Non sax players - please bear with me
(Mental Health Warning: Kids, das klang ist nicht in diesen objekten. Nobody is remotely instrested in the brushes that Miro used.. but here we go anyway)
Geek's Corner
current set up
| Horn | mouthpiece & lig & reeds | when |
|---|---|---|
alto: King Zephyr Special (s/n: 209k) SML Gold Medal II (s/n: 25k) Leblanc System Model 100 (s/n:6**)
|
Vandoren V16 AM7 ebonite Selmer standard/Vandoren flexible/BG standard/Vandoren Optimum & Henri Louis Hemke 3.0 |
since 2017
|
| soprano: Yanagisawa S991 | Selmer S80 F ; ebonite Link 6 Vandoren flexible (old style) Rico Hemke 3.0 & 3.5 |
since circa 2004 |
| B-flat clarinet: Backun Alpha synthetic | Vandoren M30 BG Revelation / Selmer standard / B & H standard / Vandoren Optimum (taken from sax) Vandoren V12 3.5 |
since circa 2024 |
This list is bound to deplete as the cash vs life balance shifts
Historical sax trail
alto:
King Zephyr III (2014)
Yanagisawa A990 (2013/2014)
Yanagisawa A901 (2013)
Silver plated Selmer Balanced Action s/n 31k (2009 - 2014)
Selmer Balanced Action s/n: 27k (with Gloger solid silver custom crook since Dec 2009) (circa 2001 - 2013)
Selmer Mark VI (2007-2008)
Selmer Series III (~2000-001)
Yamaha 82Z Custom (~2006-2007)
Yanagisawa A992 (~2002-2003)
Yamaha YAS62 (~1990-2000) [Lawton 7 / 8 B BB* mouthpiece] - covers the Tshisa & Tokolosho recordings
Conn 6M Ladyface (~1988-1990)
Conn Pan American (~1986-1988)
I started out on the best horn I could afford at the time (the Pan Am) and gravitated to the Meyer mouthpieces. This was followed by a period where, greatly influenced by the recordings & live performances of Dudu Pukwna, I moved to a Yamaha YAS62 / Lawton mouthiece setup, often selecting high baffles and platic cover reeds.
There is an ongoing internal debate with regard to vintage verses modern saxophones, and this may never be resolved. As the list above demonstrates, I've been back and forth a few times, in probably the same way that Emily Bronte's Catherine went between her darkly brooding, volatile and destructive adoptive sibling, and her well mannered but boring neighbour, ending up choosing the latter on practical and aspirational grounds. As things stand I have bought a King Zephyr Special which is fantastic. Ergonomics and tuning are very manageable and it really sings and has punch. But I do hope to pick up a Selmer BA alto when the situation allows. The Leblanc Model 100 is out of this world but I treat it with respect as repairs will be expensive, assuming one finds a repairer familar with the horn. The SML Gold Medal is a very refined instrument, also tuning & ergonomics are much easier than the Zephyr Special.. but refined as it is (and it has some punch), it definitely lacks the King sizzle. All this nonsense with the alto, yet the soprano set up is very stable. I'm always looking at altos on the Internet, but never sopranos.
Sax repairs carried out by: Previously the legendary Charles Ndlovu of Musicraft in Cape Town (I'm very sad to say that Charles passed away in 2009 - but the workshop is still active, see link below).