the Martin Tenor because I have 3 of these horns without the original necks.
 

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I saw a neck on ebay recently for a III tenor. About 2 weeks ago. I agree that the original should work best. I would fool with the mouthpiece options first.
 

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first of all it would be informative for you to read (if not all posts at least through) this thread about aftermarket alternative necks.

https://forum.saxontheweb.net/showthread.php?353354-Replacing-w-Afternarket-Necks-How-is-it-Possible

As for “ projecting back to you” ( which is an interesting way to formulate what I would call feedback). This may happen or not because of a plethora of factors.

The neck being heavier or lighter argument is one of the favorite of people marketing necks. There are necks these days marketed and being “ better” some because they are lighter (some folks took any brace away) some because they are heavier ( some other folks added stuff), regardless, they all claim improvements.

Of course other folks , like the klnagbogen or the LeFeque achieve this adding expensive pieces of metal here or there and claim that all falls into place.

Anyway, despite me NOT buying into this, if you are prepared to separate yourself from a substantial amount of cash, Karsten Gloger, after producing exact copies for years, decided to go with the flow and provide people with necks that were meant for different horns and adapting them to their horn.

So, if this floats your boat, you may take the neck of your choice, Gloger will make a copy in the metal that you require and he will then adapt the fitting and/or other design features to your horn.

There are very good chances that, after a period of time with your new toy, you will discover that this is not an improvement.

If you aren’t happy with your sound maybe it is worth trying to find out if this is not psychologic effect due to forever being displeased with something (don’t get offended, but OCD is a real factor, in other things, I have some too).

Good Luck.
 

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I was curious. Selmer Sterling Plus B wall. It played well enough sans working 8va key. But, as others mention, the original is better.

Consider that some say a metal mouthpiece gives better feedback to the player.
 

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At the point someone mentions 'resonance' of a sax neck.....convo is over.

+1 to Milandro's post.

You can buy an aftermarket neck if you want ...

(although...in this instance, can you really ? Because of course, the III has the thumbscrew on the neck, not the receiver...so have you considered how you would tighten a non-factory neck ? The III doesn't have a tightener on its receiver....soooo...you either gotta find a replacement neck with a screw in its design ($$$$$); find a replacement neck and have a tech modify it so it has a screw on it ($$$$$); or replace your original III receiver with a standard, thumbscrew receiver ($$) and (dumb, dumb, dumb, dumb, dumb idea)....).

The likelihood then is...you will initially be happy by how differently the horn plays (providing you find a neck which can actually intone it properly in all registers ~ which is NO small feat).....then after a while come to realize the original neck is probably better suited, and mouthpiece choice or possible consideration of asking a tech if keyheights can be altered a bit is a wiser avenue to pursue..
 

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I've tried many different necks on the Martin Committee, vintage and modern, and I couldn't find one that had acceptable intonation. The Martin neck is a little longer than other vintage necks because the body joint is a little lower down the body tube than some other vintage horns. I think it's a tough match.

I'd love to find a good replacement neck for the Martin Tenor because I have 3 of these horns without the original necks.
INDEED. It is a very uniquely designed neck. The only time I found a replacement which was really decent, I actually built it out of a bare neck tube which I found on eFlay, seller having described it as an original Martin factory unfinished tube.

...He was right, lo and behold. It was a III tube.

Even in that instance, mind you, I had to change the neck receiver to a generic standard-type.
 

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In fairness both Karsten Gloger in Gronigen NL and The Blazers atelier in Tilburg NL make Martin copies with the front locking key.

View attachment 230958
 

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Hey,

I was recently checking out other horns cause I want something that sings a little more and projects more back to me as a player than my Martin does. I discovered that a) my Martin is still an awesome horn but b) that horns with light necks like a Conn Chu Berry or a modern Yani seem to project back better to me. I guess it's 99% psychology and 1% the effect of a lighter neck that resonated more :mrgreen:

I carefully put the Conn Chu neck on my Martin - wasnt able to fully insert it - and played: and I got a lot of the Conn feeling on my horn.

So I'm wondering: did any of you guys experience with other vintage horn/after market necks on a The Martin tenor?

Best
Hannes
You're SOL (So Out of Luck) because only the original type neck can possibly be used because of the unique lock style. Otherwise you can put a standard-type clamp collar on it and then use any tenor neck. Chances are a Reference 36 or 54 neck will come closest to the original because the curve actually starts right at the top of the tenon like the martin, which throws the overall length out longer.

Resonance is real. Different necks produce different results. For example, the Selmer USA 'Sterling Plus' 'B' neck pictured is the 'regular wall' where the 'A' was the 'thick wall'. There is tremendous difference in these otherwise identical necks, with the thinner wall usually being chosen, and the thick wall is rarely found today. I had a prototype alto neck for the 'Sterling Plus' (they never produced or sold any silver alto necks) and it was a super-thick wall - the thing weighed six ounces - and it played awful. I got rid of it right away. The Selmer Series II or III silver alto necks are much thinner wall and play great. I'd love to have one of those but have got to rein-in my GAS spending for a few months :).
I already know from other threads that the same cast of characters always speaks against resonance, materials and thickness as not having any effect on anything but you guys are just wrong - there's no other way to put it. You mock Selmer's and others' progress in increasing resonance in sax necks and bodies as if it were nothing but advertising claims. You really think you know more about making a sax than Selmer?
 

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First, I don't think weight (thickness of the metal) has anything to do with it. I once experimented by wrapping a neck with a pound of clay and it didn't change the way the horn played at all.
Dont say that...market it. Indeed your process must have involved infinite experimentation in order to discover the proper material to give you an earthy tone :)
 

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they won’t because anyone could replicate that for free.

The only ever free sonic implement was the PLigging. Didn’t work like any other, but at least it didn’t cost anything.

Tobias took the P... and left but his heritage lives on





Moin,
some of you will say, only saxvoodoo again but this is propably one of the cheapest tuning devices.

You only need a cord of leather.

You just wind it two, three or fourtimes very thight around the front of the neck. (check out the Photo if you don't know what I mean)

It will you make louder and the sounds becomes more round. I've the impression, that it also gives more soundmaterial.

I stated the better the instrument (the thicker the walls) and the higher the sax the weaker is the effect of the P-Ligging.
On my soprano I was not sure if I really could hear a difference but on my Bari it is great.

The Name P-Ligging referes to my friend Prinzipal. It was his idea.

(No garantee for maybe possilble litte damages on the finish, I had none so far)

I don't want any comments like: "total crap", "won't work" "only voodoo" "you, it or something suck" unless you have really tried it yourself.

Have fun with testing.
 

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Hey,

I was recently checking out other horns cause I want something that sings a little more and projects more back to me as a player than my Martin does. I discovered that a) my Martin is still an awesome horn but b) that horns with light necks like a Conn Chu Berry or a modern Yani seem to project back better to me. I guess it's 99% psychology and 1% the effect of a lighter neck that resonated more :mrgreen:

I carefully put the Conn Chu neck on my Martin - wasnt able to fully insert it - and played: and I got a lot of the Conn feeling on my horn.

So I'm wondering: did any of you guys experience with other vintage horn/after market necks on a The Martin tenor?

Best
Hannes
Look, there seems to be something you want out of your saxophone that your Martin does not give you. This is at least the second thread you've posted about ways to change it into what it's not.

Why don't you just accept that, at least this point in your life, the Martin does not serve your needs, and go find a horn that does? All this other stuff is likely to turn out just a big waste of time. The time you spend trying to figure out the magic mouthpiece, reed, or aftermarket neck that will change your Martin into a Yanagisawa (for example) would be better spent practicing on a Yanagisawa (great horns by all accounts).
 

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or is trying to scratch, at random, the inside of a neck after getting inspired by a supreme intervention (as a well known brand of saxophones does).

One may wait a long time.

Supreme being measure time in eons.
 

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Hi
Love Martin tenors and prior to getting a Blaziers custom neck for my 173,xxx I discovered that Con 16 m necks play very well with horn and tenon fits like glove. They play in tune with very nice tone quality. Curious if any one else has tried this as it worked great for me
DB
 

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Hi
Love Martin tenors and prior to getting a Blaziers custom neck for my 173,xxx I discovered that Con 16 m necks play very well with horn and tenon fits like glove. They play in tune with very nice tone quality. Curious if any one else has tried this as it worked great for me
DB
And you didn’t have to do any modifications? How do you
Tighten the neck to the body without the thumb screw?

I have an old 16m, I’m going to try the neck on my C3, 210,xxx
 

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very likely he doesn’t have a martin with a front tightening screw ( Thumb screw?) like an Handcraft for example

 

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very likely he doesn’t have a martin with a front tightening screw ( Thumb screw?) like an Handcraft for example
I think serial 173,XXX puts it within a III serial sequence:

Hi
Love Martin tenors and prior to getting a Blaziers custom neck for my 173,xxx I discovered that Con 16 m necks play very well ....
Which again begs the question:

How do you
Tighten the neck to the body without the thumb screw?
Because, as mentioned previously in this thread a few times - a III doesn't have the neck tightening thumbscrew on the neck receiver. Therefore a 16M neck (unmodified) would not be 'tightenable' if inserted into a III neck receiver.
 

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I think serial 173,XXX puts it within a III serial sequence:

Because, as mentioned previously in this thread a few times - a III doesn't have the neck tightening thumbscrew on the neck receiver. Therefore a 16M neck (unmodified) would not be 'tightenable' if inserted into a III neck receiver.


I guess I meant how to does he make sure the neck doesn’t move?
 
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