Description
This saxophone is sold! But click here to see our current selection of soprano and sopranino saxophones!
For overall playability and tone, this is one of the best curved sopranos ever made. The late True Tone curvy’s are coveted for their unique combination of a big, warm, rich tone and accurate intonation. The modern soprano sound for some reason has not managed to recover the richness of 20’s to early 30’s soprano tone (probably because the modern sound is a development of the Mark VI soprano, whose design actually PRE-dates the advancement represented by the Buescher, Conn, and Martin sopranos of the late 20’s!). This is not to say that modern Yanagisawa, Selmer, and Yamaha sopranos are no good, but it is to say that they sadly have not yet incorporated into their design the bore characteristics that make these older sopranos sound so good. When you play an old Buescher, Martin or Conn, it’s almost like you’re playing a different instrument from what people are used to thinking of as soprano saxophone.
The big advantage of curved soprano compared to straight is that you can hear yourself. (It’s also better for recording.) The disadvantage is that you have to get used to the compact nature of the instrument, which does take a few weeks of loving dedication to do.
Cosmetically, and mechanically, this is as clean of an example of a late True Tone curved as you will find. It is nearly perfect with no past repairs and no current dents or dings or issues. It has a high F, which is great. The pads are newer – I don’t know who did the pad work – and the horn plays easily and well. This horn would look brand new with a polishing job, which could be added on as part of a sale if you want.
The delightfully compact original case is in great shape, and if you want to add a gigging case to the deal, I could get a customizable one ordered from Allied Band for you. Any questions, feel free to ask away.
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