Our next new product.......

This is a DRAFT of the ad we'll be using for our next new line of products: key clamps. I've used them for years, and you should, too! We've also got a new line of neckstraps (the shipment arrived today, I'll get them up on the site this weekend), some new ligatures, and a couple of new mouthpiece models. We're developing some new solid silver necks, bari sax neck enhancers, a new SUPER PREMIUM bari, and a couple of other projects I'm not ready to tell you about.

This is a quick and dirty version of the key clamps ad, by no means the final version!

A Statement of Mission

I've recently gotten a few inquiries into why we don't maintain a dealer network, and why we are not trying vigorously trying to expand. That's not what we are about, and I want to clarify the vision that Sharon and I share for our company.

We don't have any desire to be all things to all people. Our products are unique, and constantly evolving. We are not mass marketers, and don't intend to ever manufacture products designed to please the lowest common denominator.

The market is unquestionably headed in the direction of online sales at the expense of brick and mortar retailers. We've been involved in online sales since 1996, and know this is where our future lies. We maintained a "traditional" music store in the early 1990's, and although it was a very profitable enterprise for us, it limited us in many ways, and did not allow the flexibility we desired.

The local music store is a dinosaur, with many inherent problems. We don't want those problems to become our problems. When we did maintain a dealer network, we found that the dealer's goals were not always our goals, and that the dealer's problems, particularly the financial ones, often became our problems.

We will continue to produce our instruments and accessories in limited quantity, using a lot of hand work and only the very best materials. We will continue to maintain a small inventory, and do most of our instrument sales on an advance order basis. This business model is working very well for us, and although I am aware that it does not please everybody, we are unlikely to change it.

It is a source of great amusement to us that suggestions are made that we should increase production and compete with "the big four" of the saxophone world. We have no intention of doing so, nor do we have any desire to do so. We could not do what we do best, which is develop state of the art innovative products of extremely high quality, if we had to attend to the demands of greater production.

Our business will not be allowed to grow much larger, by our choice. We do not wish to add additional staff, and since we operate our little enterprise on a strictly cash basis, we do not wish to go with our hat in our hand to the bankers.

We know that if we sell our products to 1% (or less) of the world's saxophonists we will make a very handsome living, and are quite content to do so.

With best wishes for the holidays.............

Super 400 Edition 2.0

I got a big shipment of Super 400 alto and tenor yesterday, along with a load of our new Saxgourmet curved soprano. I'm still sore from unloading the truck!

The new version of the Super 400 differs from the previous model in that it has a new mechanism to prevent the dreaded sticking of the G# key. This is the same mechanism that is used on the Keilwerth SX-90 and some of the B&S horns. We obtained permission from the patent holder to use this system. The new version also has an improved F# helper mechanism and MUCH more engraving. I actually found a few blank spots! All of the other features found on the previous model are still there: two different necks, an upper stack speaker key, keywork to high G, Saxgourmet kangaroo leather pads with solid copper Maestro resonators, deep water abalone pearl key touches, and much more. We've also changed the material we used for the key silencers and upgraded the blued steel springs. The picture illustrates the new G# and F# mechanisms and some (but FAR from all) of the new engraving. We've got some inventory of alto and tenor (most of this shipment was pre-sold) and you can order from www.nationofmusic.com . Please note that we do NOT accept PayPal for instrument sales.

Getting Ready for the NAMM Show!

We will be exhibiting our full line of products at the NAMM show. We are very honored to be sharing booth space with our exclusive Asian distributor, BeijingMusco. We will be at booth 3015 in Hall D for the entire show. Sharon and I will be assisted by our good friend and Endorsing Artist, Aviva Maloney, as well as Rheuben Allen, Rick Izumi, And the BeijingMusco staff. We will have a number of celebrities appearing at the booth during the show. We’ll have saxophone Mardi Gras beads (ladies, you know the drill….), Saxgourmet temporary tattoos, and Saxgourmet T shirts, and lots of other fun stuff. No, I don’t have passes available (you should join NAMM!)……..

The following Saxgourmet products will be on display and available for your inspection:
SAXOPHONES
Voodoo Rex Alto
Super 400 alto
Super 400 tenor
Category Five tenor
Saxgourmet Saxello
Saxgourmet Marcel classical alto
Saxgourmet curved soprano
Saxgourmet Baritone

MOUTHPIECES
Saxgourmet sopranino
Saxgourmet soprano
Saxgourmet Hard Rubber alto
Voodoo Child alto
Fat Boy alto
Marcel classical alto
Blues Blaster tenor
Fat Boy tenor
Florida tenor
Yellow Moon tenor
Black Mambo tenor
Saxgourmet Handmade tenor
Super Duck tenor
Low Rider baritone

NECKS
Saxgourmet neck for Selmer
Saxgourmet neck for Yamaha
Saxgourmet Neck for Conn
Saxgourmet solid copper tenor neck
Saxgourmet solid copper alto neck
Saxgourmet solid copper alto neck with nodal weights
Saxgourmet silver plated alto neck with nodal weights
Saxgourmet brass alto neck with nodal weights

ACCESSORIES
Saxgourmet tenor neck enhancer
Saxgourmet alto neck enhancer
Saxgourmet thumb rest
Saxgourmet 3 ring strap hook
Saxgourmet neckstrap
Saxgourmet saxophone mutes for alto, tenor, and soprano
Bourbon Street Key Oil
Voodoo Pad Juice
Mojo’s Never Stick Pad Powder
Saxophone Repair with Steve Goodson DVD
Alternative Saxophone Repair DVD
Mouthpiece Refacing DVD

Preparing a horn for eBay Sale

Much to the dismay of vintage and used saxophone dealers, eBay has become the dominant market for buying and selling used saxophones. Like it or not, this is the way it is, and if you are thinking about placing some of your excess horns up for auction, here are a few tips and pointers.

(1) RESEARCH THE MARKET CAREFULLY There have been some huge changes lately in the prices vintage horns actually bring. Remember that asking prices mean absolutely nothing. Selling prices are the ONLY thing that matters. Prices have significantly fallen, get over it! Keep in mind that the prices asked by established dealers are often HIGHLY negoitiable, and are generally around 25% higher than what the same horn would bring on eBay. People pay a premium for the security of doing business with an established dealer.

(2) BE REALISTIC ABOUT YOUR HORNS CONDITION This is where many eBay sellers fall down. A relacqauered horn with old pads and a case in poor condition is not going to bring the same money as a pristine original example. Buyers have historically paid a hefty premium for original condition, and remember that they are only original once and once only.

(3) DO THE NEEDED REPAIRS CORRECTLY It's hard to sell a horn that "needs a little work". Get it fixed, and get it fixed correctly. Be sure the correct thickness pads are installed with the proper type resonator. Get the dents out and clean it up. If you have had the horn overhauled, unless it has been done by a WELL KNOWN technician (somebody with a national or international following) don't say that it was worked on by Joe's Instrument Repair in Anytown, USA. Joes website probably has pictures of a bunch of Bundys on his bench, and nobody outside of your hometown ever heard of Joe anyway, and they are likely to be highly suspicious of the quality of Joes work.

(4) UPGRADE THE HORN If you look at successful auctions, you'll very often find that the horns that sell for top money often have things that are "above and beyond" on them. A good example of something I see pretty often on eBay is the use of super premium pads. There is a very definate trend toward citing that the horn has Saxgourmet or Roo pads installed. This seems to bring out the buyers. I think an upgraded case is often a plus as well as including key clamps.

(5) A PICTURE IS WORTH A THOUSAND WORDS You can't have too many pictures or too extensive a description. The pictures should be very clear, and very detailed. Adding more pictures to your auction is quite inexpensive. Make sure that your description anticipates every possible question.

Ebay can be a real snake pit, and I hope that these tips help you hold a successful auction. Let me know your questions!

We're Expanding Our Warehouse

Sharon and I decided to "bite the bullet" and expand our warehouse significantly. Fortunately, we owned property which was available, and a crew is currently working on saxophone specific racks and enhanced security. As our business has grown, we have found the need to maintain a larger inventory, so some of the shortages we have experienced in the past should be remedied. We currently offer three different saxophone lines (Saxgourmet, Voodoo Rex, and Super 400); 14 different mouthpiece models (all in multiple facings); 8 different necks, and a wide assortment of other accessories and products for saxophonists. We will have some new product introductions in the near future.

Saxophone Smackdown Seminar Poster

click on the poster to enlarge

Saxophone Mutes are now in stock!

For soprano, alto, and tenor........

A nice post about our products, on SOTW, no less!

They hate and abuse me on SOTW. Here's a post from a customer, which I have cut and pasted in it's entirety, since they always take down anything favorable said about me. The link to the original post is:
http://forum.saxontheweb.net/showthread.php?p=1288940#post1288940

He who shall not be named

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I know I'm not going to make any friends with this post but here I go. I have read all the stuff written about "he who shall not be named" in various posts and to be honest until yesterday I bought into all of what some people were saying.

Many of you know that I had issues with Emilio Lyon's recent "overhaul" of my Mark VI tenor. Last week I reached the end of my rope and decided that I would go against the advice that had been given to me and shoot old Voldemort a question. He immediately called me back and spent almost 45 minutes on the phone with me diagnosing my problem and giving advice. I then made an appointment with him.

Yesterday I went over to his uptown home in the Garden District of New Orleans and brought along my Mark VI Tenor and SBA alto (which I am very proud of). I rang the bell and what answered the door was not the monster some portray him to be. He didn't hiss, bite or have horns. He was every bit the constant professional. He invited me right in and made me feel right at home.

As I walked down the hall from the entrance into his studio I couldn't help but notice all of the autographed pictures from various artists thanking him for the wonderful service through the years. Artist's like Michael Brecker and the world renowned classical saxophonist Dr. Lawrence Gwadz (who was one of my teachers by the way). These are the best of the best and they trusted him so what was up with what everyone was saying about him.

ln his studio I met the real Steve Goodson. Yes, that's right I said it. Steve Goodson! He was easily approachable, pleasant and the constant professional. He first spent about 30 minutes examining my Mark VI tenor then another hour explaining what was and wasn't done with respect to my recent overhaul along with all my options if I wanted the horn overhauled by his studio. I will also note that he never once said a bad word about Emilio Lyon's. No matter what I said he would just speak highly of him as he did everyone I mentioned during my visit. This impressed me so much. I know some repair guys that just knock on others (You do too) but not Steve. As I said he was the constant proffesional.

Steve thoroughly explained all my options and in the end I decided to wait until March to have the overhaul done so I could get through my Holiday gigs and he through trade shows.

Before I left I tried out a few of his mouthpieces, necks and horns.

Before I begin to tell you about the products I tested let me tell you that I am no weak player by far and I know my horns. I play professionally in the New Orleans/Baton Rouge/Deep South area playing with local and national touring groups. I majored in saxophone performance studying with Alan Keating, Lawrence Gwadz, Jazz with Willis Delony, Eddie Campbell and a few more. I gig constantly and have a bit of a Brecker meets King Curtis kind of sound on tenor and a Cannonball meets Woods sound on alto if that tells you anything. I am equally sound in jazz and classical saxophone performance. I have owned 2 Mark VI altos and 1 SBA alto. I have owned several Mark VI tenors and everything else under the sun from a 10M to a Martin. I teach saxophone privately and like many of you buy, sell and repair saxes and woodwinds. I am truly a Sax Junkee.

I first tried one of Steve's silver plated necks on my Tenor. The neck wasn't even fitted properly. It was just flopping around and the sound was like WOW. Big, fat, and responsive. This neck masked and simply overcame the problems the horn was having. I am heading back Saturday to pick one up along with something else.

I then tried a few of his mouthpieces. The were all beautifully hand finished, responsive and free blowing. If I were in the market for a mouthpiece I would be spending more time in this part of his studio.

Needing a Bari sax since the sale of my Mark VI I asked to play the Bari Sax. Let me tell you that I was skeptical picking it up but I quickly noticed that whoever is making his horns wherever they are being made is a true craftsmen. They are very nicely made. And when I played the horn all I could say was OMG! Steve laughed and nodded with approval as if to say "That's right." This Bari had more tone, more power and more of just everything that any other Bari I have played. The keys were even set up like a Tenor. It is a freaking ergonomic masterpiece! I don't need to give you the long list of VIs, Yanis, Yamaha's and other Baris that I have been fortunate enough to own and play. I'll just tell you that the Sax Gourmet Bari simply buried them all! Don't say "you just haven't played on any good ones yet" because I have. I've played on the best of everything, I know my Baris and this one smokes the competition. Whatever metal his malefactor is using just makes that thing growl. The tone speaks Mark VI all the way. The metal mimics that vintage Selmer sound but the horn is just way better than any VI I have played. Woops, did I say that.

Then I asked to play the soprano. I presently own a Yamaha Custom and just wanted to compare. The Sax Gourmet Soprano's bell is curved with a silver bell and neck. The body is copper plate. What a pretty sound. The tone was like a cross between a Mark VI and a old silver curved Buscher. Just an insanely free blowing soprano that I will be upgrading too as soon as I can.

The Voodoo Rex Alto was very good as well. A really solid pro-level sax. I really didn't spend a lot of time with this horn because I am so use to my SBA alto and I didn't want to get ruined.

I then picked up what I consider to now be my personal "Holy Grail." A tenor sax that Steve called the Sax Gourmet Super 400. I played the horn for a brief second and turned to Steve and said "This is the best Mark VI I have ever played on." He just laughed and nodded like he did before.

Let me say that this horn played circles around every Mark VI that I have ever owned or played on. In fact for you Yamaha lovers that claim that they are the new thing. I just sent a YTS82ZS and YTS82ZUL back to WWBW last week and have maybe played 15 Z Tenors and it beats the pants off all of them too!

Steve went to the case and came back with another neck and said "try this one, it comes with two necks." I put the 2nd neck on this masterpiece and now just when I thought it couldn't get better it did. The sound darkened a little and it just said "I am a 5 digit Mark VI or SBA'. I litterly stood there floored staring at the horn. Surely it was a wolf in sheeps clothing. Surely Steve had replated an old SBA and stuck his logo on it. Not at all. Steve designed this masterpiece. I truly stood in awe. I played it for what must have been another solid hour while he went on with his business. I kept playing my VI and then the Super 400, back and forth I went checking my licks and responsiveness. There was nothing that the six could do that the 400 couldn't but there was plenty that the 400 could do that the six couldn't. I came to the conclusion that I must have this horn. He took a deposit on it and I am going to pick it up on Saturday. My search is over...

You know how well the Yamaha's play but they still have that tingy Yamaha sound. Not this. This has a Selmer sound all the way. Resonance all the way. The body is copper plated and it is just a pretty horn. Man does it play it's a## off. I have no idea how he did it but he did.

I hope that many of you will look past all the hype around Steve (AKA: He who shall not be named). He's really a nice guy and he doesn't bite at all. He makes one hell of a sax that deserves it's place along side the great ones.

Thanks for reading my little blurb.
__________________
SOP:Yamaha Custom, Vandoren V16
ALTO 1: SBA 36K, Morgan Excalibur
ALTO 1: Mark VI 126K, Morgan Excalibur
TENOR 1: Saxgourmet Super 400, Ponzol M2S
TENOR 2: Mark VI 160K, Ponzol M2S
BARI: Sold
CLNT: Buffet R-13

The Black Mambo hard rubber tenor mouthpiece

The more I play it, the more I like it.............

Bari's R Us! The NEW Saxgourmet baritone is now in stock!

We got a HUGE load of horns this morning, including the Voodoo Rex altos (which had been sold out, thank you very much!), the Saxgourmet Saxello (also a sellout), and the NEW Saxgourmet bari. Since the bari is an all new model, here are some of the details and a few quick and dirty pictures.

This model is an evolution of the famous Steve Goodson Model baritone, and is much improved over that great horn. It has features never found before on a baritone, because as you faithful readers know, I'm a baritone player by profession. Here are some of the key points:

(1) The unique Low A mechanism which is operated by the left hand pinky. Of course, the traditional left thumb fingering is also available.

(2) A greatly improved left hand pinky table. It's smaller for quicker action. It's actually the same key touches we use on the Voodoo Rex alto.

(3) Redesigned palm keys. They're smaller and closer together, and much lighter in touch requirement.

(4) Ergonomic key touches for the chromatic F# and high F# keys. You have to try these to appreciate the huge difference.

(5) A revised front F key touch, that is easy on the fingers and really quick.

(6) A much improved screw adjustable F# helper for the lower stack

(7) Totally revised key touch placement for the main stack keys. These are even closer together than the placement we used on the Steve Goodson Model bari.

(8) A revised and much stronger bracing system for the left hand pinky table.

(9) A new pigtail design that greatly facilitates the altissimo and tames the intonation problems of the upper register.

(10) An entirely new bell taper which brings the low B, Bb, and A into perfect tune.

(11) Even more hand cut engraving on the bell, bow, body tube, and now the key cups.

(12) An improved strap hook with better spacing for bari players. 3 rings, of course!

(13) An enlarged Saxgourmet thumbrest specific to this model

(14) Solid copper Maestro resonators from MusicMedic

(15) A new bore taper and resultant tone hole placement for better response. It's a bit bigger bore than the Steve Goodson Model.

(16) A new countour case with wheels

There's much more, of course...but this will give you some idea what this new model is all about. I've got to tell you that I'm the proudest new poppa in Orleans Parish!

Most of this shipment is already sold. I've got seven available out of the fifteen we got today. First come, first served. The price is $4200 firm.

BTW, I read today a post by Morry Payne stating that the Orpheo bari was the same horn as the Steve Goodson Model, only with different pads. This is absolutely 100% incorrect. It proves once again why they call SOTW "The Saxophone Mis-information Site"! The Orpheo is made is a different factory and has nothing in common with the Steve Goodson Model (now discontinued in favor of the new Saxgourmet bari) other than they are both baritone saxophones.

When better saxophones are needed, we will design and manufacture them!

The Decline and Fall of the American Saxophone Industry

I spent some time this weekend with some guys who have all played saxophone for a living full time for over thirty years each. We had a lot of fun playing through some of my old (and new) horns and mouthpieces, and talking about the eternal truths of "which horn is best and why".

These guys, whose living depends on the performance of their instrument, don't play American horns. Of course, it's worth pointing out that there are NO full saxophone factories in the United States, and have not been for years.

At one time, American horns were considered at least on a par with the offereings of other nations. Somewhere along the line, we dropped the ball.

I recall when I got my first really good horn in 1964. I tried pretty much everything that was available at the time (Kings, Martins, Conns, Bueschers, and Selmers) and there was really no comparison between the American horns and the Selmer. It felt right and sounded right. The American horns were very clumsy feeling, although the Martin had a nice sound as I recall.

Later in my career, I flirted with a Super 20 Silversonic, assorted Yamahas, more Selmers, a Buffet S-1 (great horn!), and various "vintage horns" including a Buescher 400, a Conn 30M, and assorted Martins, including a low Bb "The Martin" bari which was my main axe for many years. But I always went back to Selmers, until I figured I could do better and started designing and building my own horns.

What was wrong with the American horns? Plenty! The manufacturers were not paying attention to what a working musician really needed. They carried over designs from the 1930's well into the early 1970's and expected us to buy them. When innovations in design came along, they ignored them. In fairness, the build quality was generally pretty good, but the ergonomics were terrible and the intonation was quite often questionable. They stood by and ignored our needs.

If you think about it, there were really NO innovations by American manufacturer's after the 1940's. The Conn 28M was great, but poorly marketed, and aside from that, innovations were few and far between. Was there any excuse for this? Sure there was: they were selling the old designs in sufficient quantity, and saw no reason to "improve the breed". Ultimately, the failure to keep up with the times caught up with them.

I keep hearing about the "great horns from Elkhart" and the "great craftsmen of Elkhart". Well, in the 1930's that may have been true. After that, it just wasn't so.

Getting Ready for the Saxophone Smackdown!

Mark your calendar! Steve Goodson vs. Curt Altarac in a fight to the finish, no holds barred!

There will be an open to the public (advanced registration required) Saxophone Clinic held on Saturday, February 6 at the NEW MusicMedic.com facility in Wilmington, NC. The fee for the clinic is $80. The clinics and clinicians are as follows:

SAXOPHONE NECKS AND INTONATION: Curt Altarac
HIGH PERFORMANCE SAXOPHONES: Jeff Peterson
A TALE OF TWO FACTORIES: Matt Stohrer
IT ALL STARTS WITH THE MOUTHPIECE: Steve Goodson

In addition to the clinics, there will be a mini-trade show and product demonstrations!

Here's the lineup and particulars:

Sat Feb 6, 2010 8:00 AM

Host: Curt Altarac Curt@MusicMedic.com

Location: MusicMedic.com's New Facility 910.667.0270
901 Martin Street
Wilmington, NC 28401

Clinic Fee: $80.00




CLINICS & CLINICIANS



Curt Altarac received his Masters degree in saxophone performance at the University of Southern Mississippi and has studied saxophone with Harwood Strobeck, Dr. David Abrams, Dr. Laurence Wyman, Dr. Lawrence Gwozdz and Larry Panella. As a teacher and musician Curt is very active with both classical and jazz saxophone, focusing on the Baritone and Bass saxophones. Curt's most recent accomplishment involves the engineering of as well as general contracting for his new business location which is under construction.

Saxophones Necks & Intonation: Through careful research and observance, Curt has discovered many ways of altering the bore and neck of saxophones to achieve specific and predictable results for professional players around the world. In this clinic Curt will explain when why and how he solves problems with an instrument by altering a saxophone neck taper and/or the octave vent.



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Jeff Peterson began disassembling his toys at age 4, took up saxophone studies in the 6th grade, and somehow these experiences and others led him into the field of band instrument repair. In addition to gleaning a wealth of information from his many friends at NAPBIRT, he has studied flute repair with David Straubinger, instrument engraving with Jason DuMars, and saxophone performance with Leo Potts. Jeff is the founder of Horn Improvement, specializing in professional sax, clarinet, and flute repair. In 2007, Jeff began working at Yamaha as manager of the Yamaha Los Angeles Atelier and Woodwind Artist Development. In this role, Jeff works with a worldwide team to develop cutting-edge instruments to satisfy the most discriminating artists. He is currently serving as NAPBIRT Director for Region 7.

High Performance Saxophones: What can be done to bring out the best in a saxophone? Many aspects of saxophone repair are either overlooked or misunderstood. In this session, we will focus on some subtle but critical areas of the saxophone that deserve closer attention. Topics will include: precision neck fitting, set-up essentials, regulation concepts, custom modifications, and more.



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Matt Stohrer was captivated by the saxophone at an early age through his father's record collection. When his parents asked him why he chose to take up the saxophone, his answer was 'Mom, I just love the sound.' He kept playing saxophone through high school and college. By his early 20s he was learning how to repair and as head woodwind tech at Sam Ash, Manhattan, he steadily amassed a distinguished clientele from all over the world through word of mouth. In July of 2009 Matt left Sam Ash to open his own business in Brooklyn to work exclusively on saxophones. Go to www.stohrerwoodwinds.com

A Tale of Two Factories: A virtual tour of the Tenon Industrial Saxophone Factory near Saigon, Vietnam and the Yanagisawa Saxophone Factory in Tokyo, Japan through a tech's eyes, with a focus on how knowing how a horn was made can inform your repair decisions.



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Steve Goodson has been repairing saxophones since 1964, and opened his first repair shop in 1972 and has been based in New Orleans since 1992. Widely regarded as an innovator and an "out of the box" thinker, Steve specializes in custom keywork and significant modifications. In addition to a thriving repair business, Steve Goodson Woodwinds, LLC also manufactures high end hand made saxophones, necks, mouthpieces, and other saxophone accessories for the professional market. Steve has also worked as a design consultant for numerous tool and repair supply makers serving the repair industry, including Ferree's Tool, Ed Myers, and MusicMedic, as well as doing saxophone design and consulting for several major manufacturers in the USA and Asia.


It All Starts With the Mouthpiece: Steve introduces the most overlooked part of any saxophone repair job: the mouthpiece! You'll learn the fundamentals of mouthpiece design, how to match the mouthpiece to the individual horn, how to deal with mouthpiece related tuning and response problems and the basics of mouthpiece repair and refacing. Steve will provide mouthpiece blanks for the participants to make it a real hands-on experience!



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CLINIC SCHEDULE


8:00 - Strong coffee and confections
8:30 - Clinic 1 - Saxophone Necks & Intonation - Curt Altarac
10:00 - More Coffee
10:30 - Clinic 2 - High Performance Saxophones - Jeff Peterson
12:00 - Live Jazz lunch with product demonstrations
2:00 - Clinic 3 - A Tale of Two Factories - Matt Stohrer
3:30 - Cheese and wine
3:45 - Clinic 4 - It All Starts With the Mouthpiece - Steve Goodson
5:00 - More wine
5:15 - Open question and answer session with all clinicians
6:00 - Adjourn


After 6:00: All clinicians will be enjoying dinner, merriment and repair discussions in beautiful downtown Wilmington. Although this is not part of the sponsored NAPBIRT event, please join us!

A Few Things I Believe About Saxophone Design

I had the opportunity to play a number of new, current production saxophones from some of the "big name" companies (Selmer, Yamaha, Yanigasawa, Keilwerth, and Cannoball) this past week and compare them. Frankly, I was dissapointed. What are these guys thinking? I didn't find much difference in the Selmer, Yamaha, and Yanigasawa (I thought the Yanigasawa the best of the lot), the Keilwerth felt heavy and sluggish to me, and the Cannonball was simply not in the league with the rest of them. For the sort of money these makers are asking for their products, they could all do a lot better. Here's a few thoughts about design that I try to abide by:

IT SHOULD NOT HURT TO PLAY YOUR SAXOPHONE
The keywork should fall naturally under your hands. You should never have to chase a key with your fingers. The comfort and ease of execution by the player outweighs any other consideration. The thumbrests should be comfortable. The strap hook should allow for the differences in human physique. The "alternate" keys (front F, chromatic F# etc.) should be easy to use.

THE MECHANISM SHOULD ACCOMODATE THE WAY A SAXOPHONE WORKS
There's no excuse for the different fingerings for C to have a different voice, and there should not be a big change in the tone when you press the octave key. The G# key should not stick, and the other pads should be quiet and firm. The lower stack F# pad always needs some help to prevent leaks, and this should always be addressed. It's a given that the notes above C#3 are going to be a little high in pitch, so you ought to do something about this on the design end. The large key cups tend to flex in a horizontal plane, so they need to be attached to the rods at multiple points.

ALL THE KEYS SHOULD FEEL THE SAME
I go ballistic over this. There's no reason for the keys not to have a uniform amount of resistance. None. It's all about where you place the springs and using the correct diameter and length. I wrote an article on this topic ("The Rites of Springs") which will appear in the next issue of The Saxophone Journal. It's just not that hard to figure out, folks, and based on the horns I have recently examined, nobody is thinking about this. Shame on them.

SAXOPHONES SHOULD MEET MODERN PLAYING REQUIREMENTS
Today, all saxophones have a high F# key, and all the baritones go down to low A. However, modern literature often extends above high F#. I don't see a lot of acknowlegment of this fact by most makers.

WHY SHOULD THE HORN ALWAYS SOUND THE SAME?
We all have a box full of different mouthpieces. Why not necks? The neck is where the sound is shaped, and every horn should have multiple neck options designed for that specific horn.

THE METAL MAKES THE DIFFERENCE
I am really dissapointed that other manufacturers don't generally offer their saxophones in anything other than standard high zinc content brass. Yanigasawa is a noteable exception, of course. Different materials can yeild significantly different sound results.

I'll step off the soapbox now. Thanks for listening........

"Yellow Jacket" limited production tenor mouthpiece

I made up a special mouthpiece for a special customer last week, and liked the design so much I made up one for myself. A couple of guys played it and loved it, so I made up a few more. This design is VERY labor intensive, so I probably won’t add it as a regular part of the line. However, I’ve made six, and have three still available.

This is the same blank I use for my “Handmade” series, but with a different curve, baffle, and a bit larger tip opening. It’s in bare brass with black highlights, and comes with a Saxgourmet single screw ligature and a Saxgourmet metal cap. It has a huge amount of power, a very complex tone, flawless intonation, and no blowing resistance.

If you want to hear it, go here:

http://www.youtube.com/user/saxgourmetproducts#p/a/u/1/wl3kmKtShH0

This is a very HEAVY mouthpiece (more mass=greater resonance) with a very pronounced “duckbill” beak, a high baffle leading into a large bullet chamber.

$450 FOB New Orleans…..here’s a picture:

Breeze Cayolle demonstrates some of the new products

My long time co-conspiritor and runnin' pardner Breeze Cayolle visited this week and put some of our new products through their paces! The proof is in the listening!

Falling Prices for Vintage Horns

First, I ask that you accept a couple of things as truth:

(1) you can count the number of bona fide collectors of vintage horns worldwide on your fingers and toes

(2) price is a function of demand

(3) old does not necessarily mean good nor valuable

I think the buying public has finally wised up. This includes me, of course, as I was an enthusiastic player of vintage horns (Conns, Bueschers, Martins) for many years. The simple fact of the matter is that vintage horns just do not perform as well as modern instruments. The ergonomics are bad, the intonation often questionable. Why would you want to try to make a living with an instrument that is hard to play?

EBay is at best an unreliable indicator, but it is one that is readily accessible. The old horns are simply not bringing the prices they have in the past. Vintage horn dealers inventories are bloated with unsold saxophones. Of course, there will always be some players who loudly insist that the old horns sound better. They will keep fooling themselves forever, because their minds are closed.

It is true that certain older horns have their charms, but if you play for a living and want the best possible results from your effort, you need to employ state of the art technology. The guy who is competing with you for your gig probably does.

Getting ready for a photo shoot

We're doing a photo shoot tomorrow so we can have good images of all our accessories and products. As I was getting things together, I was struck with how many new products we have introduced over the last year. Here's a PARTIAL "family portrait" of some of our offerings. These products are all unique to our company and available nowhere else.

I'm very happy with the new copper necks......

and so are the buyers. These are NEW designs, with different tapers. The new tenor model is particularly sweet, I spent a long time playing it this morning on various horns. In addition to the new taper, there's a lot more engraving (hand cut!) and an entirely new mechanism.

This neck is dark and full sounding with excellent intonation and really quick response. If you think your tenor is a bit thin sounding, this may be the neck for you.

New Saxophone Import Numbers: Not Pretty!

There are no saxophones manufactured in the USA. They all come from other countries, and the import figures are public record and give us a good idea of the health of the industry and the direction it is taking. Here's what happened in the second quarter of this year:

China was the top exporter of saxophones to the USA, with 10,529 units, compared to 10,517 units in the second quarter of 2008.

Taiwan sent us 6,191 horns, compared to 10,971 in the second quarter of 2008, a decrease of 44%.

Japan brought over only 724 saxes, compared to 1,258 in the second quarter of 2008, a decrease of 42%.

France, Germany, Italy, and other nations were not even a blip on the radar.

The new UK website is up!

Here’s the new website from our UK distributor…….there’s lots of video and information about our Saxgourmet products

http://www.musicfactoryukltd.com

Nice review of our solid silver neck.....

Before SOTW takes it down (they always remove posts that are favorable about my products.......)


bfoster64
Distinguished SOTW Member




Join Date: Feb 2006
Location: Portland, Oregon
Posts: 1,165 Goodson Saxgourmet Neck Rocks!! ??

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Well, I bought a Saxgourmet solid silver alto neck off Ebay for $250 and, I must declare, it is the best neck I have tried so far on my Yamaha 82Z alto.

It is hands down better than the G1 neck that came with the horn, the Series III neck and Ref 54 necks I have tried, and what is reportedly a copy of a Barone neck, which I have been using for a while.

Until now I was using the Barone copy because it had the best intonation and response, but I missed the extra focus of the G1 neck--the "Barone" neck is very spread.

Bear in mind, I haven't tried a real Barone neck on this horn--this was one of the ~$100 necks that the Ebay seller reported as having been made on the same tooling as the Barones. Based on my prior experiences with Barone necks for alto and tenor, that seems plausible, but I can't be sure. At any rate, it was always my favorite neck for the Z until now.

The Saxgourmet neck really dials everything in--great intonation, super fast response, even tone, and focus from top to bottom.

I have always been skeptical of Goodson's products and marketing style (what's with that Buck Rodgers ray-gun looking tenor neck with the metal blobs on it?) but I took a chance on this neck because I like the way it looked (I dig that underslung octave key and the silver matches my 82ZSM pretty well). I couldn't be happier that I did!
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Alto: Selmer SBA 53xxx; Otto Link Pompano TE 6*; Hemke 3. Tenor: Selmer Mark VII M284xxx; BD Dukoff Hollywood #4; Vandoren V16 #4.
Effects: TC Nova System. http://www.myspace.com/subatomicpdx http://www.myspace.com/saxndrums

New Necks Are In! More to come next week!

Today, we received a BIG load of necks, including our NEW Saxgourmet alto necks in solid copper (different from our previous solid copper neck, which we will continue to sell) and gold brass, and the re-designed Conn tenor neck.

The Saxgourmet alto necks are based on the neck design we used on the Voodoo Rex alto, with the addition of our exclusive Nodal Weights. They’re hand hammered and hand burnished, and have MORE engraving than any neck we have offered in the past. This is an extremely free blowing neck, with a complex sound rich in overtones and lightning fast response. The tenon size is the same as is used on most alto saxophones (24.5mm) and is extra thick for easy adjustment to fit your individual instrument. I’ll get these necks up on the www.nationofmusic.com website tomorrow, they’re on eBay right now. We've got more new neck models coming next week. Here’s some pictures:

Category Five Revisions

My designs always evolve. If we can think a way to make it better, we do so on the next production run. This is the case with the latest run of Category Five tenors. We’ve done a few things to an already fantastic horn. Among the changes are:

A speaker key on the upper stack
Significant revisions to the neck design, with addition of nodal weights
Solid silver neck is now standard
Larger feet for the upper stack keys
Low C# key guard
More hand cut engraving….I found some blank spots!

All the other innovations such as the four vent octave system and the altissimo key remain. The retail price has increased to $13,000. This shipment should clear customs in the next day or so, and is COMPLETELY sold out! We are taking orders for the next load, which should be available in early 2010.

New Saxgourmet Case

First, let me apologize for the pictures. We're FINALLY re-doing the last of the floors damaged during the flood following Hurricane Katrina!

This is the new Saxgourmet case, which will be available in alto, tenor, and baritone versions. It's a hard shell case with very high quality padding and an extra plush lining. I wanted a case with plenty of room INSIDE for accessories, and we also built in a "stash box" underneath the horn that gives plenty of room for reeds and the other essential stuff. This is a very sturdy case, and comes with a shoulder strap. They should be here in a couple of weeks (we're waiting on the factory to emblazen them with the world famous Saxgourmet logo) and we'll have them on the Nation of Music site and on our eBay store as soon as they arrive.

Saxgourmet T shirts now at Nation of Music!

The ultimate fashion accessory is now available for sale at www.nationofmusic.com
Now, you too can make an important fashion statement! Our shirts are 100% cotton and pre-shrunk, and are of the very highest quality. They're available in large and extra large (for those of you with a more muscular build) only in the color illustrated. Be sure to specify your size when ordering!

ATTENTION LADIES! Saxgourmet T shirts are covered by Title IV, Sec. 6, article (b) of the Rock and Roll Textile Protection Act of 1972 (as amended) which clearly prohibits the wearing of any type of brassiere or halter in combination with these shirts! Stay legal!

Hurri-Cane Reeds now on Nation of Music and eBay

HURRI-CANE REEDS

We worked on this product for FOUR YEARS before we were ready to bring it to market. At last, a synthetic reed which responds better than the very finest aged cane, is fully adjustable, and lasts virtually forever!
Each and every Saxgourmet Hurri-Cane reed is individually hand adjusted and finished by Steve Goodson. Available strengths are Soft, Medium, and Hard. Unlike any other synthetic reed on the market, the Saxgourmet Hurri-Cane reeds can be adjusted to suit your personal preferences. No special tools are needed, just use the same techniques and equipment you use to adjust ordinary cane reeds.
The secret to the outstanding response and longevity is our unique material, available nowhere else. It is resistant to damage, will not split, and does not go dead with time. It is easily washable and is color fast so it will not stain your mouthpiece. The non-porous material will not accumulate germs and does not break down over time.
Saxgourmet Hurri-Cane reeds use our unique New Orleans cut, which gives even response and flawless intonation in every register. They are available for soprano, alto, tenor, and baritone saxophones. Please specify your choice of instrument and strength when ordering. They are available at http://www.nationofmusic.com and on our eBay store

Derek Nash demonstrates the Voodoo Rex (Charlie Watts on drums)

Voodoo Rex UK Debut!

Our spokesman and Endorsing Artist in the UK, my buddy Derek Nash, gave the new Voodoo Rex alto it’s UK debut Friday night. You might just recognize the drummer on the gig, none other than Charlie Watts of the Rolling Stones! Also pictured is our European distributor (and fine saxophone player himself) Rob Birchall. We’ll have video up in a couple of days so you can hear the Voodoo Rex in a gig setting. Derek will be making the official debut of the Saxgourmet Derek Nash Model at the world Famous Ronnie Scott’s Jazz Club in London next month.

New Prototype Shop Almost Complete!

As many of you know, the 1800 sq. ft. building we use for our warehouse and shop was devastated during Hurricane Katrina. It floated completely off its foundation, and all the contents were lost. At long last, after a considerable cash infusion, we’re almost done.

This building is where we will develop and build our new saxophones, mouthpieces, necks, and other products.

We had to rebuild in the original dimensions to comply with zoning regulations (we were “grandfathered in”), and we have completely rebuilt, re-plumbed, re-wired etc. etc. etc. Of course, while we were at it, we added an all new chemical room, greatly increased security, and since we were having to put a new front on the building, put in some stained glass windows and many other decorative touches. We've got a bit more fru fru to add, and hope to have this finished next week.

Permanent work benches have been installed, new shelving, and much improved lighting. You’ll notice from the picture that more of the sun decorations have been installed in keeping with our overall “maison du soleil montant” format for the rest of the property.

You’ll see in one of the pictures our contractor, Victor Gonzales, installing Tibetan prayer flags to guarantee good fortune for this venture. You'll also note that an alto, tenor, soprano, and baritone sax are used to add a decorative touch to the main building.

Saxgourmet T Shirts

These will be available in a couple of weeks at www.nationofmusic.com