THE SAXGOURMET DAILY PICAYUNE-INTELLEGENCIER AND JOURNAL EXPRESS

Halloween.....gotta love it

2011-10-29T11:15:00.001-06:00

Here's a collection of Halloween posters.....enjoy!

A Field Spotter's Guide to Saxgourmet Mouthpieces

2011-10-15T09:45:00.003-06:00

In the years our company has been in the mouthpiece making business, I have often struggled to convey to our customers the differences in our various models and offerings, and the REASONS for those differences. We manufacture quite a few different models, and I can understand how there might be some confusion and misunderstanding.

Here's a couple of things that ALL our mouthpieces have in common: They are all our unique designs and available nowhere else, each and every mouthpiece that goes out our door is individually hand faced and play tested by me, our metal mouthpieces are all unplated so that the facing is not altered during the buffing process, the brass we use in our metal mouthpieces is all "bell quality" and contains no toxic components, our facing curves are all cut with a seven point system instead of the usual five and are all pure radial curves with none of this parabolic or elliptical nonsense, we use a variety of ligature styles to optimize the performance of each mouthpiece, and our wooden mouthpieces are treated to reduce expansion warpage. Let's take a look at the individual mouthpiece models and explore the features and differences.....

SOPRANINO
We make a solid brass sopranino mouthpiece with a medium low baffle, a single screw ligature, and a large chamber with no blocking plate. This design eliminates much of the annoying shrillness found with other sopranino mouthpieces. Available in two tip openings, .045 and .055.

SOPRANO
The solid brass soprano has a nice balance of a somewhat high baffle combined with a large chamber, a duckbill beak, and a longer than usual facing curve. This is an extremely free blowing mouthpiece with an even scale, available in .060, .065, and .075 tip openings.

ALTO
BON FILS
This mouthpiece is specifically designed for beginning players. It has a low baffle and a straight wall large chamber, as well as relatively wider tip and side rails for easy control. It comes in one moderate tip opening and is extremely easy to play. It is made from polycarbonate, and has a special two screw ligature with contoured reed plate. The Bon Fils mouthpiece also has a brass ring on the shank to prevent splitting.

HARD RUBBER
The Saxgourmet Hard Rubber mouthpiece has been our best seller for many years. It has a long facing curve, a somewhat low baffle, and a very large chamber. It is extremely free blowing and has a very even scale and excellent intonation. It has extra mass added to the shank end to increase projection, and comes with a heavily engraved very unique two screw ligature. Three tip openings: .070, .080. and .090

VOODOO CHILD
The Voodoo Child is a very radical design, featuring an elongated window, a high straight baffle, and an extra long curve. It has a very pronounced duckbill beak and a medium sized chamber with straight walls. This is a bright sounding, very aggressive mouthpiece, not at all shrill or thin sounding. It comes with a two screw four band heavily engraved ligature. One tip opening only.

FAT BOY
This is a high cliff baffled solid brass mouthpiece, with a large chamber and a very pronounced duckbill beak. It has a great deal of cut and projection. The rails are fairly narrow, the window is large, and there is a significant rollover with a large lake in the baffle. The facing curve is quite long. Two screw metal ligature and three tip openings: .070, .080. and .090.

TENOR
SG
SG has a low baffle and a straight wall large chamber, as well as relatively wider tip and side rails for easy control. It comes in one moderate tip opening and is extremely easy to play. It is made from polycarbonate, and has a special two screw ligature with contoured reed plate. The SG mouthpiece also has a brass ring on the shank to prevent splitting. This is the same mouthpiece as our Bon Fils alto, but in a tenor version.

FLORIDA
This is a serious mouthpiece! The Florida has a compound, high baffle with a slight rollover leading into a medium sized chamber with straight walls. It has a large window and a pretty significant "lake" behind the tip rail. The radial facing curve is 48 on a standard mouthpiece gauge. The Florida is machined from a solid billet of bell quality brass, and has a duckbill style beak and comes with a three band single screw ligature. The available tip openings are .090, .105, and .120. This is a mouthpiece for the player who wants a bright but not thin sound with lots of cut and projection. The timid need not apply!

FAT BOY
The Fat Boy tenor has a long straight baffle with a significant rollover and "lake" behind the tip rail. Like all our metal mouthpieces, it is machined from a solid billet of bell quality brass. The chamber is a little larger than the one used on the Florida, and also has straight side walls. The body is high mass, with a medium sized window and a radial curve that measures 49 on a standard mouthpiece gauge. The beak has a pronounced duckbill shape for increased projection. The rails are thin and the sound is bright but full. A two screw ligature is included and available tip openings are .090, .105, and .120.

SUPER DUCK
The Super Duck has a high, straight baffle ending in a cliff and leading into a somewhat large chamber with straight walls. There is a rollover in the baffle and a medium sized "lake" behind the tip rail. All of the rails are quite thin, and the window is medium large in size. The facing curve measures 50 on a standard mouthpiece gauge. The beak is an extreme duckbill, and the available tip openings are .090, .105, and .120. Am two screw ligature is included. This is a very bright and loud mouthpiece.

YELLOW MOON
The Yellow Moon is our only stainless steel mouthpiece, and the design takes full advantage of the unique resonance characteristics of that material. The Yellow Moon has a high straight baffle blended into a large chamber. There is a significant "lake" behind the tip rail, and the side rails are quite thin. The window is medium sized and the chamber walls are straight. The facing length is 48,m and available tip openings are .090, .105, and .120. A single screw/dual band ligature is included. Very bright, very loud.

BLUES BLASTER
For the player who wants the classic, full tenor sound, this may be the mouthpiece for you. It has a low baffle with a significant rollover leading into a large chamber with straight walls. The window and "lake" are both large, and the rails are somewhat narrow. The radial facing measures 48. The beak has a bit of a duckbill, and the body has a lot of mass. The ligature is a single screw type with three bands and and a reed plate. This is our best selling tenor mouthpiece, and is available in three tip openings: .090, .105, .120.

SAXGOURMET HAND MADE
OK, you want radical, we've got radical. There's nothing else quite like this one. It's the longest and heaviest tenor mouthpiece on the market (designed to be played very far up on the cork) and has an extremely high baffle leading into an extra large round bullet chamber. The facing curve is very long and the window is enormous. The rails are as thin as we can make them. The duckbill beak is as thin and radical as they come, and the sides of the body are deeply fluted. This mouthpiece has an enormous dynamic range, and nothing on the market is louder. The tone is very complex, covering quite a broad spectrum. The ligature is a two banded, very flexible single screw model. One tip opening (.103) only. This mouthpiece has virtually no blowing resistance whatsoever.

BLACK MAMBO
The Black Mambo is machined from a hard rubber blank, and has a high, straight cliff baffle, a medium window, and a large chamber. The rails are thin and the "lake" is large. The radial facing curve measures 49, and the walls of the chamber are straight. This mouthpiece produces a very classic, rich jazz sound with lots of cut and projection. It is very easy blowing, with an even scale. A two screw ligature is included, with available tips of .090, .105, and .120.

JACK OF SPADES
The Jack of Spades is our newest design, and is very unique in several ways: First, it's made from carefully seasoned Grenadilla wood for a very rich and complex tone available from no other material. The ligature, also machined from seasoned Grenadilla, is a friction fit ring which allows the reed to vibrate unusually freely. The baffle is high, straight and ends in a bullet leading into a large chamber. The radial facing measures 48 on a standard mouthpiece gauge. This mouthpiece has a very distinctive, "woody" complex tone. It is extremely free blowing, with almost no blowing resistance. .105 tip opening only.

BARITONE
LOW RIDER
Your baritone should play the low notes with authority and the high notes without thinness. That's what the Low Rider is all about. The body is machined from a solid billet of bell quality brass, and has a duckbill beak. The baffle is straight and high, and ends in a cliff leading to a large chamber with straight walls. The rails are quite thin, the "lake" is large, as is the window. The radial facing has a length of 52, and the ligature is a two band, flexible, single screw design. Available in two tip openings: .105 and .120

BIG BULLY
The Big Bully has a higher initial baffle than the Low Rider, but the overall baffle is lower and the chamber is a little bigger. The lake is larger, and the window is just a bit smaller. It gives a deeper sound, but has excellent response and intonation. The ligature is a built on "Lawton" type. One tip opening, .120. This is a very popular model among bari players.

2011-10-05T11:07:00.000-06:00

Our Annual Mardi Gras Sale!

2011-02-25T19:42:00.003-06:00

Our NEW Voodoo Rex tenor neck!

2010-12-24T12:25:00.002-06:00

This is our newest tenor neck model. We developed it specifically for our Voodoo Rex tenor as an option for players who wanted a brighter, more cutting, sound. It's manufactured from a very special brass alloy, hand hammered and burnished, and then silver plated and heavily hand engraved. The design features a built in Saxgourmet neck enhancer and an underslung octave key mechanism. It works very well indeed on Selmer, Yamaha, and Yanigasawa tenors, as well as most Asian manufactured tenors with a 27.5mm tenon. $300 including a Saxgourmet hard shell neck case.

A very SPECIAL Saxrax!

2010-12-23T18:13:00.002-06:00

Just for me! My good friends at Saxrax made a special stand for me, extra tall, so I don't have to reach far to grab my horn. This stand is about 40% taller than a standard Saxrax. Many, many thanks to Saxrax USA distributor Paul Coats for this great stand. The picture was taken in my teaching studio and shows my new Saxrax holding my personal Voodoo Rex tenor.

About comments and questions....

2010-12-22T17:28:00.002-06:00

I'm glad to answer questions, but you need to send them to me at saxgourmet@cox.net.......same for comments on the posts on this blog.....this is my blog, not your forum, so I don't publish any comments from outside here.....that's what the forum at http://www.nationofmusic.com is for......you're invited to share your thoughts and ask questions of me there.....if you are not a member of the forum, just register. Remember, you must use your real first and last name as your user name and have a verifiable email address to register.

If you're a troll or just want to bait me, don't waste your time and mine.

Production Version of the Bon Fils!

2010-12-19T12:38:00.004-06:00

I had the factory air freight over a Bon Fils (don't ask what that costs!) while we wait for the rest to arrive by sea in a couple of weeks.
This horn retails to the end user for $750......it is designed for student use, and designed to project in outdoor situations such as marching band
.....here are some pictures so you can see some of the unique features to this horn:

(1) Two different necks for two different sounds: a bright, silver plated neck with built in neck enhancer for marching band use, and a "sweet" sounding neck for
concert band

(2) double arms on the low C and B for stability

(3) easy to reach chromatic and high F# keys

(4) teardrop shaped front F

(5) Fully waterproof pads for outdoor use

(6) Stainless steel springs that don't rust

(7) Extra large ribs, rods, and pivot screws to durability

(8) Extra large bell to body brace for stability

(9) Fully hand engraved on the bell, bow, body tube, both necks, and all key cups

(10) Three ring strap hook accommodates players of all physical sizes

(11) Extra large right hand thumbrest supports the entire thumb, great for small hands

(12) Big guard on the bottom of the bow to prevent dents

(13) Oversized metal resonators for great projection

(14) extra strong key cradles to prevent damage

(15) Keyguard for Low C# key to prevent damage

(16) High quality SG mouthpiece with metal band on shank to prevent cracking

(17) Deluxe, hard shell case with back pack rings

Voodoo Rex Tenors now in stock!

2010-12-14T15:07:00.007-06:00

I just got through unloading a bunch of Voodoo Rex tenors: solid copper body, bell, bow, and neck; rolled tone holes, kangaroo leather pads with gold plated
Maestro resonators; abalone pearls; built in neck enhancer and nodal weights; double arms on bell keys; screw adjustable chromatic C and Bb; fully engraved
bell, bell flare, bow, body tube, neck, and all keywork; ergonomic F# keys; 3 ring strap hook; Saxgourmet thumbrest; optional additional neck; Saxgourmet contour
case; big bore, huge full sound. The solid copper body, bell, bow, and neck give this horn a very fat sound which is incredibly rich. These are quick and dirty pictures.
We'll have better ones on the site www.nationofmusic.com soon. The horns are for sale on the site now. I'm getting the ones pre-ordered set up now, and will
ship them by the end of this week.

Joyeaux Noel, Cher!

2010-11-16T15:49:00.001-06:00

Here's our holiday sale.....through December 20

Saxgourmet Endorsing Artist Tom Scott

2010-11-04T13:24:00.001-06:00

Saxgourmet Endorsing Artist Tom Scott is pictured above with his new Saxgourmet Saxello soprano with sterling silver bell and necks. Tom is the MOST recorded saxophone player of all time, and a multiple Grammy award winner. Tom is also my hero, and has been since my high school days. He's a great guy, and Sharon and I are very proud that he chooses to play Saxgourmet alto, tenor, and soprano saxophones EXCLUSIVELY. Tom has represented our Saxgourmet brand for six years now, and has won many friends for us. Remember, Tom could choose any horn in the world. Any company would do anything to have his endorsement and blessing. Tom Scott chooses to play Saxgourmet.

Saxgourmet Endorsing Artist Aviva Malone

2010-10-28T08:38:00.001-06:00

2010-10-24T11:59:00.002-06:00

Here's a few items we're offering with special pricing up through November 15.....pictures below

SAXGOURMET SOLID COPPER ALTO NECK WITH NODAL WEIGHTS: our finest alto neck, solid copper tube, hand hammered and hand burnished, heavily engraved, underslung octave mechanism, 24.5mm tenon, with hardshell neck case. Specify horn make and model. Was $350, now $300

MISTRESS SHARON'S COMPLETE DOMINATION ALTO SAX KEY CLAMPS: keep your horn in perfect adjustment and protect it while traveling. For all alto saxes with low B and Bb on the same side of the bell, either right or left Were $50, now $40

YELLOW MOON TENOR MOUTHPIECE: machined from one bar of stainless steel, high baffle, big blended chamber, undercut window, hand faced, single screw ligature and engraved metal cap. Bright sounding and free blowing. Was $160, now $125

BLACK MAMBO TENOR MOUTHPIECE: Rubber composite resin, high baffle, very large chamber, great projection and big dynamic range, hand faced, two screw ligature and cap, very classic sound. Was $160, now $130

FAT BOY METAL ALTO MOUTHPIECE: Solid bell quality brass, high baffle, medium chamber, long facing, single screw ligature and metal cap, hand faced, loud and cutting, our best selling alto mouthpiece. Was $130, now $100 this is a "special purchase" price, our lowest ever!

SAXGOURMET ALTO NECK ENHANCER: our best selling accessory item. Was $50, now $40

SAXGOURMET 3 RING STRAP HOOK: Our latest design, with larger rings, spaced further apart, easy solder on installation Was $25, now $20

SAXGOURMET ERGONOMIC THUMB REST: for all saxophones with a screw on thumb rest. 5 minute do it yourself installation. Was $25, now $18

Bon Fils Sound Samples!

2010-10-20T18:58:00.001-06:00

With Saxgourmet Endorsing Artist Breeze Cayolle

Our new student mouthpiece

2010-10-11T09:48:00.001-06:00

I've been rather unhappy with the mouthpieces available for students, and knew we could do better! We believe that the mouthpiece used by most beginning students is too resistant and reed fussy. Our design is extremely easy blowing, has unusually good low note response, and is quite durable. The baffle is concave, not flat, and has a very slight rollover for projection. The window is undercut with a nice, sharp ramp to decrease resistance. The chamber is horseshoe shaped with a round top and square walls to facilitate projection and high note response. You'll notice we put a a somewhat gentle slope on the beak, which significantly improves player comfort and helps beginners form a good embouchure. Of course, there is a metal band on the shank to prevent splitting. The ligature has extra large screws and a compound reed plate. Tip opening is .070, with a radial curve. Other makers could have put all of these much needed features in a student mouthpiece, but they didn't. We did. Here's the fruits of our labor, which we will have available in about 60 days at a retail price of around $50

Bon Fils update

2010-10-09T07:49:00.003-06:00

Production is now well underway! Here are a couple of news items worthy of your attention:

(1) the Bon Fils will com with TWO necks: one with a built in neck enhancer for marching band, and a different darker sounding neck for the concert band season.

(2) here's a picture of the low C# key guard. I'll admit the horns aren't very pretty at this stage of manufacture, but you can see what we are up to.

The Bon Fils Alto by Saxgourmet

2010-09-29T13:31:00.008-06:00

These are the first pictures of our new Bon Fils (that's "Good Son" in French) student alto. This horn will retail to the end user for $750, and is designed with young students in mind. It is a VERY weather proof horn, using stainless steel springs, screws, and rods to prevent rusting, and fully water proofed pads. An important part of the design of this model is the HUGE dynamic range. It is potentially a very loud saxophone (although it plays beautifully at pianissimo) in order to give, for the very first time in saxophone history, a player the volume necessary to compete with the trumpets and trombones in a marching band.

This increase in projection and potential volume has been accomplished through several means: the resonator are very oversized stainless steel domes, the neck has a unique taper, and we include our famous Saxgourmet neck enhancer with each Bon Fils.

Player comfort was a prime consideration, especially for users of smaller stature. We include our three ring strap hook too allow the player significant variation in strap placement for maximum comfort and control. The right hand thumb rest is our well known Saxgourmet design, which supports the entire thumb, not just the second joint, for enhanced comfort and control. The chromatic F# and high F# key have been redesigned for easier execution, as have the key touches for the low Eb and low C. The left pinky table is fully articulated. The palm keys are of our latest asymmetrical design, and the front F key touch is teardrop shaped so the index finger does not have to be lifted to obtain this note.

The Bon Fils is specifically designed for the rough treatment often afforded saxophones by younger players. All rods are slightly oversized. The guard at the bottom of the bow has been significantly enlarged and strengthened to prevent damage. The size of the bell to body brace has been made significantly larger to maintain perfect bell alignment. The hinge mechanism for the palm and other auxiliary keys has been manufactured with right angles rather than sloping junctions to afford additional strength. Of course, all of the keywork is fully supported with ribs, which are significantly oversized for strength. The case provided is extremely durable, rectangular for easy stacking on instrument trucks, and well padded, with heavy duty cordura sides over a hard shell for long lasting beauty. Heavy duty zippers are used for closure rather than latches which often fail, and a shoulder strap mount is included, as well as the option for backpack style straps. The case also features a full sized exterior pocket which will accommodate full concert band music folders, and dedicated interior slots for the neck and mouthpiece, as well as a generous interior accessory compartment. Production examples will vary from the example pictured here in that they will have double arms for extra stability on the low C, B, and Bb. There will also be a guard added to protect the low C# key cup. We have incorporated an underslung octave key mechanism on the neck to allow younger players to grasp the neck itself while assembling the horn, rather than bending the octave key.

The mouthpiece used for this model is of a new design to facilitate easy blowing and even intonation and response throughout the range. We currently manufacture over 20 different saxophone mouthpiece models, and took our considerable experience in this field to design a student mouthpiece that is superior and like no other on the market. This design features a sloping beak which is not only more comfortable for younger players, but also increases projection. The baffle i long and straight, with a lightly concave contour, and no rollover. The side and tip rails are of moderate width in order to be more "forgiving", and the chamber is horseshoe shaped with a round top and straight walls to increase projection. Unique among student mouthpieces, this model includes a metal band on the shank to prevent cracking and splitting.

We know that the visual impact of an instrument is important to students, and we have made a great effort in this area to provide students with an instrument they can show their friends with pride. The epoxy lacquer used is the most durable available, and is tinted a rich vintage gold color. The bell, bow, body tube, neck, and ALL KEY CUPS are elaborately hand engraved. We will be happy to make other finishes available to schools, along with the custom engraving of the schools logo on the bell, upon execution of a special minimum order.

Of course, robust construction and beautiful touches are all well and good, but in the end the final and ultimate test is how the saxophone plays. We know that students often have difficulty with intonation and low note response, and took these matters into mind in our design. The bore and tone hole placement are designed to make playing the saxophone easier, and to allow superior blending with the other instruments of the band.

Sharon and I are very pleased and proud to be able to offer this outstanding instrument, which has been in development for over two years, in the hopes that it will make music more affordable for families, and introduce the joy of saxophone playing to the next generation.

Fall Sale!

2010-09-24T15:42:00.001-06:00

SAXGOURMET PRODUCTS
FALL SAXUAL STIMULATION SALE
details on all products, pictures and videos are at
www.nationofmusic.com
be sure to join and participate in the forum and
take an ADDITIONAL 20% OFF your orders!

We’re lowering prices through October 15 on some of our best selling accessory items, including necks, mouthpieces, key clamps, and neck enhancers. ORDER NOW AND SAVE!

TENOR SAXOPHONE NECKS
All of these Saxgourmet necks feature our built in neck enhancer, our exclusive nodal weights,
are heavily hand engraved, and have an underslung octave mechanism and come with our
Saxgourmet hard shell neck case

SELMER Tenor gold lacquer was $330 NOW $250
SELMER Tenor silver plate was $400 NOW $300
SELMER Tenor solid copper was $500 NOW $350
YAMAHA Tenor gold lacquer was $350 NOW $260
YAMAHA Tenor silver plate was $425 NOW $325
CONN Tenor gold lacquer was $400 NOW $300
CONN Tenor solid copper was $580 NOW $380

ALTO SAXOPHONE NECKS
These necks feature our exclusive nodal weights, extensive hand cut engraving, and an underslung octave key mechanism. All have a 24.5mm tenon and come complete with our Saxgourmet hard shell neck case. Please specify make and model of your horn.

ALTO NECK gold lacquer was $175 NOW $125
ALTO NECK silver plate was $250 NOW $175

BARITONE SAXOPHONE NECK ENHANCER
This is a new item! We’ve sold HUNDREDS of enhancers to our alto and tenor customers for several years, and now we’re pleased to be able to offer the bari players among you the same great product.

BARITONE SAX NECK ENHANCER was $80 NOW $60

SUPER DUCK TENOR SAXOPHONE MOUTHPIECE
If you’re a rock and roll sort of player, this is the mouthpiece for you! It’s got an extreme duck bill beak, a very high baffle, and a medium large chamber, so it’s super loud, responsive, but not thin sounding. It’s made of bell quality brass and comes with our Saxgourmet single screw ligature and an engraved cap, along with a velvet carry bag. Tips are .090, .105, or .120 Each one is hand faced by Steve Goodson.

SUPER DUCK TENOR MOUTHPIECE was $165 NOW $135

YELLOW MOON STAINLESS STEEL TENOR MOUTHPIECE
You asked for a stainless steel mouthpiece, so here ‘ya go! You jazzers out there will love the medium high baffle, long curve, and big chamber. It’s very free blowing and responsive. The design features a medium duck bill beak and an extended window, and comes with a Saxgourmet single screw ligature, a metal cap, and a velvet carry bag. Each one is hand faced by Steve Goodson, and available tips are .090, .105, and .120. Nothing sounds quite like stainless steel!

YELLOW MOON TENOR MOUTHPIECE was $160 NOW $130

MISTRESS SHARON’S TENOR SAX KEY CLAMPS
OK, let’s think this through together, please: your horn will play better if you can prevent the pads from swelling every time they get wet and are allowed to dry. Keeping them in place when the horn is not being played keeps the seats and prevents leaks. It’s probably not a good idea to let your keys move around while the horn is being carried in the case, either. It’s your horn, so you decide. Any questions?

MISTRESS SHARON’S TENOR CLAMPS was $55 NOW $40

DEMO HORN SALE
I rotate the horns we use for display in our showroom and for trade shows and appearances from time to time. The following horns all have only a few hours of playing time on them, and all carry an “as new” full warranty. All are subject to prior sale, and because they are not regular inventory, are not eligible for the 20% forum member additional discount. We’re getting out of the trade show business, so this may be the last time I have a significant number of demos for sale. All of the usual terms and conditions for instrument sales apply, and all prices are FOB New Orleans. We don’t send out horns “on trial” or “on approval”, but you can see and play them at our office by prior appointment.

SAXGOURMET BARITONE was $4200 NOW $3400
SAXGOURMET SAXELLO was $3600 NOW $2800
VOODOO REX ALTO was $3600 NOW $2500
VOODOO REX TENOR PROTOTYPE* was $4500 NOW $3000
SAXGOURMET CURVED SOPRANO was $1800 NOW $1400
SUPER 400 TENOR was $4250 NOW $3600
CATEGORY 5 TENOR PROTOTYPE** was $15,000 NOW $9000

varies slightly from production horns in cosmetics. Delivery when production horns arrive (soon!), includes a couple of experimental necks we were trying. Acoustics are the same as production horns, rolled tone holes, solid copper neck, body, bow, and bell.

** this is the third one built, and was used as a reference and for trade shows. It is identical to the current version but does not have rolled tone holes or the new G# mechanism. I love this horn, and may withdraw it from sale, but money talks.....

Saxgourmet Saxello with Chris Savage

2010-08-16T18:38:00.000-06:00

Saxgourmet Saxello with solid silver bell and neck demo

2010-08-13T10:03:00.000-06:00

Voodoo Rex SOLID COPPER tenor

2010-08-06T16:10:00.001-06:00

CATEGORY FIVE TENOR WITH CHRIS SAVAGE

2010-08-04T17:02:00.001-06:00

Super 400 latest version video

2010-08-04T09:57:00.000-06:00

Category Five 3.0 video

2010-07-24T14:07:00.000-06:00

The Category Five continues to evolve

2010-07-10T09:12:00.017-06:00

The Category Five is an extremely low production, hand made horn, and this gives us the flexibility to make changes and improvements as we go along. The next batch should arrive at our office next week. THEY ARE ALL PRE-SOLD, none are available. We hope to have the alto version available in the early fall of 2010. The most important differences in the latest version are as follows:
(1) rolled tone holes
(2) improved never stick G# mechanism (same as we use on the Super 400)
(3) more hand cut engraving (we found some blank spots)
(4) redesigned bell to body brace, gives even more resonance to the bell
(4) redesigned LH pinky table brace, much stronger
(5) revised threading pattern of the tenon interior for more stable low B
(6) revised placement of the upper stack speaker key to better second register intonation
(7) revised placement of the double pips on the body for quicker response
(8) revised upper stack clothing guard for better protection of the long rods
(9) increase in the copper content of the alloy used by 3% for broader spectrum
(10) revised placement of the altissimo octave vent for quicker response
(11) revised three ring strap hook

This instrument represents the cutting edge of saxophone design. Orders are now being accepted for the next production run. Price is $15,000 FIRM

The Decline and Fall of the Vintage Saxophone Market

2010-07-07T12:48:00.000-06:00

The Decline and Fall of the Vintage Saxophone Market

I had an interesting conversation and interaction with a customer last week which caused me to give some thought to what is going on in the marketplace for vintage horns. I spoke with a few vintage dealers, did a little research, and reached a few conclusions. You may or may not agree, but after considerable thought, this is most definitely the way the market looks from where I sit.

The customer who precipitated all of this mental anguish was shopping for an alto. He’s a weekend warrior who works four to six gigs a month, so he maintains his day job. He had narrowed his choices down to a Selmer Balanced Action or one of my Voodoo Rex altos. As a matter of full disclosure, I am no longer in the vintage horn business, and only sell new instruments.

I realized pretty early in the conversation that the guy would certainly drink the Kool Aid when told to do so. He discussed in eloquent detail the alleged playing characteristics of various Conns, Selmers, Kings, and Martins, but when I questioned him about some of his opinions, he admitted that he had not actually played an example of most of these instruments himself, and that his information came from various discussion groups on the internet. When I asked him why he had such great interest in a Balanced Action, he told me it was because his hero, Phil Woods, played one. When I pointed out that Phil had switched to a modern instrument some years ago, he said that he sounded better on the Balanced and that he only changed horns because he was paid to do so. He seemed to have no facts to back this up, just his strongly held opinion.

I pointed out, as always, that saxophone technology has advanced significantly over the years and that modern horns play much more in tune and are much more responsive than horns of the past. I gave my well worn automobile analogy: a 1935 Ford might be cool, but if you want something that is easy to drive and gets you there in comfort, get a Lexus. He retorted that all the great masters of the past sounded wonderful on the older horns, to which I responded that that’s all they had available, and if they were alive today, they would most likely be playing the most in tune, easiest to play horns they could find to make a living.

After he left (with a Voodoo Rex, I might add!), I gave some thought to who is buying vintage horns, why they are buying them, and what is really going on in this market and why prices have taken such a dramatic decline recently.

The economic factors aside (I’ll address that later), there are really three different customer groups for vintage horns: Players/students, Collectors, and Speculators. They all have different needs and expectations, and they all influence the market in different ways.

The players and students want a quality instrument to help them achieve their goals. Their financial resources are generally somewhat limited, so when the bidding starts, they are the first to fold. They are the most susceptible to the myths and legends which abound on the internet, and will almost always drink the Kool Aid when told to do so. They are seeking the magic bullet which will make playing easy and practice free. They are generally not a significant factor when it comes to establishing prices. They tend to believe that every three times relacquered Mk VI with worn down pearls is worth at least $10,000 and that Buescher True Tones and Conn New Wonders are increasing in value.

The true collectors are an entirely different breed, and unfortunately there are in reality very, very few of them. They are knowledgeable, obsessive, and careful. They watch the market and know what they are buying. I can count the ones I know on one hand. They will generally not over pay for a horn, and really don’t have that much sway in the market. They don’t mind paying top dollar for pristine examples, but understand the definition of the words “pristine” and “original”.

Speculators are the ones who have brought about some of the stratospheric selling prices of the recent past and the ridiculous ASKING (not selling) prices of the current market. These same people probably bought California tract house and South Florida condominiums. They believed that prices would only go up, and that every old horn was valuable. These buyers are now seriously “under water” on quite a few of their purchases.

Now that we have defined and categorized the buyers, lets take a look at the basic economics. Like every economic situation, it generally gets down to supply and demand. Even though they are not making any more vintage horns, they are coming out from under beds and out of closets and attics in droves. The largest single driving force has been, of course, eBay. Suddenly, anyone with the desire and a couple of old horns can become a vintage saxophone dealer. In the past, sales of vintage horns were pretty much in the hands of a few specialists, but now, every small town repairman and pawn shop owner is an expert. This situation has gotten even worse since they began selling computers at WalMart. One of the factors, and not an insignificant one, is that there are now a lot more vintage horns on the market, and the general interest in the market is up because there is a lot more activity.

More than anything else, prices were driven up by the globalization of the saxophone market. The internet made it possible for a buyer in Singapore to connect with a seller in the USA. Not only did this increase the number of potential buyers, but most importantly, it gave the buyers the opportunity to take advantage of currency fluctuations. During the early years of this decade, the price of horns from the USA (where most of the horns were) to buyers in Europe and Asia was a relative bargain when expressed in the buyer’s local currency. As a result, a great many horns left the USA for overseas destinations, and most of those horns are still there because the currency pendulum has not swung into a position favorable to USA buyers. International buyers bid the prices up, and a veritable feeding frenzy developed, particularly among Japanese buyers. This upward movement in prices brought in the speculators, who saw no end in sight. Prices for many horns, particularly vintage Selmers, doubled, and the buzz on the internet among the experts (who are generally down in their parent’s basement typing away about horns they have never seen or played) was that you should buy now before prices went any higher.

At this point in our proceedings, it’s probably a good idea to review a couple of key concepts: (1) collectors will pay more than musicians, and speculators will pay more than collectors. (2) saxophones are for the most part a luxury good, as only a very small portion of the buying public is dependent on them for a livelihood. (3) it’s a world market, and the costs to the purchaser must always be viewed in the local currency, not the currency of the seller. When the currency advantage goes away, the demand from that group of buyers diminishes significantly.

Today, the bubble has burst. Although high asking prices are still to be found, the actual selling prices have retreated to a level more closely related to sanity. The saxophone market is miniscule compared to some of the other musical instrument markets, and the price declines have been quicker. Customers have more and much better choices when it comes to new horns. Prices for top line new instruments are actually lower (when adjusted for inflation) than at any time in history, and frankly, they play better.

Will vintage horn prices return to the previous levels? Probably, but not any time soon. Horns have a nasty habit of outliving their owners, and going back onto the market. The rules of the game are different now, and this makes vintage saxophones a lousy financial investment. Speaking as someone who owns a lot of vintage horns, I suggest you love them and play them for what they are, and put your money elsewhere.

We're now in the saxophone key clamp business!

2010-06-25T15:14:00.002-06:00

I've used key clamps faithfully since the 1970's and don't understand people who don't. We have sold a couple of different brands over the years, but knew we could do better. This is a product every saxophonist needs and will benefit from. The video below tells the whole story. You can buy them at our retail site http://www.nationofmusic.com

SaxRax stands now at Nation of Music!

2010-05-29T10:27:00.001-06:00

Sax Necks R Us!

2010-05-12T13:59:00.003-06:00

We've made a commitment to being in the neck business in a big way. We offer more choices for more horns than ANYBODY. Most players have a box full of mouthpieces, but only one neck for their horn, and that really makes no sense at all. A neck can do more than any other component to improve your horns playablility, and costs no more than what a lot of people pay for a high quality mouthpiece.If you will email a phone number where I can call you between 10AM and 3PM CST weekdays (sorry, USA only) I will call you and give you a neck consultation and answer your questions. My email is saxgourmet@cox.net

Voodoo Rex TENOR!

2010-05-09T11:44:00.000-06:00

We've been selling the Voodoo Rex alto for over a year now, and it's our best selling saxophone. Developing the tenor has been a little frustrating, but at last, we've got it totally dialed in. A tenor is NOT just a "scaled up" alto! This horn is unequalled for a fat, dark, and complex tone.

The Voodoo Rex tenor has a SOLID COPPER body, bell, bow, and neck, all of which are fully and heavily hand engraved. The pads are our black kangaroo leather Saxgourmet pads (made for us by MusicMedic) with solid copper oversized Maestro air tight resonators. Like the alto, the Voodoo Rex tenor has an EXTRA LARGE BELL with a very unique taper, quite unlike anything seen before. This gives the horn unmatched projection. Also like the alto, this model features ROLLED TONE HOLES, ergonomic high F# and Chromatic F# key touches, asymmetrical palm key layout (really comfortable!), fully engraved key cups, double arms on the low C, B, and Bb keys, a three ring strap hook, an extra large Saxgourmet ergonomic RH thumb rest, blued needle springs, an ergonomic front F key, and lots of other great features found on no other horn on the market. We also include the latest edition of our Saxgourmet contoured super premium case, and deep water abalone key touches.

We have chosen to include our Saxgourmet solid copper neck with underslung octave key and our exclusive nodal weights and built in neck enhancer with this model. We tried about a dozen different neck variations, and finally settled on this particular neck, which was head and shoulders above the rest. We will offer more neck options for this horn in the future.

We will announce pricing and firm delivery dates in the near future.

Below is a link to a YouTube video so you can see and hear the horn. I'm using a Saxgourmet Yellow Moon stainless steel mouthpiece (.120).
Please be on notice that I was flying on three hours of sleep, so I ask your indulgence in advance for my playing!

Saxgourmet Visitors during Jazz Fest

2010-05-03T21:32:00.004-06:00

We had quite a few VIP visitors during the recent New Orleans Jazz Festival....here's a few videos

Rheuben Allen Necks now available at Nation of Music

2010-05-01T16:24:00.010-06:00

As many of you know, Rheuben Allen is one of the greatest saxophone designers of all time, and is also a friend of long standing as well as being a close business associate of ours. We love his innovative, high quality products, and are happy to offer them to our customers. Here's a look at the new Rheuben Allen neck, which has adjustable weights so the player can substantially vary the tone and response of the saxophone easily. This is a fantastic product, and we salute our friend Rheuben for his creativity in solving an old problem. We have this neck in stock, in 27.5mm tenon size. Let me know your questions!

Saxgourmet Endorsing Artist Ben Ellman

2010-04-14T12:49:00.002-06:00

Here's a nice picture of Endorsing Artist Ben Ellman of Galactic wailing away on his new Super 400 tenor during Galactic's recent USA tour. Ben is using a Saxgourmet Black Mambo mouthpiece (.105 with a special trick tip). We're very proud to have Ben out there representing our products. Check out Glactic's website http://www.galacticfunk.com for the latest news and tour dates.

We're looking for some Saxgourmet Products dealers

2010-04-11T08:42:00.001-06:00

We've decided to expand our little empire a bit and make a few
changes. We are interested in setting up a few dealers outside the USA
and China, particularly in the following locations:
Germany, South America, Australia, England, Scandinavia,Japan, Korea,
Israel, South Africa, or really anywhere in Europe. I'm really
interested in talking to anyone anywhere outside of the USA and China.

We are only interested in talking with experienced music industry
folks who will get behind our products and promote them. We are NOT in
the dealer financing business, that's what banks are for. We also only
interested in dealers who will carry our full line of products and
accessories. Since we rid ourselves of corporate entanglements a few
years ago, our sales have doubled every year. We provide attractive
pricing and advertising support for qualified dealers. We're doing
fine right now, but will be willing to take on qualified dealers who
are true believers in our products and philosophy.

If you or someone you know has an interest, contact me PRIVATELY at saxgourmet@cox.net

STEVE GOODSON
saxophone designer to the stars
sic gorgiamus allos subjectatos nunc

New Solid Copper Tenor Necks

2010-04-07T17:15:00.005-06:00

This is the brand new Saxgourmet Solid Copper tenor neck, which replaces the previous model. It has our exclusive nodal weights and built in neck enhancer. The tube of the neck is soid copper, and produces an unbelievably dark and rich tone.

We make this model for Selmer, Yamaha, Yanigasawa, Conn, Buescher, and Keilwerth saxophones. Prices are as follows:

Selmer, Yamaha, Yanigasawa $500
Conn, Buescher, Keilwerth $580

The necks are model specific, so let us know exactly what horn your are fitting. The tenons are sized at original manufacturers specifications (older horns may vary from this due to useage) and the octave mechanism is easily adjusted to work with your horn and playing position. The contact bar is intentionally manufactured oversized to allow maximum flexibility in adjustment.

These necks come with a Saxgourmet hard shell neck case.

I'll have these up on our www.nationofmusic.com site in a couple of days. We just got a HUGE shipment and all sizes and models are in stock.

BARI NECK ENHANCERS ARE NOW IN STOCK!

2010-03-29T15:12:00.002-06:00

AT LAST! The bari version of our best selling alto and tenor neck enhancer is in stock. I'll have it up on the http://www.nationofmusic.com site in the next few days and will probably put a few on eBay.

I need your help with a Saxophone Journal

2010-03-06T11:35:00.004-06:00

One of the great joys of my business life is contributing to The Saxophone Journal. I can't believe they actually pay me to write about my favorite topic, saxophone design! I am preparing a new article for publication this summer (I have to submit articles months in advance) and need some input.

I am interested in what the saxophone community thinks needs to be done to improve saxophones being manufactured today. What features or improvements do you think we need of want to see?

You can make your suggestions in the comments section of this blog (although I won't publish them. This is not a discussion board) or send them to my email saxgourmet@cox.net.

Endorsing Artist Derek Nash Demonstrates the Voodoo Rex

2010-02-25T11:29:00.001-06:00

New Products and Projects from Saxgourmet

2010-02-01T16:14:00.002-06:00

I've been busy.....here's an update on some new projects:

SUPER 400 BARITONE
Yep, it's happening! This will be a SUPER PREMIUM baritone, with more features than an old Cadillac has fins.......I've been working on this for about two years, and we have started production. There will be NOTHING remotely like this one, and I can hardly wait! We'll have some in a couple of months. The current Saxgourmet baritone will continue, because it's a great horn at a great price. The new model will be (1) expensive and (2) limited production.

SOLID SILVER NECKS
I picked up the pre-production prototypes at the NAMM show, and they play great. We'll have these beauties for you in about month. Start saving now! These are not cheap!

NEW SOLID COPPER TENOR NECK
We'll have the Saxgourmet tenor neck (the one with the nodal weights and built in neck enhancer) available in solid copper next month for Selmer, Yamaha, Yanigasawa, Conn, and Buescher saxophones. We're going to discontinue the current solid copper tenor neck, so watch for special prices on remaining inventory

VOODOO REX TENOR
At long last, we've got our tooling and pre-production problems resolved to everyone's satisfaction, and I should have the final prototype in hand in a couple of weeks. I've signed on the dotted line for a big order, so we should have plenty of horns for everybody who has been waiting before long.

SAXGOURMET CASES
They've been shipped, so I should have them next week. We'll have our new line of contour cases for alto, tenor, baritone, and BASS.

BARITONE NECK ENHANCER
Is right on the horizon.....I now have my doubts that there will ever be a soprano enhancer becuase there is just too much difference in soprano mouthpiece sizes

SAXGOURMET THUMBREST
We'll have a new plastic version of our famous ergonomic thumbrest, since there has been some pissing and moaning about the price of the gold plated metal version. We'll have them next week, at a price everybody can afford.

SUPER DUCK MOUTHPIECE
Shipped yesterday, so I'll have them next week. If you liked the old Brilhart Level-Aire, imagine it on steroids......tenor only

ROTTWEILER MOUTHPIECE
Some of my rock and roll buddies wanted the ultimate loud, nast sounding mouthpiece, and I am happy to provide it......not for the timid....should be in stock in a couple of weeks........tenor only

SAXGOURMET SOPRANINO
I approved the prototype, with a couple of changes, so the factory is building another prototype so we're sure we have it just right for you.....this horn is a killer!

SAXGOURMET BASS
I don't see the numbers working out on this project.....It's a money loser, so we will pass for the time being

We just got a BIG shipment of Voodoo Rex altos....we're now totally sold out of Super 400 altos and tenors......the next load of Super 400 tenos should arrive around March 15.......we do have curved sopranos, saxellos, and baritones in stock, although they're going fast and all in short supply

We've got lots more projects going on, and I'll keep you advised as they develop.

A few videos from the NAMM show.....

2010-01-16T08:34:00.003-06:00

There's a reason they call it the saxophone misinformation site

2010-01-15T22:39:00.002-06:00

http://forum.saxontheweb.net/showthread.php?129558-Saxgourmet-Category-Five

As usual, they don't have a clue..........the price is $13,000, not $11,000.....we've sold 17 of them, all but one at full price (it was a demo horn from the first series which lack all of the features of the current production version)....they are NOT made in China.......we have sold two so far at the NAMM show....they will get delivery in about four months.......we don't sell and never have sold enemas or bidets, contrary to what has been reported on SOTW.......the ONLY Super 400 sold at less than list price was a demo horn without kangaroo pads and many of the other features......the Category Five is radically different from any of our other horns, and has verify little in common with them, including previous models which had the first version of the altissimo key, which has now been replaced and is MUCH improved.

As is so often the case on SOTW, the posters are talking with great authority about people they don't know and horns they have never seen or played and about sales that took place where they were not personally present and of which they have absolutely no direct or accurate information. They are simply speaking from bodily orifices which were not intended for imparting information.

Ben Ellman gets his new Super 400

2010-01-12T10:02:00.000-06:00

Here's a couple of new product videos.......

2010-01-02T09:51:00.000-06:00

Our next new product.......

2009-12-31T19:20:00.002-06:00

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

2009-12-27T09:55:00.005-06:00

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.............

2009-12-24T17:14:00.002-06:00

Super 400 Edition 2.0

2009-12-19T10:00:00.002-06:00

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!

2009-12-15T14:52:00.003-06:00

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

2009-12-13T09:43:00.003-06:00

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

2009-12-03T10:42:00.002-06:00

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

2009-11-24T11:34:00.003-06:00

click on the poster to enlarge

Saxophone Mutes are now in stock!

2009-11-18T19:42:00.003-06:00

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

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

2009-11-18T18:43:00.002-06:00

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

--------------------------------------------------------------------------------

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.
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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

2009-11-16T19:16:00.002-06:00

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

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

2009-11-10T14:35:00.012-06:00

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

2009-11-08T19:03:00.002-06:00

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!

2009-11-04T11:49:00.003-06:00

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

2009-10-31T15:10:00.003-06:00

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

2009-10-25T18:32:00.002-06:00

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

2009-10-23T06:18:00.002-06:00

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

2009-10-17T09:31:00.003-06:00

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

2009-10-11T13:33:00.003-06:00

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......

2009-10-10T14:21:00.005-06:00

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!

2009-10-02T08:24:00.002-06:00

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!

2009-09-25T08:51:00.001-06:00

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.....

2009-09-19T16:32:00.002-06:00

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!
__________________
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!

2009-09-18T12:47:00.005-06:00

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

2009-09-16T11:08:00.004-06:00

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

2009-09-14T08:51:00.004-06:00

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!

2009-09-11T09:06:00.003-06:00

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

2009-09-10T10:35:00.001-06:00

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)

2009-09-08T15:43:00.001-06:00

Voodoo Rex UK Debut!

2009-09-07T08:17:00.003-06:00

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!

2009-09-04T16:42:00.010-06:00

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

2009-09-02T09:24:00.004-06:00

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

A Full Line of Saxophone Accessories

2009-09-01T13:56:00.001-06:00

In addition to manufacturing a full line of original design saxophones, we offer a complete line of accessories for the saxophonist, with more products to be introduced soon! Here's the current line up:

HAND FACED MOUTHPIECES
All our metal mouthpieces are made from bell quality brass and are hand faced at our shop in New Orleans. We offer a variety of tip openings. All come with ligature and metal cap. Contact us for a consultation on which model best suits your needs and playing style.

BLUES BLASTER TENOR: solid brass, straight baffle, big chamber, long facing, single screw ligature

FAT BOY TENOR: solid brass, cliff baffle with rollover, short facing, two screw ligature, medium chamber

FLORIDA TENOR: solid brass, compound baffle, quite bright, single screw ligature, very free blowing and loud

YELLOW MOON TENOR: solid brass, high straight baffle, blend ramp into chamber. A jazzer’s dream!

SUPER DUCK TENOR: Solid brass with a pronounced duck bill beak, high straight cliff baffle. Rock & Roll!!!

BLACK MAMBO TENOR: Hard rubber with high straight cliff baffle. Very loud and responsive

SAXGOURMET HANDMADE: our finest! Extra heavy, extra long, high baffle with a big bullet chamber, duckbill beak, no blowing resistance, solid brass with chrome plating. The ultimate in tenor mouthpieces!

HARD RUBBER ALTO: straight baffle, large chamber with small bullet, resonance ring at shank, free blowing

VOODOO CHILD ALTO: Hard rubber, high straight cliff baffle, extra large window. Very, very loud!

FAT BOY ALTO: Solid brass, high cliff baffle. Rock & Roll!

LOW RIDER BARITONE: straight baffle with rollover and cliff, long facing, big chamber, solid brass, free blowing with very rich bottom end and lots of bite

SAXGOURMET SOPRANO: solid brass, compound baffle, medium chamber, long facing, single screw ligature, very free blowing and responsive

SAXGOURMET SOPRANINO: solid brass, compound baffle, medium chamber, single screw ligature, excellent intonation and response

THREE MOUTHPIECE CASE: holds three mouthpieces (Sn,SATB) safely and securely. Hard sides and thickly padded interior. Zipper closure, carry straps

NECKS AND NECK ACCESSORIES
Our necks enable you to get the very best out of your horn. They improve intonation, even out the timbre, decrease resistance, and facilitate the altissimo. They are available to fit a wide assortment of alto and tenor saxophones. Contact us for a consultation for your horn.

SAXGOURMET TENOR: hand hammered and hand burnished; underslung octave mechanism, built in neck enhancer, nodal weights, heavily hand engraved. 27.5mm or 28.3mm tenon diameter. gold lacquer, silver plate, or copper plate available.

SAXGOURMET ALTO: hand hammered and hand burnished, underslung octave mechanism, built in neck enhancer, nodal weights, heavily hand engraved. 24.5mm tenon diameter. Gold lacquer, silver plate, or copper plate available.

SOLID SILVER ALTO: solid sterling silver, underslung octave mechanism, heavily hand engraved, rifled tenon interior. 24.5mm tenon diameter

SOLID COPPER TENOR: solid copper, underslung octave mechanism, heavily hand engraved, rifled tenon interior. 27.5mm tenon diameter

SOLID COPPER ALTO: solid copper, underslung octave mechanism, heavily hand engraved, rifled tenon interior
24.5mm tenon diameter.

ALTO NECK ENHANCER: solid brass, evens timbre, improves intonation, eases altissimo

TENOR NECK ENHANCER: solid brass, evens timbre, improves intonation, eases altissimo

TENOR NECK AND MOUTHPIECE CASE: holds and protects tenor neck. Hard exterior, thickly padded interior. Mouthpiece slot and zipper closure. Carry straps.

ALTO NECK CASE: holds alto neck securely. Hard exterior with thickly padded interior. Zipper closure and carry straps.

DVD’S
SAXOPHONE REPAIR: Two hours of professionally shot and edited saxophone repair. Covers the complete overhaul of a saxophone. All procedures, tools, and materials are clearly illustrated and explained. pads, springs, dent removal, swedging, stuck screw removal, key straightening and many other topics are covered in great detail Learn to do your own repairs and maintenance and save money. This has become the standard teaching tool for the repair industry. This DVD has been our best selling product for many years.

ALTERNATIVE SAXOPHONE REPAIR: One hour of special tricks and modifications you will find nowhere else. Professionally shot and edited. You’ll find tips here that you will find nowhere else.

MOUTHPIECE REFACING: Professionally shot and edited with lots of close ups to introduce you to the art of mouthpiece refacing. All tools and techniques are clearly shown and explained.

OILS AND LUBRICANTS
MOJO’S NEVER STICK PAD POWDER: Stops sticking pads! Not an absorbent, but a miracle product that keeps pads from sticking forever. Comes with an easy to use applicator.

VOODOO PAD JUICE: Restores dried out older pads and stops them from sticking. Comes with an easy to use applicator.

BOURBON STREET KEY OIL: The only self cleaning key oil on the market. This oil dissolves deposits and makes your action lightning fast. Comes in a convenient pin oiler for easy application.

OTHER ACCESSORIES
SAXGOURMET THUMBREST: Extra large and extra comfortable. Our thumbrest supports the entire right hand thumb, including the final digit. Gold plated to resist corrosion.

POWER PIPS: An easy to install modification that will correct many intonation and response issues.

SAXGOURMET OVERHAULS: We’ve overhauled thousands of horns since 1972. Our client list is a virtual “who’s who” of big name professional players. We do things other shops can’t or won’t do. Our craftsmanship and innovation sets the standard by which all other repair shops are judged. Contact us so that we can discuss how to make your horn play the very best it can.

Hurri-Cane Reeds: still workin' on 'em

2009-08-29T06:44:00.003-06:00

I'm still working on developing the perfect synthetic reed, and like many things in life, it has taken longer and cost more than I originally thought! We've found a very stable material which sounds good and can be accurately machined, and I'm down to the point of tweaking the cut and contour to get maximum response. We've made a lot of mistakes during this process, but I've learned a lot about what doesn't work, which is invaluable information. Now all I've got to do is find what works best, and then and only then will we offer them for sale.

The materiaL we are using is pretty amazing stuff. No, it's not ordinary polystyrene plastic. I'll eventually get this figured out, but won't offer these for sale until I am totally satisfied.

The picture illustrates the first version (upper) and the latest version (lower). You'll notice a significantly different surface if you look closely. I'll keep you posted! I'm sure the usual trolls will have a lot to say about this project, but I would point out that exactly six people in the world have played this product, and they are not among them! Of course, never having seen or played one of my products has never stopped them in the past!

New Super 400 Engraving, G# Mechanism, and other news

2009-08-27T11:49:00.007-06:00

We’re going to SUBSTANTIALLY increase the amount of hand cut engraving on the next run of Super 400’s because Sharon and I believe that too much is ALWAYS better than not enough. The next run will also have the same “no stick” G# mechanism as was previously found only on the Keilwerth SX-90 (we’ve made arrangements with the holder of the patent on this system) and a few other minor tweaks. We try to improve the breed as we go along! Attached are some pictures of the new engraving pattern, taken before plating. We now expect the next load of Super 400 alto and tenors around September 1`5 or so. Most of this load is already sold! We’ve also got a load of the new Saxgourmet curved soprano (much improved over the previous Steve Goodson Model, which was a really nice playing horn) on the same shipment. We’ve only got two Saxellos left in stock (they sorta flew out of here!) and STILL have not received our baris, which are on the way but not here. The next load of Category Five horns (with the new improvements) should be here tomorrow or Monday. Our European distributor has just received a big load of Super 400’s, Voodoo Rex, Saxello, and the exclusive to Europe Derek Nash Model, so they will have horns out on the street very soon. We’ve got plenty of solid silver alto necks on hand, and are expecting a load of the re-designed solid copper tenor neck in around two weeks. The new Black Mambo, Yellow Moon, Voodoo Child, and Super Duck mouthpiece models should be ready by the end of next week. I’ve got a lot of mouthpiece facing to do!

Voodoo Rex Review (from another forum)

2009-08-25T19:38:00.002-06:00

For reasons that are pretty unclear to me, they hate me at Sax On the Web. Not that I care, or not that it has had any effect on our sales that I can discern. They refer to me as "Voldemart", "He who cannot be named", and "the evil one" among other things. Whenever someone dares make a favorable comment about one of my products, the moderators jump right in and remove the post. It's OK with me, it's their forum, and they make the rules. I know that far less than 1% of the saxophone players in the world read SOTW, and that the ones who drink the Kool Aide and believe every word they read there (I like to think of it as "The Saxophone Misinformation Site" are generally not old enough to shave (at least the ones I've personally met) and most of them seem to have extremely limited playing skills.

One of our new Voodoo Rex owners, Patrick Shaeffer, posted this lengthy review. As long as they leave it up, here's a link:

http://www.saxontheweb.net/vbulletin/showthread.php?t=119325

I figure they'll take it down, so here's a cut and paste of Patrick's comments, completely un-edited.

Since I know how some are enamored with anything SG related, down to what kind of boxes he uses; like kwgrinnell, I am including the intimate details I obtained possession of the box; which arrived via UPS, around 5:15 Central Standard Time on Thursday, August 20th. Once arrived at my destination I inspected the box. It was roughly 14 1/2 tall x 28 1/2 long x 8 1/2 wide & was listed as being 14 pounds. It had 5 white stickers with F R A G I L E centered on the stickers, with 4 red lightning bolt like designs extending in to the center of the stickers, on 5 of the 6 sides of the box. The stickers had on them: LABEL MADE IN REDMOND, OREGON, U.S.A. THE DE LEONE CORPORATION SCL 501. There were 4 double staples on opposite sides of the short sides of the cardboard box, for a total of 16. 3 pieces of clear packing tape were wrapped lengthways around the box. 4 pieces were wrapped widthways to just short of center of the box. 1 of the stickers was creased underneath at 2 1/2 inches from the top left side & 1 5/16ths from the bottom right side for 2 7/8th inches. None of the stickers were centered but at different angles & lengths from the sides of the box. For example, one of the stickers on the long side of the box was 3/4ths of an inch from the bottom of the box on the left & 1 7/8ths on the right, while being 3 inches from the side if the box on the left bottom & 2 3/8ths from the top left of the 4x4 sticker. The UPS Internet Shipping: Shipment Label dated 8/17/2009 was on the bottom right side of the same side as said sticker. I removed the label at 5:48 with WESTCOTT TITANIUM NON STICK scissors with blue handles with yellow striping on the interior finger area of the scissors. The label was 8 1/2 x 11 inches. The only damage to the box was an about 3 inch scrape on the long side of the bottom side which was 14 1/2 inches from 1 edge of the box & 10 3/4ths from the other end. The scrape extended about 2 2/8ths towards the center of the box on one end & 2 1/8th on the other end, where the clear packing tape had prevented the scrape from extending further. The scrape was not deep enough to affect the integrity of the box.
Next Chapter: "The Strike!," coming next.

5:57 - I began the operation. With my trusty scissors I proceeded to cut at the "crotch;" for a lack of a better word, of the waistline, towards the neckline. I delicately stuck my finger into the resulting breach & ran the hard blade up as if through buttah until I arrived at the FRAGILE area. I then reversed the process & cut from the opposite end, finally cutting through the area which offered some resistance as I forced my way through the "I L."
6:02 - Imagine my surprise when I found the inside to be pink , and white packing peanuts. I stuck my hand into the box & removed the filling, enough so that I wouldn't make a mess, and by 6:11 I had removed the black soul from the box.
The black, 2 zipper case, with 2 stiff fabric-covered handles with a Velcro/fabric handle encasing wrap, included 2 black metal loops to affix a carrying strap to. The fabric/zipper swath is 4 inches wide & runs the entire length of the front of the case, around to about 4 1/2 inches on the apex side & about 5 inches on the bottom. Not being an expert in leather versus synthetic, I won't guess what the rest of the case is made of, the rest of the case is Alto shaped instead of being a square case. The case is about 27 2/8ths long, 5 inches wide at the apex, and 12 inches wide at the bottom.
The 2 zippers were located on the left side, so I unzipped the one to the right.
6:19 - I lifted the lid, and what to my eyes did appear? A dark reddish-brown plush interior, a gold-covered mouthpiece cap with the 3 small holes in the top of it, the neck in bubble-wrap, and a folded black neck-strap located in the center of the body/bell of the sax. Realizing I had the case upside-down, I closed it & flipped it over
Next Chapter: "The Home-run," coming next.

The case included a hard plastic Saxgourmet Alto mouthpiece that is 3 7/16th inches long.
Also included is 1 1/16th inch long, gold-colored, 2-screw lig with a fancy design on 4 areas of it & LZH-1999 on it. It's not a solid metal lig, but has 8 "cut-out" areas around the interior of it.
Additionally, underneath the bell/bow of the horn was a black neck-strap that is 45 3/4th inches (41 1/2 of that being the actual strap, and the rest being the black metal clips) when stretched out & 34 1/2 inches when brought to the shortest lenghth it can be brought to for playing. The cushioned part of the strap is 6 1/2 inches long. Unlike my Neotech strap with the 1 hook, this strap has 2 hooks. 1 at each end of the strap. These have the safety clasp to keep them from coming off the hook-ring on the sax. Personally, I would probably not use this strap because the hooks are metal & the neck area is not as cushioned as my Neotech strap with it's plastic hook with safety clasp.
There are 3 indented areas of the case. 1 for the mouthpiece; an area right above where the bore of the sax is, which is 1 1/4th by 2 inches (2 1/4th deep on 1 side & 2 1/2 on the other, the neck compartment; which runs along the bore & is about 12 inches along the outer edge, 1 1/2 of an inch wide at the neck-cork area, then it runs about 9 inches down the bore before angling back towards the middle/outside of the case. The last indentuon is underneath the bell/bow of the horn: about 8 1/2 inches long, 4 inches wide, and ranges from about 1 1/2 of an inch deep near the bottom of the horn to an inch near the curve of the bell. None of these areas are covered by a "lid" of anytype to keep anything from shifting; though the mouthpiece area is snug enough that the mouthpiece will probably not move much if kept in the cover. The indentuon for the neck & mouthpiece areas extend into the upper section of the case. The mouthpiece area, for about 1 1/4th of an inch. The neck area, for about an inch.
Next Chapter: "The Horn," coming next.
6:26 - I removed the neck

...after donning my white gloves that came with the horn (I kid, I kid!!), from the bubble-wrap; usin' my trusty scissors, then removed it from the small plastic bag it came in. The leaf-like engravings run up both sides of the neck & are very nicely done. They start about 2/8ths from the bottom & run up to about 1/4th of an inch from the cork. The cork is 1 3/8ths of an inch long & is in great shape. The inside of the cork side of the neck is 7/16ths of an inch on the inside & 7/8ths on the outside. The under-neck octave mechanism is sturdy. It's an inch wide where it meets with the octave mechanism on the horn. There's a small imperfection on the left-hand side of the lip of the neck; less than an 8th of an inch long, where it fits on the sax, and when you place your finger inside the neck you can feel a small bump on the inside / opposite side of that imperfection; don't know if some tool caused this during the manufacturing process, but it's not a significant issue to me since it's so slight.
Note: The case is very sturdy, but one of those that doesn't necessarily like to stay open; having a fabric strap that runs from about the middle bottom of the case to the middle bottom of the lid, so it needs a little "assistance" to stay open & might need to be coaxed into staying open, and it has a tendancy to sometimes start tipping over on the lid side once the horn is removed, depending on what type of surface it's on.
6:33 - The 1st thing I noticed when I removed the sax from the case is that it feels like a tyrannosaurus.
Next Chapter: "The Rex," coming next.
This horn is solid!
The color is nothing like the rose-brass shiny-penny look of the Saxgourmet Tenor Six. It's a dark copper look except for the Honey-colored areas as mentioned in "The Pitch."
I removed the lyre screw since I don't plan on playing this in a pick-up marching band with a flip-chart.
On the right side of the bell is:
VOODOO REX
DESIGNED BY
STEVE GOODSON
Above that is a skull complete with a Tophat & 2 bones crossed underneath the skull.
The flower/vine-like engraving is tastefully done.
The bore interior where the neck goes is 7/8ths of an inch.
Unlike the Saxgourmet Tenor Six which has the 3 neck-strap rings as 1 complete piece affixed to the horn, the Rex has 3 separate large rings, when compared to the Saxgourmet Tenor Six.
The side F# key is large so much so that you'ld have a hard time not being able to find it when you need it. The same can be said for the mechanism for high F#.
The bell is 5 3/16ths inches wide.
The interior of the bell is about 3 1/2 to 4 inches in width & 3 3/4ths inches long.
The abalone key touches are beautiful!
6:51 - I weighed this baby Rex & it weighed in at 4 pounds; 4 1/2 with the neck.
The thumbhook is BIG.
6:55 - The key action is SOLID. No clanky-clanky with this beast; unlike the Saxgourmet Tenor Six which has a little clank action on one of the low notes.
Next Chapter: "I Blow" , coming next.

7:00 - After a little reed prep I tossed a Plasticover 2 Alto reed on my Aaron Drake Ceramic mouthpiece JAB062009 & my new Christoph Heftrig lig, greased up the neck cork, slid it on there, and easily just blew into the mouthpiece & out slid a open keys C# so surprisingly easy that I was surprised! (imagine that!! ) Certainly easier than my Selmer Ref 54, Yamaha YAS-21, or PF Flier. The playability of the horn was sweet though I had to adjust slightly to it from my other horns because of the placement of the keys being closer together for easier playing. However, I had a gig to go play which I normally only play my Tenor on. I took the Alto with me along with my wireless mic. Once there, after prepping a Rico La Voz MED SOFT Alto reed I placed it on my JodyJazz DV 9* because I wanted a different sound then what I was getting from the Drake. When I had time; like between sets, I tested the horn out in a side-room to make sure it was going to work for what I wanted to do. We started the last set with Bob Seger's "Turn The Page." The horn sounded great; having the darker sound which helps off-set the "bright" mouthpiece I use. We add more Sax than Seger has on his version & it worked out great.
Since then, I've taken the horn out more & have been amazed at how easy it is to "growl" on this compared to my other saxes. Altissimo is easy. I was surprised how easy high E-F# come out using the palm keys. However, I'll probably have to find different Altissimo Eb & above fingerings. I'm extremely happy with the horn

An Outbreak of Pseudo-Science!

2009-08-23T06:55:00.006-06:00

I was talking with an executive of one of the big mouthpiece makers yesterday and we both had a good laugh about the recent outbreak of pseudo-science in various saxophone newsgroups lately.

In the last couple of months, a couple of guys have popped up out of nowhere espousing themselves as experts in acoustics and saxophone and mouthpiece design. They quote Benade, Ferron, and others like they understand it, and draw some conclusions that are erroneous at best, and generally comical to those of us who actually design our own horns and mouthpieces.

A very significant and noteable exception are the posts of Toby Marshall. Toby is an American who lives in Japan, and is an enthusiastic and knowlegable amateur player and acoustician. He doesn't hold himself out as anything more than an informed hobbyist, but you should listen to what he says: he's almost always spot on in his observations and comments.

Back to our new found experts: if you Google them or use any other method of looking into their backgrounds, experience, or history, you'll easily find that they are strictly self appointed experts. They're not published (except by themselves on the internet) and actually manufacture no products. That's right, these guys have never made a saxophone or mouthpiece in their life! One of them actually believes that if you put a thin colored stone on the neck of your saxophone it will change the way it plays! You should try this colored stone business yourself. Maybe the red ones play better than the blue ones. I don't know.

The design of instruments and their related accessories is an art, not a science. You need to experiment, and try different things. It's just as important to find out what doesn't work as it is to find out what works. There is absolutely no substitute for building one and seeing how it plays. Then build another one that is different and compare the two.

These pseudo-scientists are just wanking off on the internet. Those of us who actually do this for a living have this thought for them: Guys, we're not laughing with you, we're laughing AT you!

SAXELLOS ARE HERE! BARIS AND CAT 5'S ON THE WAY

2009-08-21T16:24:00.003-06:00

We got a big load of our Saxgourmet Saxellos today. This is a fantastic horn, with two solid silver necks and a VERY uniquely shaped solid silver bell and bow. Key work is to high G, the pads are black kangaroo leather Saxgourmet's by MusicMedic, the resonators are solid brass, the key touches are abalone, and the engraving has to be seen to be believed. This is absolutely the finest soprano available on the planet, and is the cutting edge of soprano design.

The next load of Category Five tenors should be here around Thursday of next week. The last load sold out completely in less than two weeks. As soon as the shipment clears customs, we'll set the up and deliver the ones that are on order.

At last, the baritones are in transit. Since they're coming via sea (it doesn't make a lot of economic sense to air freight baris) I can't give you an exact delivery date, but they should make it to the Big Easy in a couple of weeks. Most of this load of 25 baris are already sold, but there are three currently available.

In early September, we'll have a big load of Super 400 alto and tenor (a dozen each) and a bunch of Saxgourmet curved sopranos. These might make it by the end of this month, but I'd be rather surprised.

The new mouthpiece models should clear customs early next week, and we;ll get right on facing some up for sale.

We're just about finished with the product line.....

2009-08-18T18:08:00.005-06:00

It's been a busy year for us, and we're just about where we want to be on our product offerings. When I left Orpheus, I didn't want to carry anything over, and with the exception of the Saxgourmet Saxello (which was just too good to change) we have replaced everything. That's right: all new and improved products and accessories. We ncouldn't have done it without your support, and Sharon and I are most grateful for your business.

We've got a full line of saxophones now, and unlike other makers, there are significant differences in all of them. In North America, we offer the Voodoo Rex alto and tenor; the Super 400 alto and tenor; the Category Five tenor; the Saxgourmet Saxello; the Saxgourmet baritone, the Saxgourmet curved soprano, and soon, the Saxgourmet sopranino. We've got a protoype coming of a super exotic baritone, but I don't know if it will see production since it's going to be pretty expensive and I'm not sure that market is there. However, I wanted one for myself, so there will be at least one! We also offer an additional model in Europe, and it may eventually find its way to this side of the pond in one form or another.

Our mouthpieces have been a grreat success for us, and we've just expanded the line up. For alto, we now offer the Saxgourmet hard rubber, the Fat Boy, the Voodoo Child, the Black Magic, and the Model 80. For tenor, we've got the Blues Blaster, the Fat Boy, the Florida, the Yellow Moon, the Super Duck, the Big Black Mambo, and the Handmade. The Low Rider baritone has been a best seller, and we also offer a Saxgourmet metal piece for both soprano and sopranino.

I am happiest about the success of our necks. Necks are really a passion with me, and we've offered some products quite unlike anything ever seen before, and they have sold like hotcakes! The Saxgourmet tenor neck (that's the one with the nodal weights and built in neck enhancer) will soon be joined by an alto version. We got our first shipment of our new solid silver (not plated, but solid silver) alto necks last week, and the tenor versions are right behind them. We're thinking about a baritone and soprano version of the solid silver necks, but there are so many different sizes I'm undecided at p;resent as to how to proceed. The solid copper necks have been big sellers. I think we're offering more different necks than anybody in the business. And they are all our original and unique designs. I got talked into getting into the neck case business, and I now admit I was wrong about my belief that nobody wanted them! Of course, our famous and totally unique neck enhancers simply fly out of here.

We've got a few more accessory projects we're working on, including a line of very ergonomic neckstraps, some great cases, and much improved key clamps. We'll keep you posted about these items as they become available.

We're planning a new SAX REPAIR website!

2009-08-16T09:06:00.002-06:00

I'm going to expand my little empire in cyberspace a bit, and re-format some of the stuff we're doing now.

First, my webmeister-etraordinaire, Eddy, is working on a new saxophone repair website. Every day, I get at least twenty inquiries as to repair techniques, so we're going to set up a site with an "ask Steve" section to deal with those. We're aso going to make this site video intensive, with some "how to" instructional videos. We'll probably add a discussion forum (repair only) and I've talked to a few people in the industry about contributing various material. Repair is a real passion of mine, and I've always wanted a web site like this.

We're currently doing some revisions on the Nation of Music site, and it will cntinue to serve as our retail outlet. It's done VERY well for us, and we have instituted a policy of putting three different items on sale there ever month. This month, (August) for example, we have our solid copper tenor neck $200 off the regular price, and our Low Rider baritone mouthpiece Fat Boy tenor motuhpiece at substantial discounts. We've got a number of new mouthpieces, necks, and other products we will be introducing next month, so watch for them.

Finally, when we're done with all of the above, I'm going to give Saxgourmet.com a facelift and add a SUBSTANTIAL amount of new content for saxophone reference.

Voodoo Rex improvements

2009-08-13T13:17:00.009-06:00

As you regular followers know, we're always tryihg to improve the breed. The latest series of our solid copper rolled tone hole Voodoo Rex Alto has some significant keywork improvements: The front F key touch has been re-designed; the chromatic F# and high F# key touches have been made super-ergonomic; the palm key layout has been changed, and you're gonna love it; the feet of the upper stack have been enlarged a bit more. They'e now in stock, so here's some pictures

Voodoo Rex shipment is in!

2009-08-12T18:01:00.002-06:00

We're picking up 25 Voodoo Rex altos tomorrow afternoon! It took a bit longer to clear customs than usual, but they're ready. I've got four left and available for sale. All the rest were presold. If you want one, let me know, as they won't last long!

Here's a couple of new ads we'll be running.....

2009-08-11T21:41:00.005-06:00

Coming soon to a magazine near you.......click on the ad to enlarge

Tricks for a SUPER PREMIUM pad job!

2009-08-10T09:10:00.003-06:00

Our shop does about fifty saxophone overhauls in a typical year, serving clients from all over the world. Granted, my clientele may be a bit different from the typical repair shop (we do no student or school work) but we have found a few things “above and beyond” the typical overhaul procedure that you may find useful and can apply to your shop. Of course, when we overhaul a saxophone, we do far more than just replace the pads, and I’ll save my tips on neck modification, octave pip alteration, and other tricks for future articles.

STRAIGHTEN THE KEYS!
I am forever amazed at the number of people who omit this crucial step. Based on the horns we see, and the shims under the pads installed by others, there is apparently a lot of this going on! Take each and every key cup and check it on your bench anvil to be certain it is dead level. If it’s not, place the cup on your jeweler’s anvil and use a small rubber headed hammer to tap gently tap the rib of the key until the cup is perfectly level. At this time, you should also check the rest of the key for straightness and adjust accordingly. Needless to say, all the old adhesive in the cup must be completely removed and any dents in the cup smoothed.

SELECT THE PADS
This is where many techs fall down on the job. It costs only a little more to use the very best, but many shops “cheap out” and save a few pennies. Here are a few key points to remember when you are selecting saxophone pads:
(1) Pad “sets” rarely work. Get out the digital caliper and measure the cups! Then use pads that are a half millimeter larger than your measurement so they fit nice and tightly with just a bit of fluff at the edge.
(2) Never, ever use pads made with pressed felt! Use only pads constructed with woven felt. It is much more stable and has nice square shoulders. If you don’t know the type of felt, ask the vendor.
(3) Never, ever use pads with pre-installed resonators. You must size the resonator just as carefully as you size the pads to the cups. The resonator should cover as much of the leather as possible. Remember, too much is always better than not enough. Exposed leather acts as a sponge and devours the sound of a saxophone.
(4) Be certain that the resonator you select is made from the same material as the saxophone you are padding. If the horn is made of brass, use brass resonators. If it’s copper, use copper, and if it’s plastic, use plastic resonators. A resonator is a mirror, nothing more, and the only way to assure accurate reflection is to use the same material.
(5) Be certain that you don’t select a resonator material that corrodes due to moisture. This rules out steel and aluminum. Also remember that if you use aluminum or steel rivets with other metals the metals will chemically react with each other.
(6) Never, ever use pads that have a silicone based treatment applied as waterproofing. There are much better ways to accomplish this important task that don’t cause pad sticking. I’ll discuss the procedure later in the article.
(7) Look for an extra firm backing. Ordinary cardboard is not satisfactory, as it does not encourage the pad to hold its shape.
(8) Carefully consider the characteristics of the leather: sheep skin is commonly used, but has durability problems. Goat skin is quite durable, but tends to be grainy and hard. Kangaroo leather is soft, supple, extremely strong and durable, and does not stick. Kangraoo is the obvious choice, to my way of thinking. Nothing else makes much sense to me.

WATERPROOFING THE PAD AND PREPARING THE LEATHER
After the resonators are installed, but before the adhesive is applied, you must get all the wrinkles out of the leather. It really should be as tight as a drumhead, and there’s simply no excuse for leaving any slack. To accomplish this essential task, we apply a very, very light spritz of water with a spray gun to the pad, and then smooth the surface with a heated pad iron. We use round pad irons that we got from Ferree Tool for this job, as they have a cut out in the center that clears the resonator and the set has multiple sizes. For the occasional bass sax pad too large for the irons in the set, I use an old fashioned pad slick. We heat the pad irons with a bench burner, and you’ll quickly learn that too much heat will scorch your pads if you are not careful, and that not enough heat won’t turn the water to steam and tighten the leather. After the leather is good and tight, we apply a Teflon based pad treatment and rub it into the pores of the leather to make the pad shed moisture and prevent sticking.

CHOOSING THE ADHESIVE AND APPLYING IT
I think that at one time or another I’ve tried just about every possible way to get the pad to stay in the cup, and the more I do this the more convinced I am that shellac is the only choice that makes any sense at all if you want a great feeling, long lasting job. All of the varieties of hot glue I’ve tried are too flexible and lack the solid feel that can only be obtained with shellac. French cement strikes me as difficult to work with. Shellac is easy to use and durable and sets up rock hard. Who could ask for more? We start by mixing flake shellac and alcohol to make up a solution that is about as thick as motor oil. It’s usually a good idea to let it sit overnight to get the best results. We then take our perfectly clean key cups and use a small artist’s paint brush to “paint” a thin layer of shellac on the entire interior, including the rims. Next, we take our pads that have the resonators installed, are treated with waterproofing and ironed and place a generous dab of shellac on the back. We’ve found that the Z Gun system from MusicMedic is perfect for this operation. While the shellac is still warm and soft, we immediately take the pad and rub the back on a granite block. This flattens out the shellac and totally seals the back of the pad. The resulting coat of shellac on the back of the pad should be around a sixteenth of an inch thick. We then warm up each key a bit and insert the pad and press it into place, using the same pad irons to be certain that equal pressure is applied around the entire perimeter. Now that the pads are in place, put the horn together. We do not connect the springs or install silencers at this point.

GETTING THE LEAKS OUT
As we assemble the horn, we place a wooden wedge under each key foot so that all the pads are held somewhat tightly closed. When the horn is all closed down, we place it on a saxophone repair fixture and go over the exterior with a heat gun for about five minutes. This softens the shellac sufficiently to allow it to take hold, and provided you haven’t made the mistake of wedging the keys down too tightly (remember I said to wedge them down somewhat tightly, not as tight as possible) the pads should float right into place. It’s now time for the moment of truth. Remove all the wedges, and orient the horn on the repair fixture in such a manner that gravity alone closes the pads. Of course, this will require rotating the horn to several different positions in order to close every pad via gravity. Now, turn off the lights in your shop and insert your brightest leak light. If the planets are in proper alignment and the gods are smiling, you won’t find many leaks. Remember, the pads should seal with no light showing strictly off the force of gravity. If that’s not the case, you’ll need to heat the individual offending key and adjust the pad. If your keys are straight and aligned, and your tone holes perfectly level, you shouldn’t have to do much individual adjusting. After the horn passes the gravity test, there’s one more step necessary to make sure you have a perfect job: the magnahelic machine. We use a magnahelic from MusicMedic, having tried several others and rejected them. The machine doesn’t lie, and is absolutely the ultimate test. We made some bell-adapters from foam rubber balls to seal up the big end of the horn, and the machine is very easy to use. Be warned that it is unforgiving, but if your standards are the highest in the world, there is really no other way.

SETTING THE SEAT
As a final step, once everything is nice and tight, we place the horn on a repair fixture with the keys tightly wedged shut and insert the hose from a commerical fabric steamer into the bell. The hot steam flows through the horn for about five minutes (no more!) and sets a permanent seat in the pads.

As previously stated, this is the process we use for re-padding in our overhauls. If your shop does mainly student overhauls, I would suggest that you offer an upgrade as an option to your customers. They won’t all pay the extra toll, but you might be surprised how many will want the additional services. Even if you decide not to offer the full package, I hope that some of the techniques described are helpful!

New Mouthpiece Models!

2009-08-07T08:44:00.001-06:00

In case you think I haven’t been busy, today I ordered production of several new models I’ve been working on for a while. We’re selling our mouthpieces in pretty big numbers now, and I felt we needed a couple of additional models to fill out the line. The new models, available September 1, are shown in the picture below. These are my working models, so they bear the scratches and scars of my experiments! This is what prototypes look like. They play great, but I gotta admit they’re pretty ugly!
They are, left to right:
FAT BOY ALTO: A companion to our best selling Fat Boy tenor piece. Bell metal brass, high cliff baffle with a bit of rollover, big chamber
VOODOO CHILD ALTO: Bright and loud, extended window, super narrow rails, high long cliff baffle, big chamber, hard rubber
BIG BLACK MAMBO TENOR: Hard rubber, high cliff baffle, huge chamber. This one really projects without being too thin sounding
YELLOW MOON TENOR: High baffle, big chamber, duckbill beak, very thin rails, tapered transition into the chamber. Really nice player!

I've now heard it all...........

2009-08-06T15:03:00.002-06:00

We did some warranty work for an Orpheo tenor owned by Kevin Grimmel.......when we got the horn, I played it, and had two other employees play it, and after careful use age of our Stroboconn, found his claim of intonation problems to be groundless. He also wanted his neck corks sized to fit his mouthpiece. Well, that's far from warranty work, but the horn was here so we did it anyway. We adjusted everything, and asked him to verify his return address. He didn't respond for a month and a half.
We sent it back as soon as he finally responded.

Now here's the thing: the guy is bitching and posting on the internet that we sent it back to him in a flimsy box. Well, let me tell you where we got the box: IT'S THE SAME ONE HE SENT THE HORN TO US IN! By the way, it's a box from Uline, and there was nothing wrong with it. He's also pissing and moaning that we used craft paper rolls
to secure the low B and Bb keys......he sorta failed to mention that everything else was secured with wooden wedges.

This guy needs to get a life and go practice. I'm done with him. Some people will just not be pleased.

Where are the innovations?

2009-08-02T09:22:00.002-06:00

I had a very interesting conversation with a professional player who was visiting with us yesterday. We were discussing the relative merits of the different saxophones on the market today, and came to the following conclusion: ALL OF THE MAJOR MANUFACTURERS ARE OFFERING ESSENTIALLY THE SAME THING AND HAVE DONE SO FOR YEARS!

If you consider the features offered on Selmer, Yamaha, Yanigasawa, Keilwerth, Mauriat, and other brands you will see an appalling lack of creativity and innovation. They've done nothing new for years. Sure, there are a myriad of models, and in all honesty, the various models are different in various minor details, but the question that begs asking is "where is the innovation"? How are the horns offered to players today significantly different from what was offered thirty (or more) years ago? I would submit that they are not very different. They are essentially the same, and this is a shameful state of affairs. Imagine if the automotive industry offered the same models with no improvements for thirty years. This is what is happening in the saxophone business.

The areas where pitch is less than perfect on the saxophone are well known. The problem of uneven timbre persists. Keywork is still not optimized for the players ease of execution. Mechanical adjustments are often cumbersome and usually cannot be easily accomplished by the player. Most instruments ignore the fact that modern saxophone literature calls for a four octave range.

This is a sad state of affairs. It will continue as long as saxophone players tolerate it. The manufacturers have no incentive to change the status quo. I would challenge the other makers of saxophones to innovate.

Who you gonna listen to?

2009-07-27T15:13:00.003-06:00

I have a student who is new to the saxophone (he was already quite an accomplished musician on another instrument) who has a voracious appetite for information. At every lesson, he asks questions (and good ones, I might add) about things he has read on the Internet. Unfortunately, he's getting a lot of information that is erroneous at best. Here's some guidelines that might help you:

(1) NEVER LISTEN TO ANYONE WHO DOESN'T USE THEIR REAL NAME
There's no leeway here. If you know what you are talking about, there is no reason whatsoever not to sign your name. Your real name, not some cute Internet name like "saxprick47". Hiding your identity is the equivalent to wearing a mask. People who know what they are talking about have no reason to hide.

(2) CHECK FOR CREDENTIALS
People who know what they are talking about have easily verified credentials. They are in the business full time, and have worked in the business all their life. They are not part time employees at a little music store in a small town, and they aren't players who have a day job and only perform at open mic nights. They are also not currently enrolled in any educational institution at a level below a masters degree program. People who know what they are talking about have invariably operated successful music businesses for a long time. They are usually published in international magazines and journals. Wannabes are not. The fact that they have a website means nothing. Anybody can put nup a website. If they have received any recognition, be sure it's from a legitimate organization. Being a "distinguished contributor" non somebody else's web site does not count.

(3) BE SURE THEY CAN PLAY
Here's a simple rule: never take playing advice from anyone who has not been able to support themselves (and has done so) strictly on their playing skills. This means no subsidy from girlfriends or mom and dad. No day job. No teaching down at the local junior high school. There are a few exceptions to this rule, but not many.

BUT! you say: this eliminates most of the self appointed Internet experts who post on the various discussion boards. No kidding!

A Look Back At The Past Year....

2009-07-24T13:18:00.008-06:00

It was just one year ago when Sharon and I terminated our relationship with Orpheus Music and struck out on our own, not knowing what the future held for us. Sure, we had experienced plenty of success with our original saxophone designs, and our first steps into the accessory business had been promising.

We knew we had the two most important things necessary for success going for us: a large and extremely loyal customer base and a very big address book of the highest quality vendors and suppliers in the industry.

We were very pleased that our crucial suppliers stayed loyal to us, and that they expressed complete confidence in our original designs and our ability to market them. We met with each of our vendors in person and explained in detail our business plan, and they all agreed to continue supplying us and maintain the long relationships we cherished. All the great designs in the world are worthless if you can't get them built to your exact specifications and to the very highest level of quality.

In order to make a clean break with the past, we had to bring out entirely new designs. Our goal has always been to be the absolute cutting edge of saxophone design and to offer products with features and benefits available nowhere else. We also knew that since we owned the absolute rights to the models previously offered, that our former associates would doubtless dump their existing inventory. Of course, I am always looking for ways to improve the playability of the saxophone, and we had quite a few projects in the wings waiting for production.

During the past twelve months, we have introduced quite a few new models. All except one are completely new designs, and offer significant improvements over our previous offerings. The one we kept and carried over, the Saxgourmet Saxello, was simply too good to change! Our current lineup is as follows:

VOODOO REX
Available in alto and tenor versions, this horn features a solid copper body, bell, bow, and neck and rolled tone holes. There is a special high note compensator mechanism and a medium large bore. This horn has a dark, very sweet tone.

SUPER 400
We hit a home run with this one! This is currently our best selling model. This large bore horn has keywork to high G, a rose brass body, bell, bow, and necks; a n upper stack speaker key, and two necks for two different sounds. Alto and tenor only.

CATEGORY FIVE
I've always wanted to build this horn, and have been working on the design for about five years. It's as close to a perfect saxophone as you can buy anywhere. The bore is super large, the body, bell, bow, and neck are all hand formed from a special rose brass alloy; there are four octave vents and a dedicated altissimo system. There are plenty of other features, of course, and there is nothing remotely like it on the market anywhere at any price. The first load sold out completely in two weeks. More are on the way. Yes, it's expensive. If you have to ask the price, you most likely cannot afford it. Tenor only at this time, I'm undecided about an alto.

SAXGOURMET SAXELLO
We love this horn, and several customers asked for us to keep it in the line. It has a unique bell shape (yes, I know it has an angle, but look at the SHAPE!), keywork to high G, and a solid silver bell, bow, and two solid silver necks. It's the finest soprano on the planet.

SAXGOURMET BARITONE
The Steve Goodson Model baritone was a big hit with players, and this horn is an evolution with a few new tricks. The spot on intonation is still there, but the keywork is even more ergonomic and the response is just a bit quicker. There's a new low A mechanism and quite a few other tricks you will love. Delivery of these starts in a couple of weeks from this writing.

SAXGOURMET CURVED SOPRANO
We took the Steve Goodson Model soprano and tweaked the tone hole placement and bore just a bit. Keywork is still to high G, and the unique left hand pinky table is as slick as ever! First delivery in about 45 days from this writing.

SAXGOURMET SOPRANINO
Our latest project, and a labor of love for me since I'm a very enthusiastic 'nino player. This one has a new bore (a bit larger) and keywork all the way up to F#. Delivery in about 90 days or so.

MOUTHPIECES
We have been absolutely stunned by the way our mouthpieces have been accepted. The numbers we've sold so far are about three times what we projected. Most importantly, the customers love them. Take a look at our feedback in our eBay store, which we can't control or influence in any way. We'll continue to offer the Florida, Blues Blaster, Fat Boy, Black Magic, and Handmade tenor models, and will soon add two new models for tenor, the Yellow Moon (if you like Guardalas...) and the Super Duck (if you like the old Level Aires...) along with a hard rubber tenor. The alto line will be increased to include an alto version of the Fat Boy.

NECKS
Our necks have been another great success story for us. We will soon be adding an alto version of the Saxgourmet neck, and sterling silver necks for soprano, alto, tenor, and baritone sax. We've been particularly happy with the sales of the solid copper alto and tenor necks, and plan to expand that portion of the line.

OTHER PROJECTS
Needless to say, we have lots of other projects currently in progress, including but not limited to a line of the very best saxophone cases in the world. Our repair and restoration business is flourishing. We'll keep you posted on the new projects as they progress.

We're very proud of what we have accomplished in the past year, and look forward to even more success in the future. We started with nothing but a concept and a large group of loyal customers and highly skilled vendors. We know that a large part of our success has been that we offer products that are unique and on the cutting edge of saxophone design, and promise many more innovations in the years to come!

Nashville NAMM Show Report

2009-07-19T08:26:00.003-06:00

Sharon and I had a great time in Nashville (I'm still there at the time of this writing) and it was our most successful NAMM show yet. It's always great to see all our friends in the music trades, especially those who make the effort to come from so far away.

We accomplished what we set out to do here at this show: we ordered the first round of prototypes for the Saxgourmet Sopranino, we ordered the first production run of the Saxgourmet Curved Soprano (delivery in about 45 days), made arrangements for a promotional tour of Asia to introduce our products to the retail community there; and met with some folks iterested in making a film about the design and manufacturing process for our saxophones (starring moi, of course!).

We saw lots of interesting products, including some very nice mouthpieces. We also signed up a new vendor to manufacture our solid silver necks. These necks will be available for soprano, alto, tenor, and baritone and will be of the VERY highest quality. We'll be manufacturing them for ALL the major brands.

We didn't see a lot of new saxophones on display at the show, but a number of our good friends from Asia has some interesting things with them for private showings in their hotel rooms.

We brought a Voodoo Rex and a Category Five and introduced these horns to some of our "inner circle".

Nashville is a GREAT place for a convention like NAMM. We have lots of friends involved in the music industry here, and look forward to returning soon. Sharon bought a good bit of way too funky western wear at the boutiques, we had some really outstanding meals (who would have equated Nashville with fine dining?) and I sharpened my appreciation for the fine Tennessee Whiskey. It's been a great trip, and I'll be back in the office Thursday, after I celebrate my birthday.

Off to the NAMM Show!

2009-07-14T17:17:00.005-06:00

Sharon and I are leaving in the morning for the Summer NAMM show in Nashville, along with a couple of members of our staff (Eddy and Eric). We love Nashville and have many old friends in the music industry there. We will return next week, and the office will be open during our absence.

This show, more than any other in recent memory, should give a pretty good indicator of the general health of the industry, and the saxophone business in particular. From the looks of the exhibitors list, saxophones are going to be pretty scarce in Music City USA. I guess the old saying that "only the strong survive" applies here. Many of the horn companies who used to exhibit regularly are conspicuous in their absence.

The main purpose of the NAMM show is to give the manufacturers an opportunity to show their products to existing and prospective dealers. Since our Nation of Music company is the ONLY dealer for Saxgourmet products in North America, we don't see much point in exhibiting. However, most of our vendors will be there (they don't exhibit, either) and we've got a full schedule of meetings with factory owners, Indian Chiefs, and industry insiders.

NAMM is a great organization, and there will also be plenty of seminars and clinics for people who own companies like ours. It's always good to hear what others around the world are doing, and we always feel like the educational aspect is well worth the price of admission.We're meeting a few of our friends and VIP's at the show, and plan to shoot a couple of YouTube videos featuring our products and a few "names you know" while we're there. I'll post them when I get back.

Orpheus Warranty Issues

2009-07-14T09:47:00.004-06:00

A question has arisen this week about the warranty obligations on Saxgourmet Model Six (that's the discontinued one, not the current production) and Orpheo saxophones. For the record, now and forever, here's my position on this matter.

Steve Goodson Woodwinds LLC is fully responsible for any and all warranty claims on all Saxgourmet Super 400, Saxgourmet Category Five, Saxgourmet Voodoo Rex, and Saxgourmet Baritone instruments manufactured by us. In adddition, we accept full warranty responsibility for all Saxgourmet Saxellos manufactured by us.

We do NOT accept any warranty obligation for instruments manufactured by Orpheus Musical Instruments LLC, Orpheus Music Inc., or any of their successor companies, or for any instruments sold by them. They manufactured them, they sold them, they are responsible. Look on your bill of sale or invoice and see who you did business with, it's as easy as that. I also don't accept warranty claims for Selmer, Yamaha, Keilwerth, Cannonball, Antigua, or any other company. I didn't manufacture any of those horns, either. Look to who you bought from to satisfy your claim.

True, we own the Saxgourmet and Steve Goodson Model brands. We do not own the Orpheo or Vespro brands. Our company never manufactured any horns under the name Orpheo or Vespro, and we never manufactured any Saxgourmet Model Six horns. All of those were made by Orpheus, and the warranty liability lies strictly with them.

We can help you with parts for the Saxgourmet and Steve Goodson Model series, since we are in regular contact with the factories that actually did the construction.

The Truth About the Orpheus Saxophones

2009-07-12T09:39:00.004-06:00

There's some serious misinformation elsewhere on the net about the discontinued horns being sold by Noteworthy. I was the designer and in charge of manufacturing at the time those horns were being manufactured, so here are the straight facts:

(1) the Saxgourmet, Steve Goodson Model, and Orpheo horns were all made in DIFFERENT factories. They have nothing in common but the source of the pads, which was MusicMedic

(2) The Steve Goodson Model alto and tenor was made in three different factories over the production run. The factories were located in three DIFFERENT countries and owned by three DIFFERENT companies. The horns are basically the same and of equal quality. The last series, which is easily identified by the addition of a clothing guard on the upper stack, has a relocated altissimo key touch and a few other imrovements which make it the most desirable.

(3) The Orpheo was NOT made in Taiwan. They are really great horns, and probably the best buy for the money.The Orpheo horns that are currently being produced are in NO WAY the same as my designs, and come from a different factory. I do not own the Orpheo trade name.

(4) The Saxgourmet Model Six was always made in the same factory. That factory made the last run of Steve Goodson Model alto and tenors. These horns are VERY different, and the only thing they have in common is the factory and the pads. This factory does the finest job in Asia, in my opinion.

(5) the Saxgourmet Saxello was made in a different factory than any of the other horns. The same factory makes this horn for me today.

(6) The Steve Goodson Model baritone was also made in a different factory. This factory is a small shop that makes only baritone saxes. There are only two factories in Taiwan which make baritones.

(7) The Vespro and the Orpheo came from the same factory. The Orpheo was my unique design, the Vespro was somewhat "off the shelf" with a few changes

(8) The last LA Sax horns, the 750 and 850, are really good. They came from yet another factory. The LA Sax Series II and LA USA horns came from yet ANOTHER factory. The 750 and 850 are from Taiwan, the others are not.

(9) the Steve Goodson Model curved suprano came from still another factory. These are REALLY good horns

(10) the Steve Goodson sopranino was sourced from yet another factory in Taiwan.

As you can see, during my tenure at Orpheus we had dealings with many different vendors. All the horns except the Vespro were my unique designs, and were unavailable anywhere else.

I still have business dealings with all of the companies referenced above exept one. I also deal with several other ccompanies that we did not use when I was at Orpheus. All of the horns my company offers are my unique designs and are available nowhere else. All of the various models that were sold when I was at Orpheus have been discontinued and replaced with new models.

I really don't understand all of the discussion by the self appointed experts on the web about the relative quality of horns made in different countries. Quality is quality, no matter where it comes from. Some of the very best horns I've ever played have come from China.

I hear a lot about the factory workers in China being paid slave wages and undergoing poor working conditions. Nothing could be further from the truth. These workers are highly paid (by local standards) and since the factories are all new, they are as safe and well equipped as any factories anywhere in the world. It's quite unfair to judge one nation's economic system by the standards of another. It's not even an apples vs. oranges comparison. The basic economic systems are too different to compare wages on a dollar for dollar (or huan for huan) basis. You just can't do it.

The Asian people involved in the musical instrument manufacturing business are highly skilled and produce the best products in the world. They have made music affordable. They deserve our respect, and I don't understand the prejudice.

I've been doing business in Asia for many years. I plan to continue to do so. I would encourage the critics to get to know our friends in Asia, and carefully examine the products they produce. They (both the people and the products)are the best in the world. That's the reason they dominate the industry today.

The Longest and Strongest Warranty in the Saxophone Industry

2009-07-08T17:09:00.003-06:00

We're going to warrant our new Category Five tenors for 25 YEARS. That's right, a quarter of a century. Nobody has ever done this before, because nobody has EVER had a product of this quality. We would, of course, be foolish to do this if we thought for a minute there would be a lot of warranty claims. We know we won't have a lot of claims, because we know that there has never been a saxophone built at anything even approaching this level of quality.

Our warranty is simple:
We warrant the Saxgourmet Category Five saxophone for a period of twenty five years from the date of purchase against any defects in workmanship or materials. This warranty applies to the original purchaser only, and excludes pads, corks, felts, and finish. It does not cover accidental damage, neglect, or lack of regular maintenance and lubrication. It's as simple as that.

Back by Popular Demand

2009-07-07T08:55:00.003-06:00

As you regular readers know, we completely redesigned all the saxophone models last year when I severed my relationship with Orpheus Music. All the horns (and mouthpieces, necks, and most accessories) are all new. Nothing was carried over. Until now.

I'm going to bow to pressure from my customers and distributors and we're going to make another run of the Saxgourmet Saxello. This horn was a big seller, and I hate to say it but the design was damn near perfect.

The Saxgourmet Saxello is very unique among sopranos: the bell (more about the bell design later) is solid silver, as are both the necks. Keywork is to high G, the pads are black kangaroo leather Saxgourmets with solid brass Noyeks, the pearls are deep water abalone, it's hand engraved on the bell, bell flare, body, and necks, and the finish on the body and keywork is bright copper plate. The bell and necks are silver, not plated, but SOLID sterling silver!

I always liked the saxello shape for a soprano. The angle of the bell keeps you playing right into the microphone, and not into the floor. When I was designing this model, we came up with a VERY unique (found on no other horn) bell flare. The bell is also the very biggest found on ANY soprano, and this makes the horn really projects!

This production run may or may not be the last of these. We've already sold four to customers who had requested them, and we're sending a few over to our distributor in the UK, where it was always popular.

If you want one, let me know. $3500 FOB New Orleans.

The coming shake out in the saxophone business

2009-07-03T16:37:00.002-06:00

All is not well in the saxophone retailing world. In the next couple of weeks, expect to hear announcements from a few well known dealers that there are going to be some very significant changes in their operations.

Many well known dealers are now on "credit hold" from the manufacturers, and most have had their available lines of credit severely reduced. Unsold inventory is piling up, and the vintage market is in shambles.

The lucrative school market is rapidly going away as programs are cut. Prices on student instruments have, on average, fallen by almost 50%, and retailers margins have been reduced accordingly.

More and more horns are being bought through internet outlets, and the local dealer is suffereing. The old business model just doesn't work anymore, and it's past time that the industry wakes up and smells the coffee.

We saw this coming. We only sell our instruments in North America direct to the consumer. We don't have (or want) dealers, and we don't let anyone owe us money and drag us down with their own financial problems. We deal directly with the factories who manufacture our instruments, not with agents or brokers. This reduces the size of the food chain and allows us to sell our premium quality, uniquely designed instruments at a substantial savings to the customer.

We don't have a lot of people on the payroll (only four) and we don't have a lot of endorsers sitting around with their hand out. We don't need them. The vast majority of our instruments are bought prepaid, and our lines of value priced accessories sell very well on our retail site and through our eBay store. Just take a look at the eBay feedback (we can't control it in any way) and you'll easily see that we've been selling an awful lot of mouthpieces, necks, and other accessories to an awful lot of very happy and satisfied buyers.

Our business models seems to be working, and I think you can expect more retailers to adopt it in the future. For those who do not wish to change with the times, I can only say "Rest In Peace".......