Sax on the Web Forum banner

1 - 11 of 11 Posts

·
Distinguished SOTW Member
Joined
·
2,998 Posts
Discussion Starter #1
I was wondering how these horns compared. I've heard that the Comm II has a smaller sound but haven't heard anyone thing about intonation, action and other areas of comparision.
Any thoughts are greatly appreciated..........Bootman- you seem to be the unofficial Martin guru............

Thanks heaps
 

·
Registered
Joined
·
1,025 Posts
I have a Comm II tenor, and it seems to be able to do just about anything, from a whisper to a roar. I bought it from Sarge at worldwidesax. He actually recommended it to me as being perhaps a bit more versatile than the later model Martins -- i.e., something that could blend with a section just as well as cut loose and wail. It certainly can do both of those things. I haven't played a later model tenor, but I do have a later model Martin Alto, and I prefer the ergonomics (mainly the left pinky cluster and the octave key) of the Comm II.
 

·
Banned
Joined
·
2,206 Posts
You might want to check out this thread from a couple summers ago (though it went on for months afterward), in which this topic was vigorously debated. As one of the posters in it stated, it's definitely one for the archives! I guess hanging out on this board for years can actually prove helpful at some point. Have fun!

http://forum.saxontheweb.net/showthread.php?t=25959&highlight=martin+committee+intonation

BTW I heard later on that as a result of this thread (and probably his own gut feeling), the creator of this thread (Pigpen) ended up not going with a Martin at all--he bought a WWII-era silver 10M!--and ended up loving it! It would be interesting to hear if he stuck with it, or switched to something else.
 

·
Distinguished SOTW Member and Great Bloke.
Joined
·
2,968 Posts
I have never noticed any volume difference between a Comm II and the Martin when using them in gigging situations. The Comm I has a smaller sound, that is a less spread and more focused sound. Intonation is slightly easier to control on the Martin. Split tones are easier to produce on a the Martin model than on the Comm II, the Magna's do this even better.

The biggest difference is in the richness of tone in a jazz setting, the Comm II has this big rich lushness when played at medium low volumes for Jazz work and ballads. It will still scream like a Banshee when pushed into an RnB setting. The Comm II is more like the Pre WWII 10M and a great choice for RnB or Swing playing. The Martin models work well here too but when used in a more modern context they come into their own.

Both of these Martins will play better altissimo than the Conns or Selmers or Yamahas, the split tones are much easier to produce on a Martin as are Multiphonics. The most important thing with a Martin sax of any variety is to make certain that you use thin pads and that all your tone holes have been tested for air leaks at the solder point where they are attached to the body. If you do this, swedge the keywork and have it looked after properly then you will have one of the most realiable, slickest fingering saxes on the market.

I hope this helps. The other dark horse Martins to look for is the Troubador, Imperials and Dick Stabile models. Don't forget the Magna and Musicman models which I have found to be my favourites. These are ideal for contemporary fusion, Rock and RnB playing.
 

·
Administrator
Joined
·
13,985 Posts
Swingtone said:
Ah I remember that thread, and the wonderful Ms. Beckman's attempt to side skirt the topic with a dog and pony show. This was before my days as a staff member mind you. I have to be a bit less opinionated in my postings now.

If you sift through the little tiff in that thread, there is some good info from all to be had. I have changed my opinion on the resonators however, opting presently for the plastic dome resonators on nearly all of my Martins (save the original The Martin Baritone sited in my posts.).
 

·
Banned
Joined
·
2,206 Posts
Yeah, now you're making the big bucks! :D

I guess some of us haven't changed our opinion on these terrible, lousy horns, which their owners should immediately sell to me at distress sale prices (tongue firmly planted in cheek) :D

BTW I was sorry to hear about your recent diagnosis--though I hear it is largely reversible through diet and exercise. I was thinking lately that if Gary recently got similar news maybe he's decided to spend less time at the keyboard and more out exercising.
 

·
Administrator
Joined
·
13,985 Posts
Swingtone said:
BTW I was sorry to hear about your recent diagnosis--though I hear it is largely reversible through diet and exercise. I was thinking lately that if Gary recently got similar news maybe he's decided to spend less time at the keyboard and more out exercising.
Thanks for the kind words. I have actually had this for a few years now, and would DEFINITELY benefit from a workout regimen, something I am not presently adhering to as I should (to say the least).:cry:
 
Joined
·
63 Posts
It seems to me that the Comm. II has a smaller bore than the "the martin" series (I discovered this when the neck cap for a later "the martin" alto didn't fit on my Comm. II alto). My Comm. II alto has a much more compact sound than my Magna Tenor, which tends to have a more spread out fat tone. I'm not sure if anyone has mentioned or noticed this, but the Comm II seemed to have better intonation and tonal stability than my Magna. I'm not sure if this is because of the smaller bore or not.
 

·
Distinguished SOTW Member
Joined
·
6,862 Posts
Saxpics calls the Dick Stabile the "most sought after" of the vintage Martins. I'd like to believe this is true :D , but I'm not sure.

I guess it's technically a mixture of the Standard and the Committee I, but it does have very good intonation. I've only had mine for a few weeks and I've already tamed it pretty well (I think). The only dodgy notes are a sharp C3 and C#3, which come down pretty nicely if you add a low F or E. The only other curious thing is that Eflat3 plays sharp if you use both palm keys (ie D and Eflat)?

I'm not really competent to say whether the sound is focused or spread, but it does seem to respond quite differently to different mouthpieces.

No luck yet with altissimo--that's me:cry: --but the overtones are coming out very nicely.

Is the left pinky cluster a lot different on the Committee and "The Martin" horns? This one's okay, but I was hoping it would be more of an improvement over my King (which is murder in Bflat minor!).

R.
 

·
Distinguished SOTW Member and Great Bloke.
Joined
·
2,968 Posts
The older Martin Handcrafts and King saxes have a horrendous low C# system. The excessively heavy low C# is improved noticeably if you disable the articulated G# mechanism.

I have found my Magna tenor to have better intonation than the Comm II's I have owned. All Martins are very mpc friendly.
 

·
Distinguished SOTW Member
Joined
·
2,998 Posts
Discussion Starter #11
Thanks for the great replies folks, they are very much appreciated. I've learnt hepas from this.
Keep'em coming if you've got more tho!
 
1 - 11 of 11 Posts
Top