Non sax players - please bear with me
(Mental Health Warning: Kids, das klang ist nicht in diesen objekten. We should avoid obsessing over stuff... but here we go anyway)
Geeks Corner
current set up
| Horn | mouthpiece & lig & reeds | when |
|---|---|---|
alto: Selmer Balanced Action s/n: 27k (with Gloger solid silver custom crook since Dec 2009) silver plated Selmer Balananced Action s/n: 31k |
Meyer 6 & 8, and Meyer New York 5 (courtesy of Rupert Noble); (Selmer S80 C* for classical attempts) Selmer standard/Vandoren flexible/BG standard/Vandoren Optimum & Henri Louis Vandoren Java 2.5/3.0 (occasionally Hemke 3.0 for low body) |
since circa 2001 |
| soprano: Yanagisawa S991 | Link ebonite 6 (occasionally Selmer S80 F) Vandoren flexible Rico Royal 3.0 |
since circa 2004 |
| B-flat clarinet: Selmer Depose | Selmer C95/123 BG Revelation / Selmer standard / B & H standard Rico Grand Concert Select 3.0 |
since circa 1994 |
| Bass Clarinet: Buffet to low E-flat | Selmer D Selmer standard & Eddie Daniels Ronver Vandoren 3.0 |
2nd October 09 |
This list is bound to deplete as the cash vs 'time for life' balance shifts
Historical sax trail
alto:
Selmer Series III (~2000-001)
Yamaha 82Z Custom (~2006-2007)
Yanagisawa A992 (~2002-2003)
Yamaha YAS62 (~1990-2000) [Lawton 7 / 8 B BB* mouthpiece] - covers the Tshisa & Tokolosho recordings
Conn 6M Ladyface (~1988-1990)
Conn Pan American (~1986-1988)
I started out on the best horn I could afford at the time (the Pan Am) and gravitated to the Meyer mouthpieces. This was followed by a period where, greatly influenced by the recordings & live performances of Dudu Pukwna, I moved to a Yamaha YAS62 / Lawton mouthiece setup, often selecting high baffles and platic cover reeds. This was at a time when there was much need for shouting...
My present tastes revolve around the sound quality of my 27k Selmer Balanced Action and either a 6 or 8 tip Meyer ebonite medium lay/chamber mouthpiece, depending on the balance between body and sweetnesss & flexibility I need. Many thanks to Rupert Noble for scoring the sax and for Tony Kofi for introducing me to Rupert & letting me play it one night in The Wirral when my Series III octave mechanism fell apart mid set.
Sax repairs carried out by: Previously the legendary Charles Ndlovu of Musicraft in Cape Town (I'm very sad to say that Charles passed away in 2009 - but the workshop is still active, see link below) and Sebastian at Howarth's in London