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Discussion Starter #1
i have a new Toneking. i sold my Cannonball Vintage that i played with a wonderful sterling Fatneck that i bought in addition to the original neck. Is there a neck worth trying for the Keilwerth beyond the stock neck? Maybe a neck offering more resistance, since the jk horns seem to play kind of open to begin with? or is there a better way to think about this? anyone with experience and ideas. thanks, richard
 

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When I attended an Ernie Watts workshop recently, he was playing a Tino Schudt neck on his SX90 and of course, he sounded great. Not too sure how it plays though, but Watts strongly recommended it.
 

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Discussion Starter #3
any idea which direction that neck takes a sx90? ernie will of course always sound fabulous. thanks for the tip--i will look it up.
 

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I used a Barone solid copper neck that worked very well on my sx90.
 

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When I attended an Ernie Watts workshop recently, he was playing a Tino Schudt neck on his SX90 and of course, he sounded great. Not too sure how it plays though, but Watts strongly recommended it.
Is Ernie still playing a Link .160" (Barone reface)? I cannot imagine too many other people using Ernie's setup as effectively as he does.
 

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Yes, Ernie was using his Link 0.160 mouthpiece, a 13* I think, which was the biggest tenor mouthpiece I had ever heard of!

Unfortunately, I have no idea what the Schudt neck does to the Keilwerth, in terms of resistance and other playing metrics. Should be good, but this neck is costly.
 

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I've tried a copper JK neck before. Made it sound perhaps a tad warmer, but not enough noticeable diff to justify spending the money......they usually are not exactly cheap.
 

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I always dug my Oleg neck on my Couf S1. Somehow, it made the sound even bigger, but also more focused.
 

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i have a new Toneking. i sold my Cannonball Vintage that i played with a wonderful sterling Fatneck that i bought in addition to the original neck. Is there a neck worth trying for the Keilwerth beyond the stock neck?
Unless you have some specific needs that are obvious to you, it is usually best to spend some time with a new horn to discover its strengths and weaknesses before you start modifying it.

Mouthpieces will usually have a more profound impact on the response of a horn - assuming it is in top working condition (properly mated tenon, no leaks, etc.).

Have you already found a mouthpiece to complement the horn? That's just another reason that I stopped buying new horns - I seldom found that the last favorite mouthpiece was the fav' on the new horn.

Enjoy the quest.
 

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i have a new Toneking. i sold my Cannonball Vintage that i played with a wonderful sterling Fatneck that i bought in addition to the original neck.... is there a better way to think about this?
The additional neck was still not enough for you to keep your Cannonball around. So if you're not totally pleased with your new Toneking, and/or can't match it with a suitable mouthpiece, I'd simply look for a different horn rather than a different neck.
 

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It likely just needs a $1400 mouthpiece. :twisted:
 

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I think Keilwerth has done more R&D with necks than most of us can do. The neck is probably fine. As suggested, try out the different mouthpieces you have lying around and see if you learn something from your experiments.
 

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Really! Why buy a new sax only to want a new neck? GAS? Money to burn? Wish I had that problem:bluewink:! Just maybe focus on getting to be a better player?
 

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Discussion Starter #14
wow, thanks for all the thoughtful replies! i take to heart the notion of being well happy enough with the gear, and concentrating on my playing. the question actually came up in the context of a conversation i was having with Randy Jones. he pointed out that a second gold plated neck available for a Tenor Madness horn has the "opposite" function that the Fatneck performs for the Cannonball. The Fatneck seems to open up the Vintage model, but the TM extra neck is intended to give that horn more resistance, so to speak. more in the direction of a mark vi. since the Toneking doesn't feel resistant at all to me, i began to wonder about neck possibilities. i am using an RPC 120B, which is also very free-blowing, legere 2's, rico js 2s and 2m, and legere Signature 2.
 

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Nice gear, meseology. Just try different things with your embouchure and airstream. You'd be surprised the variety you can manufacture.
 

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Discussion Starter #16
thanks Haywood for the solid advice. that's what i will do. richard
 

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HI, I'm using an Oleg neck with custom braces on the side that my tech here in Puerto Rico made for me, he also removed the little brace on the bottom then I had it plated and the neck plays great very even throughout the entire horn and plays very easily. Let me know what you think. I've posted some pics of the neck on my keilwerth tenor SX90R . Good luck.


View attachment 29335 View attachment 29334 View attachment 29336


youtube.com/mikeysaxcat
 

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HI, I'm using an Oleg neck with custom braces on the side that my tech here in Puerto Rico made for me, he also removed the little brace on the bottom...
Why? What did this do for the neck?
 

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It really opens up the sound on the horn. The neck played much better without that little brace on the bottom but without some sort of brace it will not hold up to the weight and downward pressure when I played it. So my tech put the braces on the side. Some necks just play better on some horns than on others. But the olegs are very good, I just wanted a little more in my sound and the horn is even more easy blowing.

sent from Mikey's Super Inspire 4G
 

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Thanks.
 
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