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Discussion Starter #1
Bear in mind I've been married to Selmer since 1959, but after reading all this stuff on the Bueschers (I already knew they were nice horns) I just decided I had to have one......Aristocrat alto, model 140....342XXX, very original and very well kept.

ya'll are a bad influence when it comes to promoting Bueschers & GAS.......especially Grumps, lol.
 

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Discussion Starter #3
sell the Selmer?

Dave dix said:
You will make a nice profit selling that selmer once the buescher bug has bitten
Dave
aauurgh!

lol, actually though, I am experiencing some rather antsy anticipation awaiting the Aristocrat's arrival.....
 

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Please be sure to post your impressions. I love these horns.
 

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I bought one True Tone, then a New Aristocrat, sold a Selmer Serie III, then got a Top Hat and Cane. It all started with just one.....you can buy a stable for the cost of a new or really old Selmer....
 

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Bueschers are great horns, right up there with JKs and Buffets. If I ever find a cherry original Big B tenor, I might be persuaded to sell my SX90R.
 

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Look prior too the Big B and you will get an SBA type of difference in sound to a mk vi. Once you get one Buescher, you will notice how much better made they are than other comparable model saxes. The biggest difference is how they were made, it shows in all areas of the sax.

Welcome to Buescherites.
 

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I must agree with you Bootman, as I recently bought an ebay True-Tone (which I've sent off for a repad- what ebay horn doesn't need one?) but I was truly impressed with the build quality. For an eighty year old saxophone (mine is a 1928) everything felt very substantial, solid and fluid under the fingers. Even without the repad and regulation or lubrication, everything was just SOLID under the fingers. I am literally counting the days until it comes back and I can finally hear how it sounds.....

Even the 1918 True-Tone tenor "project" horn, with the creased neck, loose key guards, dents, in the ratty dissolving lacquer finish and half the springs missing feels like a SOLID, SOLID horn.

For such old instruments, one obviously played and played, and the one admittedly abused, they feel equal to the top line professional horns available today. I can't comment on the sound yet, but the feel is there....
 

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I first discovered these old Bueschers many years ago and was a lone voice on the forum as to the virtues of these saxes. I am glad to see others have discovered what I had known about these horns and are now not afraid to say so publicly without being flamed by the Selmerites.
 

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Yea, verily did the Bootman lead us out of the Selmerite wilderness to the land of Buescher, full of sweetness and light.
 

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Discussion Starter #13
my 140 Aristocrat alto arrives this Friday per the UPS tracking number.....I'm not divorcing my Selmer yet, but I guess I better learn to play "Your Cheating Heart" .
 

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Bootman said:
I first discovered these old Bueschers many years ago and was a lone voice on the forum as to the virtues of these saxes.
When I first showed up years ago, I had two sopranos (and still do); a curved Buescher TT and a Mark VI. I'd had both for over twenty years (almost thirty now), but had always considered the older, limited range, curved Buescher as more of a gag horn; pulling it out for laughs on a dixieland gig or playing it on the rooftop of a van in a parade. The Selmer of course, was the preferred horn for show (or pretending it's a clarinet for dixieland, as it's black lacquered). Coming here, I caught the mouthpiece bug and was soon experimenting with more open pieces. Once I put that first Super Session on the TT, man, I had to rethink my priorities. This was no junk or gag horn. This was a saxophone, and so much richer in sound than my VI (which is no slouch either, by the way). A couple years later I ended up with a TT alto. Another reed player I gig with has one, and he just got this very unique, old time ring to his sound. When I saw a nice fixer upper on Ebay for $250, I figured why not experiment. I had never imagined that I'd be selling my SBA within the next few months. Sure I can get that old time flavor, but there's also a sweetness to it that just rings true. In fact, I'd never really caught on to that Desmond kind of thing until the SBA went out the door in favor of the TT. Now it's rather fun to channel from time to time... and not on an SBA. Ironic.
 

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Discussion Starter #15
my 140 Aristocrat alto is here finally.....all original... white Buescher mouthpiece & neck strap, lyre, registration card, care booklet, snap in pads & gold Norton springs......orig case & key, exactly as described with dark gold lacquer at 90%. (big grin)

trying out mouthpieces on it now after taking it to the tech who only had to make a couple of minor adjustments then commented "somebody took really good care of this horn"

plays quite well & so far sounds best to me with an early HR Tone-edge 6 Theo tweaked sometime ago. orig white piece aint too bad either. I'll post further on the tone/sound when I've played it more.
 

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That white Buescher piece can be quite good if you give it a reface. The piece is a very close copy of the vintage Brilhart Tonalin, only with a longer window. It was made by Runyon (who also produced Brilharts for some time) for Buescher and it is a good match for the Aristocrat. I got one refaced to a Morgan 7 facing by Erik Greiffenhagen, and it is now my son's main piece for small group jazz on an Aristocrat 271k.
 

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... and sounds very good, too!
 

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Discussion Starter #18 (Edited)
yes, the horn does indeed sound very good, better all the time the more I play it.

sorry, you probably meant the white mouthpiece; in my enthusiasm with the Buescher I overlooked the reference, my bad; however, the white piece that came with my horn sounds quite good too, I may have it refaced.
 
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