The Java’s sound like classic LA. Amazing how the Boston reeds give you that Joe- ish sound resistant but nice and dark 10:19 and the Syos give you that Trane sound . They all have their perks Enjoyed the four on four

I got the bump one mpc..firt day testing it

Andy-you the cat!

Do you like/dislike the organic d Addario selects compared to the old ones?

i like the Syos sound (the second reed) and the Javas

Nice tone

Sounds gud man. I'm buying one ...I had one that I bought in 2006..but 😢I got rid of it

you can buy 50,000 grit diamond paste thats in a spray bottle, knife sharpeners use it. a tiny sprits on paper would prolly does a great job too.

They sound really good, but the upper register go for the Rigotti Redbox!

Get hold of Rigotti Red Box. They are a classical reed and will satisfy your need for resistance in the top. And very consistent.

Wouldn’t it advisable to cover the tip rail? I’m going to reduce the high baffle on a piece little by little to try and create a lesser bright sound.

Buuuuuuy..your piece from Jones. You sold it, Garz said get it-back..Your piece from Billy Jones....to blooooooww...5:40 yeah!!!!

If you begin with a mouthpiece with a .075" tip opening, and the thickness of the tip is .040", to bring it to .105" tip opening would mean you would need to remove .105" - .075" = .030" of material. If the tip thickness is only .040", then .040" - .030" = .010" remaining thickness. This razor thin tip would be very delicate and easy to break. No, you just can't do this. If you then file back the tip you have also lost some of the tip opening gained. Some jobs like this are just a losing proposition. If you take material from the table in an attempt to angle the tip up you will create an abrupt angle at the break, or where the facing comes away from the table. You will end up with a facing that has a sharp curve at the break, and long nearly flat region. It just doesn't work out. This is like wanting to bore out an automotive engine, only to run into the water jacket, or stroke the engine (longer throw on the crankshaft) only to find the connecting rods hit the inside of the block. There are limits to what you can do.

Feeler sizes needed are: .0015" (referred to as "one and a half thousandths"). This is used to measure the facing length. It is quite delicate, and some guys use .002", though that gives a slightly shorter, about 1 mm shorter, measured length. Does not matter as long as you are consistent. Next is .010" (ten thousandths). Then .014", .024" or .025" (will give the same measurement), .030" or .031" (will give the same measurement), .048" or .050", .063", .077" or .078" (2 mm), .094". There are two types of glass gauges. One type, the zero is not on the edge, but about 2 mm away from the edge. I prefer the "zero edge". The zero is right on the edge. The mouthpiece can be placed on the glass and the mouthpiece and glass pushed lightly against a vertical surface, such as the edge of your workbench, to align the mouthpiece to zero on the glass. The wands are fine for measuring tip with most clarinet mouthpieces, but for sax mouthpieces with a good "roll over" baffle the wand sometimes hits the roll over, not the tip rail, resulting in a false reading. I use the gauge fixture from Theo Wanne or the one I have from long ago from Winslow (long out of business) holding digital gauges fitted with a small ball tip. The ball tip will contact the tip rail at only one point, giving an accurate and repeatable reading without scratching the tip rail. For plastic and hard rubber, 600 grit silicon carbide paper will do most jobs, but 800 and 1000 sometimes used for a little polishing. Metal, 400 grit to start, finishing with 600. Stainless steel mouithpieces, Bergs, are VERY difficult to reface.

which signal booster are you using?

i wonder what cheap paper would be classified in the normal sand paper grit numbering systems.... 4000? i have 3000 in front of me right now (the highest i have from a variety pack off amazon) and it feels rougher

Table concavity? What u mean? Thetable has to be flat

Good morning, I would like to learn how to reface, I'm from Brazil, could you help me?

Nice video!!

I really liked the “hey ,I’m here play me sound “that you are made on the 1st Supreme more than your own horn.The issues that you mentioned are all minor and with a proper setup and a bit of time you would adjust to the new horn.Intonation and articulation seemed better on the Supreme .BTW The Jody jazz hand hammered mouthpiece sound great on these horns.I have a handmade Guardala Super king and would love to get a hold of one the Supremes to try it out on them.

Not exactly the proper way to fold up the stand.

Nice layman's overview. Refacing can be amazing, but I don't know how to adjust the facing in discrete areas. Any clues?

The big opening takes away from the richness of your sound.

I think I almost bought this 😂. Now I wish I did 😅

It sounds great!

Cool horn. I also got a 182k (1937/1938) 10M. My grandfather purchased it brand new in 1939 for $150. He had it relac'd sometime in the 1970s as well.

Faz uns três meses mais ou menos que adquiri uma Selmer Soloist C de tenor (acredito que ela seja bem fechada) sempre toquei com boquilhas mais abertas 7 ou 8 e agora estou sofrendo muito pra me adaptar a ela, uso palhetas número 2 e não tem dado certo, sinto a embocadura não acostumar. Oque devo fazer pra melhorar ??? Qual o estudo recomendado pra adaptar ??

i change up all the time because it inspires me to practice EVERY day. And I do not mean noodling! The different thing brings different ideas to me. I write down a lot of the things that pop up. I have been doing this for 60 years now LOL!

I’ve ALWAYS gotten a lot of value from your videos, and your stream of consciousness with your playing/talking creates a wonderfully true experience that’s very relatable for the player. What era Mark6 is that?, I’ve got a great 166xxx that I play, although I’m playing a 1932 Selmer Super as well, and it’s a fantastically different vibe than any 6 out there. Mouthpieces “behave” so differently on different horns. I’m playing either a 7* STM no usa or a ebonite 7* Babbitt. Thanks for your focused devotion to all of this.

Andy, nice hearing your views, i own a '65 mkVI and I've been also playing on a selmer super action series iii tenor for a few years. I like the series iii updated build quality and sound however at the end of the day the price is what gets me, man over $10k for any musical instrument these is unwarranted. I would buy a good used car first like you said and I'd still have my MkVI.

Thanks for showing how to measure the facing. How do I find one of those kits? Also, how did Adam tell you how to clean the brass mouthpieces?

Prefer your tenor’s sound. But then again you’re used to it’s character, so it might take a bit more time with the Supreme.

That thing is poisonous

Always a pleasure Andy! You and Gonz sounded beautiful together. Super melodic!

Hi Mr. G, The Jerry Rig sounds a little darker than the first one. I like both; although I favor the first one. Sorry Jerry, I still love you! Please let me know if the new ones are easy to come by. Jerry is “good people!” Best Regards, Rick Looking for one for Bari! Née

supreme

Hey Andy - I’ve admired your playing & videos for some time now! About 8 minutes into this, after just your first phrase, I was really missing your Mark6. The 6 has what I call a traditional Jazz Authenticity going on…..and I’m talking GOING ON! The Links begin this process like no other mouthpiece in history (yeah I’m an opinionated s.o.b.), but for myself during these 3+ Covid years I’ve confirmed that the horn matters. I play either a 1932 or 1969 Selmer tenor, and still spend serious time on a 1927 Chu. Where I live I’ve discovered a wonderful repair tech who’s made ALL the difference in changing my mind about selling a couple of my horns. It’s wonderful to see and hear you go through the different processes you present in your thoughtful dedication to saxophone playing.

that slant is MEAN! It's got that dry bite in there. And I'm starting to love wide open alto mouthpieces too

Nearly 10 minutes, 4 of which is unpacking! Doesn't even show what I wanted, clear shots of the setting and breaking down so I know whether it's gig-friendly or not.

Hi … I got into repair work and brought an old beat up 28m after playing Yamaha for 20+ years just to see how unique the ideas and mechanisms on this horn are… was a bit of a love hate relationship at first but I then purchased a 1950 conn 28M and overhauled it….love it! More focused than older conns and delicate in build but such a shame conn and other manufacturers didn’t take on some of the ideas (doesn’t series III have 3pios ?). If there is ever a vintage horn that needs remaking including the tenor that never went into production this is it. Thanks for reviewing it favourably

Where's part 2? I'm an amateur. Sold my high school Bundy alto. Years later, went to a shop and tried 4-5 used altos; bought the best-sounding - used student Yamaha. Played it for awhile, and some clicking arose... lost a screw?? Still plays, but... Anyway, seems the repairs will cost the same as a new one. Still, seems a waste to throw out a body that has good tone.

Thanks for spotlighting the latest model. To be completely honest, you sounded much better when you demo'd your friend's Ponzol Pro One. You also looked much more comfortable on the P1 keys.

All 3 horns sound excellent. Am I going to run out and buy one for $11,000? Heck no, it’s not THAT much better than my 61,000 Mk6 but it’s very nice.

Are you using a very hard Reed? Sound struggles to come out

Will these two Supremes be sold as "new" after all the jam sessions, play test videos, random customer use, etc.? How much playing has to occur before a horn becomes a "demo model" that is sold for a small discount? Or do some shops reject that designation and regard their inventory as brand new until sold, regardless of how much it is played?

Sounds damn fine. Wis they would make them without the high F#

Just bought a mint 1955 MK VI alto. Lucky me!

I'm eager to try one. I mainly play one of two SBA tenors, a 50k & a 54k. The sound of the VI seems to have a bit more tonal variation, like flavor, or color. So hard to say what it is. I guess the Supreme sounds more "direct", whatever the hell that means! I like your VI a bit more, but who's to say that after a couple of weeks you'd get the same stuff outta the Supreme? YOU sound really good-you'd sound good on any horn. Frankly, I figure that every sax needs to be played in tune and a good player figures the quirks and plays around them. I'll take more quirks with a more interesting sound. Just my opinion, obviously. I won't be sellin' me SBA's for a Supreme, no laddie, you can take that to the bank!

which sounds more like a human voice?

so did you trade?