Choosing a saxophone, either to begin one's studies, to indulge a long nurtured wish to play or to invest at the professional level in 'an instrument for life' has in many ways never been easier. The quality of the various models available is generally high at all price levels - the differences between similarly priced saxophones are not huge and even the variation between starter instruments and top of the range models is relatively small. This means that in many ways it is difficult to make a truly bad investment as long as one is aware of a few important points.
Saxophones seem to be offered from all corners of the world these days. Gone are the times when the only choice seemed to be to buy French or American. Very successful instruments are now also being manufactured in Japan, Germany, the Czech Republic, Italy, the numerous workshops of Taiwan and in recent years China, and one can become overwhelmed indeed! Added to this there is increasing globalisation of parts manufacture, assembly and sourcing of the accessories that come supplied with an instrument.
Improving designs and standards of manufacture in student saxophones and fierce competition in professional pricing have meant that the notion of an intermediate instrument, in anything other than price, is almost completely gone. Many models that were considered to be of professional standard 30-50 years ago would no longer be recommended by teachers as adequate for learning. Many once rather expensive student models have been supplanted by better-designed and less expensive new models.
In order to form an unbiased opinion of the performance of an instrument (indeed even models by the same maker) each saxophone should be evaluated on its own merits, not necessarily by its name or past history. Responsible music shops undertake just such evaluations on a continuing basis in order to be able to offer their customers the best of all the available models. This helps to ensure that as much as possible, your choice of saxophone will be of the correct standard to do the job for which it is being purchased.
Beginner Level Choice
Since so many makes of student instruments have borrowed (even directly copied) features of dominant professional instruments, it is now possible to experience the feel of many top name saxophones in some budget priced models. Some recent models have borrowed keywork design, others body tube proportions, and others attempt to reproduce the weight or mass in the brass alloy used.
So, how can a new player begin to select their sax? A good way to start perhaps, is by conversing with knowledgeable sax playing colleagues, teacher to be, school etc. Then select a recommended specialist shop in which you can have confidence. A definite plus will be a shop with in-house repair technicians as their contribution is vital in ensuring a good experience.
When you visit you should explain your situation and ask to view recommended models within an affordable price range. Having been provided with a selection of instruments to hold, or better yet to play, however inexpertly, players will almost always to be able to identify something that will help them form preferences and eventually lead them to a selection. All the many contributing factors which make up the instrument contribute to a 'feel' and players will often separate themselves broadly into two categories - those who, particularly at the earliest stages, wish to experience playing as easily as possible, and those who are looking for something more than just ease of blowing in the character of sound. I should quickly say that such a comparison test will be most useful if the same mouthpiece and reed are used across all the instruments tried. More on that later.
Any good quality beginner model is likely to see a young player through at least grades five to six. If they are keen to continue to play then their investment in a good student instrument will then have prepared the way for a smooth transition to a professional instrument when the time is right. As a result, I feel that a new player's early preferences for sound and feel can be indulged largely without adverse consequences. What really matters is that the instrument selected be well made and that a suitable, good quality mouthpiece is obtained. It is now possible to invest well at the beginning, upgrade a quality student instrument with a 'professional' mouthpiece and later purchase a 'top-grade' pro model after a few years of experience (perhaps around grade seven to eight level) with neither your learning opportunities or your bank balance suffering inordinately. I feel that this development should be very encouraging to players and might inspire greater confidence in parents with children eager to learn.
What Constitutes Good Value?
Ask a good repairer and they will confirm that even the best pads, properly seated, will not perform well if there is motion in the fit of the keywork or poor regulation. It is worth checking closely how much long key rods (such as those used for the G key, high E and bell B and Bb) are able to 'move about' when pushed sideways. Similarly, check how much lateral travel short keys like side Bb, high F and palm D experience under stress. As the fit of these keys is dependent upon both the quality of materials and good construction standards (contributing to additional expense for the manufacturer) many cheaper instruments will not pass this 'fitness' test. Such an instrument will probably have other manufacturer related problems and will be likely to become unreliable and expensive to maintain in the future. If regulations, particularly those which govern the articulated G# key, the left hand C correspondence and the related closure of the bis Bb key are not correctly set, then the finest instrument will perform little better than the worst. If an instrument is soundly made and well set-up it will be much more likely to play satisfactorily for longer and, when maintenance work is required (as it surely will be in time) the job will go much better.
Professional Level Choice
This brings me to the vexed topic of professional models. How does one choose with confidence? In the broadest terms a musician selects a saxophone at this level as a 'tool of the trade'. Does it do what he/she wants it to do? Will it be respected in musical circles? Does it fit the image of what an instrument should be? All of these points are valid ones but for me the bottom line is much simpler.
Does this instrument inspire you to want to practise and play? If so, then you are surely on to a winner.
Remember also - if they all seem so good that you cannot choose between them, then you cannot truly consider any choice a mistake.
Every person's experience is bound to be different. Some find the right saxophone early on and then continue to use it out of preference throughout their lifetime. Others find that their changing tastes, the introduction of new products, a change of circumstance, professional opportunities, etc. will dictate that many different saxes be purchased during the course of a career. As long as you are being well served by your instrument you should feel good!
Before closing it is worth mentioning something regarding the increasing diversity of metals being used for saxophone bodies and the many finishes which now proliferate. In my personal opinion these are largely a diversion from the real essence of an instrument. Each reputable manufacturer attempts to create an identity for their products. Each seeks to create a consistency in the feel, intonation, resistance, appearance and tonal colour to unify their models. In general, such identity is achieved through the acoustic design of instruments, through some specific keywork features and very importantly, via the body tube mass/alloy used. Cosmetic finishes on the standard brass tubing e.g. silver plate, enamel of any colour or lacquer have a proportionally minute effect when compared with the more important structural elements.
Different metals such as bronze, silver or nickel do make more of a difference, as the instrument will actually resonate with different frequencies given prominence by the vibrating metal. Even this is moderated by the fact that, unlike brass instruments, the tube of the sax is not fully engaged at all times in vibration. Patently it has holes in it and with the dampening effect of lots of leather pads affecting every note differently the overall contribution of these various materials is diminished. If looks are very important to you then by all means select from the range of options available with the knowledge that not much benefit comes from the finishes, and the confidence that not much loss occurs either. I'll always go with what really plays for me.
One of my teachers once gave me some very wise advice whilst encouraging me to consider the benefits I might gain from changing my own well-loved instrument for another. He implored me to '
learn to love the saxophone not a saxophone'.
These words have proved themselves invaluable numerous times during my own musical career and never has this advice seemed more appropriate than during the preparation of this article.
It is worth considering that you are most likely to choose a sax that suits your own level of ability (as long as finances permit). Therefore, as every individual is unique, not all players will find themselves choosing the same model.
What matters most is that the saxophone selected is one that will provide you with the greatest encouragement and inspiration for your musical future.
WOOD, WIND & REED. 106 Russell Street. Cambridge.
01223 500442
www.wwr.co.uk
Theo Smith
