Saxophone Improvements Needed!

For the last fifteen years or so, I've made a living designing saxophones for various companies. I'm working on a new model right now, and here are some of my thoughts on needed improvements. These won't all find their way onto the current project, but maybe we'll see some of them in the future.

GET RID OF THE DEAD SPOTS
Beginning with the C# tone hole, the tone holes of the saxophone are all open EXCEPT for G#, D#, and low C#. These closed pads devour the sound and cause problems for the adjacent notes. Different systems have been tried over the years to resolve this issue, with none really being totally satisfactory. I'm thinking that the solution to the G# is to use a double G key (sorta like the old Kings) with a seperate G# tone hole somewhere else on the tube. This, I think, might be fairly easy to pull off. It might make a practical G# trill key possible at the same time. The D# solution has been tried with mixed results using two different systems: one involving a seperate small tone hole on the side of the tube (old Conns and Bueschers), and another involving another tone hole below the low D hole. I favor the latter, but freely acknowlege that this may involve a hole in the upper part of the bow, which would be problematic from a construction point of view. Either one of these systems would allow us to bring back the "forked" Eb, which is a good idea, IMHO. The low C# is another matter: it's inconvenienly located, and we've run out of fingers by the time we get there. A couple of systems have been used in the past: the marvelously complex Leblanc Rationale (too complicated for mere mortals to own and maintain) and the strange feeling extra vent used on Holtons and Beurgniers. I like the latter system for its mechanical simplisity, but the linkage between the low C and the extra vent has to be improved.

TRILL KEYS
There are a couple of moves that are damn impossible, and the solutions are pretty easy. I don't for the life of me understand why they fell from favor. High C to High D: Holtons, Hohners, and a few other horns have a dedicated key for this and we ought to bring it back. The key touch was located adjacent to the chromatic C and Bb keys, and operated an independent key between the upper stack C# and palm F. A good idea. G# Trill:My little finger doesn't work that well, and most likely neither does yours. I've built a couple different systems over the years, and none of them worked very well. Hopefully, while I'm refining this double G key system, I can find a way to add a triller. D# to Low C: the old forked Eb fingering was the perfect solution. Problem was that the mechanical sytem used most of the time was prone to leak. I know how to fix this, and will on some future model.

TO BE CONTINUED IN THE NEXT INSTALLMENT

Who's going to sell the horns?

In the last couple of years, we've seen the demise of some of the heavy weights of the instrument retailing business: Woodwind/Brasswind and Brook Mays both went Chapter 7. Holze Music was shut down by the taxman. Music and Arts has been for sale for a long time with no takers. I think this begs the question: what will happen to the market as the number of potential outlets for manufactuer's shrinks?

I don't see a lot of the major companies going directly into the retail business. They don't generally have the expertise, and have spend years developing a base of retail dealers. However, several of the big companies have recently announced changes in the way they do business with this retail base, and I'm not sure it bodes well for the industry.

Dealer lines of credit from the factories have recently been significantly reduced in order that the factories can decrease their exposure to bankruptcy risk. For an industry that survives on trade credit, this is a problem. The small retailers can't afford the new terms, so they will buy less. This means fewer horns at the local level. Not good if you want to shop around locally.