(This page under re-construction!)
Vintage/Dark-Lacquer Alto
Temitayo Kayode (SYOS mouthpiece? Not sure…)
Comparisons, NOS vs NOS
and NOS vs Others
The two versions of sopranos and two versions of the alto do have slightly different timbres and response. They’re presented a cappella below to allow the similarities and differences to be heard a little better:
Each pitching of course compares differently to vintage and more contemporary “colleagues,” and below are a few illustrations of how similarities and differences sound, recorded, with the same mouthpiece and reed used on both the NOS and comparison horns:
Neck vs Neck
This really shouldn’t be even a little bit controversial, given the number of virtuoso — the most skilled of the skilled — players who are known to have chosen to play non-original necks on their horns, especially among tenor players, but there is a world of discovery to made when it comes to neck options. Well known and legendary players like Michael Brecker, educators like John Tendy, and younger contemporary players like Marcus Strickland all played, or play, non-original necks on their primary instruments (Google will show you this, if you won’t take my word for it). Non-original necks create an infinite opportunity for individuality and fine-tuning — in short, potentially, improvement.
Recordings aren’t the best way to illustrate the differences between necks on a given horn (which are about response, and “transparency” which is a matter of the horn feeling natural to you in the maximum number of ways, so that your thinking is the freest and least encumbered) — playing a neck is the best way to experience whether it improves your saxophone life — but sound files are what we have for remote sales, so here are a few attempts to illustrate some differences between necks:
Crescent vs NOS
Additional Sound Samples from Around the Web:
[Please check back here: sound samples will be added here as they become available and time allows — eventually there will be a lot of them]
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