I like the original neck more. You’ve got such a clear, bright sound anyway and the original neck adds more resonance for me. As you say it definitely sounds warmer and more controlled on subtones.
The regular neck sounds better. Honestly this Boston Sax Shop stuff is overrated. Their reeds are repackaged Rigottis. You have to give jack credit for advertising hype. He's good at that but their stuff is not that special
Hey Jake, I haven't played their reeds, but I'm a big fan of this neck. BSS seems to be attracting a lot of great players to play their gear so Jack is doing something right - most of these players (myself included) wouldn't play gear just because of hype. I do have to say that I am pretty happy to see some smaller boutique companies finding a user base. John Leadbetter is establishing a good name for himself as well, along with Key Leaves, Syos, and other smaller companies.
Yes but Syos, Key Leaves and others make their own product BSS just repackages other peoples product and calls it his own, as I said his reeds are just Rigatti's in a different box I'm happy to see Boutique companies Thrive as well, yes he attracts a lot of good people but something about his aim is not true
@@jakechastain8477 Rigotti does make their reeds but they are a different cut. I have a machine to measure them and the strengths are placed differently as well. The necks are his tweaked to his design, with a higher neck angle than most that are based on Selmers. The Superlative is a completely new creation, and his mouthpieces are inspired by older pieces but not replicas, so they are a new take. The new machining process for them is really precise
I actually think that the sound of the original neck is more focused , I think you said 6x; also, as you said, the projection of the sound is more driven by the high baffle of the mouthpiece. Regarding the neck, the longer it is, the longer the waives have to travel, this contributes with a "feeling" of more relaxed blowing but , again, those waves are originated on the mouthpiece.. so.. it seems to me that that neck should be used with a higher baffle mouthpiece.. anyhow.. did you check intonation? As a new product in the market, What brands is it designed for? or It was custom made for your PM tenor?
Hey David - intonation is great. I would think that most tenor sax necks would be about the same length (for tuning purposes) and the difference would mostly be in the curvature. That is just my guesstimation - I'm by no means a horn tech or someone who studies the minutia of gear. I just put it on and play the things I like 😁. It wasn't custom, and it fits most horns. There's a list on his site. I had to have my repair guy refit it when it came as it was very snug. Jack (owner of BSS) offered to pay for the refitting, but I didn't send him the bill.
Gotta say I prefer your old neck. But if its easier to play, do it. On my old Jupiter middle D is quite awful, even with a SYOS. At 600 bucks I won't be joining you soon.
Try raising the key height of your C & Eb keys. That will help some. You basically just screw the felt out a little bit so the key opens more. Don't do it too much or the sax will go out of tune.
True, but that will only help the keys *above* D. When the problem is with D and D# as he suggests here you would need to adjust the low C and Eb key heights. That's exactly what I did with my YTS82Zii. It took a few times (and a few felts that I had to replace) but I am happy with it now.
The D pad is closed when playing a D & D# so you can't open it a little more. I think you meant to say raise the key height of the C & Eb, which I've done, and that helped some.
I gear review! How brave of you to step out of your comfort zone. I can hear the difference just as you said. I have been practicing all the downloads from your school and I want you to know that my scales are falling out of my sax. It took months of practice. Thanks for the lessons. Glen
Hey Glen! Yeah, this is not my normal video, but I think it's time to add branch out a bit. Great to hear that your scales are coming together, that's awesome. 👍👍👍👍👍
Wow your sound is brilliant!!!-These are licensed Selmer SA80/Serie III necks aren’t they? Can’t stand those necks. Selmer can’t stand them either apparently lol. There’s lots of neck options out there now-I have two (2) Kim Bock necks which are my holy grail necks. Glad you found yours!!
Hi Scott, Interesting you said your D and D# were stuffy. That’s how my 2D and D# feel and sound like on my alto. Especially compared to what I hear your D Am
Sorry, accidentally sent before completing my thought…Especially compared to what your D and D# sound like on your alto. I thought that this was mostly the characteristic of sax, and that I would have to make slight adjustments in my embouchure to compensate. So take it you don’t feel the same with your alto, stuffiness I mean.
Big fan and love the context you give us. What kind of reeds do you play on with your mouthpiece? Looking to buy that mouthpiece very soon. Also I will be signing up for your lessons. I’m stuck and want to grow.
Hey Sal! On the Tenor I use Legere Signature 3.0 on Alto I use Legere American Cut 2.25. Looking forward to having you as a member. You'll definitely see some forward movement!!
@@ScottPaddock Hello Scott. You’re a great player by the way. And your passion for the sax is contagious, so thank you. I’m coming back to playing after a 25 year of absence, and is so helpful to have guys like you on UA-cam. You’re doing a fantastic job. 🙏
Scott, do you have any experience with the magnum neck P. Mauriat used to produce? Apparently, it makes the 66R sound a little more like the system 76. I've been looking for a magnum, but they're almost impossible to find. I have the 66R and love it but don't want to shell out the coin for another horn. Aside from gear, do you have any tips for getting a rock sound on the 66r? I'm running a jodyjazz jet 7 with vandoren java reds.
Hey BIll - this is the first time I've ever heard of a Magnum neck, but I'm not a fan of the System 76 tenor, so I wouldn't want to do anything to make my 66RX sound like one. Contact PM North America through their social media, and they might be able to help you track one down. Gear will go a long way to getting you closer to a rock sound. The big thing about a rock sound is cutting through with a fat sound - so really work on focusing your airstream in the middle of your mouthpiece so that it is moving really fast. Also, use super crisp articulations. Most rock players are using mps with higher baffles, and often times metal. I'm not sure how the Jodyjazz Jet 7 is set up, but if it doesn't have a high baffle try one that does and see if that gets you closer to that sound. High baffle + small chamber = fast air. Fast air = big focused sound.
@@ScottPaddock Hey Scott, thanks for the reply and sorry for the late response. I think I was misspoke when I said the magnum neck gives a systen 76 sound. When you were playing the stock 66r setup and ripped on that funk bit around the 7:30 mark, I heard the style and flavor I'm trying to achieve. In your upper register, I hear that edge and punch that I like. For me, anything above middle E, I can get a big sound, but I feel like it sounds too sweet. I want to get to where I can really put some dirt on the notes. I'm going to work on some things you suggested with my embouchure and air supply to eliminate that classical feel and really put some meat on the fire. I'll keep you posted and I'll look into your courses and see if they'll work for me. Jam on dude. Thanks again for the advice. -Geoff
@@billsussman1073 I'm not trying to push my gear.... BUT, when I switched to the Syos it was a complete game-changer. It's a high baffle small chamber mouthpiece. I'm not sure what the specs are on the Jody Jett are, but if that is the sound you are looking for - high baffle with a small chamber will help get you there. Before that, my tenor sound was smooth and mellow... which I liked, but it didn't really fit my natural style of playing.
@@ScottPaddock I've been looking into the SYOS Paddock edition. It's definitely on my list of sax goodies to purchase soon, but I have to hold off for a bit because the Jody and yours are similar with that high step baffle and tighter chamber so I think some good ole fashion practice is in store, most importantly. Hey, since were on the subject of gear, do you have an opinion on the Legere American cut? I havent played any synthetics so I'm looking for different opinions on the legere styles.
@@billsussman1073 Yeah, I love it on alto - I play a 2.25 American Cut. I tried it on tenor and wasn't a fan. I use a Signature 3.00. Legere just sent me some prototype bari American Cuts but I haven't played them yet. That's on the practice list for next week when my alto is in the shop for a couple days.
Hi Scott, I also use a silver neck, but my neck is not just platted, but is pure sterling silver all 100 percent. My horns are built by Sax Dakota. Peter Laplaca had my Hornes custom built for me. There is just something about the pure silver that changes everything from top to bottom. You are a great saxophonist and I love how you teach. One of these days I would like to speak to you by phone if you permit that.
The Boston neck has a clearer tone, slightly more punch, upper partials coming to the fore. The other neck is slightly darker and more muffled. Boston neck hands down. Night and day. It's easy to darken a sound after the fact, much harder to brighten a sound with clarity and projection and focus, after the fact, if the tone is mildly stuffy waffly or super muddy.
I think necks can make a difference. I have several different Yamaha necks. I've tried all different combinations of necks on my Yamaha 875, Mark 6, B&S, and numerous Taiwan made Tenors. There are a number of businesses claiming their saxophone neck is the secret sauce made especially for them, and they have exclusive rights to it. All of these necks are being made in Taiwan or China. In my opinion highly unlikely that this is not the same neck found on some Taiwan made horn. In the end I generally play the neck that came with the horn.
I like the original neck more. You’ve got such a clear, bright sound anyway and the original neck adds more resonance for me. As you say it definitely sounds warmer and more controlled on subtones.
Can't pick up the difference clearly... but as with all things saxophone, if it feels good it plays good :)
The regular neck sounds better. Honestly this Boston Sax Shop stuff is overrated.
Their reeds are repackaged
Rigottis. You have to give jack credit for advertising hype.
He's good at that but their stuff is not that special
Hey Jake, I haven't played their reeds, but I'm a big fan of this neck. BSS seems to be attracting a lot of great players to play their gear so Jack is doing something right - most of these players (myself included) wouldn't play gear just because of hype. I do have to say that I am pretty happy to see some smaller boutique companies finding a user base. John Leadbetter is establishing a good name for himself as well, along with Key Leaves, Syos, and other smaller companies.
Yes but Syos, Key Leaves and others make their own product
BSS just repackages other peoples product and calls it his own, as I said his reeds are just Rigatti's in a different box
I'm happy to see Boutique companies Thrive as well, yes he attracts a lot of good people but something about his aim is not true
@@jakechastain8477 cope
@@jakechastain8477 Rigotti does make their reeds but they are a different cut. I have a machine to measure them and the strengths are placed differently as well.
The necks are his tweaked to his design, with a higher neck angle than most that are based on Selmers. The Superlative is a completely new creation, and his mouthpieces are inspired by older pieces but not replicas, so they are a new take. The new machining process for them is really precise
For what it’s worth, I like the original neck better.
The silver neck obviously sounds more full and fat except for the subtones as you said.
My Mauriat 86Ul with the original neck was completely out of tune!! Now with the heritage neck sounds in tune!
I actually think that the sound of the original neck is more focused , I think you said 6x; also, as you said, the projection of the sound is more driven by the high baffle of the mouthpiece.
Regarding the neck, the longer it is, the longer the waives have to travel, this contributes with a "feeling" of more relaxed blowing but , again, those waves are originated on the mouthpiece.. so.. it seems to me that that neck should be used with a higher baffle mouthpiece.. anyhow.. did you check intonation?
As a new product in the market, What brands is it designed for? or It was custom made for your PM tenor?
Hey David - intonation is great. I would think that most tenor sax necks would be about the same length (for tuning purposes) and the difference would mostly be in the curvature. That is just my guesstimation - I'm by no means a horn tech or someone who studies the minutia of gear. I just put it on and play the things I like 😁. It wasn't custom, and it fits most horns. There's a list on his site. I had to have my repair guy refit it when it came as it was very snug. Jack (owner of BSS) offered to pay for the refitting, but I didn't send him the bill.
Scott you sound great on both necks.Your tone is so nice I can only hear the slightest difference.
I prefer the original. The resistance I hear gives more room for expression.
No mention of intonation?
Gotta say I prefer your old neck. But if its easier to play, do it. On my old Jupiter middle D is quite awful, even with a SYOS. At 600 bucks I won't be joining you soon.
Yeah, it's not cheap!
Try raising the key height of your C & Eb keys. That will help some. You basically just screw the felt out a little bit so the key opens more. Don't do it too much or the sax will go out of tune.
Try playing Eb instead of D# that should help 😉
👍👍😁
Or You can just make the D key pad open a little bit more to make it less stuffy :D
True, but that will only help the keys *above* D. When the problem is with D and D# as he suggests here you would need to adjust the low C and Eb key heights. That's exactly what I did with my YTS82Zii. It took a few times (and a few felts that I had to replace) but I am happy with it now.
The D pad is closed when playing a D & D# so you can't open it a little more. I think you meant to say raise the key height of the C & Eb, which I've done, and that helped some.
That sound in the beginning sounds really BOSS! How about their alto sax necks? Can they fit a Selmer Reference 54 alto sax?
I gear review! How brave of you to step out of your comfort zone. I can hear the difference just as you said. I have been practicing all the downloads from your school and I want you to know that my scales are falling out of my sax. It took months of practice. Thanks for the lessons. Glen
Hey Glen! Yeah, this is not my normal video, but I think it's time to add branch out a bit. Great to hear that your scales are coming together, that's awesome. 👍👍👍👍👍
I don’t pick up a difference, but a lot of it probably comes down to how it feels when you play It. If you enjoy playing it more, play it.
Hi how can I get one
From Boston Sax Shop. It's called the Heritage neck
Wow your sound is brilliant!!!-These are licensed Selmer SA80/Serie III necks aren’t they? Can’t stand those necks. Selmer can’t stand them either apparently lol. There’s lots of neck options out there now-I have two (2) Kim Bock necks which are my holy grail necks. Glad you found yours!!
Jack says he developed the necks himself. I've never tried the KB, I've heard great things about them.
Hi Scott, Interesting you said your D and D# were stuffy. That’s how my 2D and D# feel and sound like on my alto. Especially compared to what I hear your D Am
Sorry, accidentally sent before completing my thought…Especially compared to what your D and D# sound like on your alto. I thought that this was mostly the characteristic of sax, and that I would have to make slight adjustments in my embouchure to compensate. So take it you don’t feel the same with your alto, stuffiness I mean.
Good video... do you still have your Custom tenor and did you try this neck on it? That's what I have, curious how that played.
Hey Clay! No, I sold my Yamaha Custom when I bought my P. Mauriat. I don't think I've ever heard anyone play this neck on a Custom.
That horn just sounds good.
Big fan and love the context you give us. What kind of reeds do you play on with your mouthpiece? Looking to buy that mouthpiece very soon. Also I will be signing up for your lessons. I’m stuck and want to grow.
Hey Sal! On the Tenor I use Legere Signature 3.0 on Alto I use Legere American Cut 2.25. Looking forward to having you as a member. You'll definitely see some forward movement!!
I like your channel and i follow you from France. Great Job
Thank you!
BTW Scott... what's the retro looking instrument (piano?) in the background?
It's a Fender Rhodes suitcase model.
@@ScottPaddock oh wow what a treasure!
What is your assessment of the P. Mauriat?
I love them! I play the RX series on alto and tenor. By far my favorite saxes I've ever played.
Nice
The original is 3%. More open sound. I wouldn’t spend a dollar to switch.
3% 😁
@@ScottPaddock Hello Scott. You’re a great player by the way. And your passion for the sax is contagious, so thank you. I’m coming back to playing after a 25 year of absence, and is so helpful to have guys like you on UA-cam. You’re doing a fantastic job. 🙏
Scott, do you have any experience with the magnum neck P. Mauriat used to produce? Apparently, it makes the 66R sound a little more like the system 76. I've been looking for a magnum, but they're almost impossible to find. I have the 66R and love it but don't want to shell out the coin for another horn. Aside from gear, do you have any tips for getting a rock sound on the 66r? I'm running a jodyjazz jet 7 with vandoren java reds.
Hey BIll - this is the first time I've ever heard of a Magnum neck, but I'm not a fan of the System 76 tenor, so I wouldn't want to do anything to make my 66RX sound like one. Contact PM North America through their social media, and they might be able to help you track one down. Gear will go a long way to getting you closer to a rock sound. The big thing about a rock sound is cutting through with a fat sound - so really work on focusing your airstream in the middle of your mouthpiece so that it is moving really fast. Also, use super crisp articulations. Most rock players are using mps with higher baffles, and often times metal. I'm not sure how the Jodyjazz Jet 7 is set up, but if it doesn't have a high baffle try one that does and see if that gets you closer to that sound. High baffle + small chamber = fast air. Fast air = big focused sound.
@@ScottPaddock Hey Scott, thanks for the reply and sorry for the late response. I think I was misspoke when I said the magnum neck gives a systen 76 sound. When you were playing the stock 66r setup and ripped on that funk bit around the 7:30 mark, I heard the style and flavor I'm trying to achieve. In your upper register, I hear that edge and punch that I like. For me, anything above middle E, I can get a big sound, but I feel like it sounds too sweet. I want to get to where I can really put some dirt on the notes. I'm going to work on some things you suggested with my embouchure and air supply to eliminate that classical feel and really put some meat on the fire. I'll keep you posted and I'll look into your courses and see if they'll work for me. Jam on dude. Thanks again for the advice.
-Geoff
@@billsussman1073 I'm not trying to push my gear.... BUT, when I switched to the Syos it was a complete game-changer. It's a high baffle small chamber mouthpiece. I'm not sure what the specs are on the Jody Jett are, but if that is the sound you are looking for - high baffle with a small chamber will help get you there. Before that, my tenor sound was smooth and mellow... which I liked, but it didn't really fit my natural style of playing.
@@ScottPaddock I've been looking into the SYOS Paddock edition. It's definitely on my list of sax goodies to purchase soon, but I have to hold off for a bit because the Jody and yours are similar with that high step baffle and tighter chamber so I think some good ole fashion practice is in store, most importantly. Hey, since were on the subject of gear, do you have an opinion on the Legere American cut? I havent played any synthetics so I'm looking for different opinions on the legere styles.
@@billsussman1073 Yeah, I love it on alto - I play a 2.25 American Cut. I tried it on tenor and wasn't a fan. I use a Signature 3.00. Legere just sent me some prototype bari American Cuts but I haven't played them yet. That's on the practice list for next week when my alto is in the shop for a couple days.
The BSS neck is noticeably bigger sounding especially in the extremes of the horn like altissimo
Hi Scott, I also use a silver neck, but my neck is not just platted, but is pure sterling silver all 100 percent. My horns are built by Sax Dakota. Peter Laplaca had my Hornes custom built for me. There is just something about the pure silver that changes everything from top to bottom. You are a great saxophonist and I love how you teach. One of these days I would like to speak to you by phone if you permit that.
The Boston neck has a clearer tone, slightly more punch, upper partials coming to the fore. The other neck is slightly darker and more muffled. Boston neck hands down. Night and day. It's easy to darken a sound after the fact, much harder to brighten a sound with clarity and projection and focus, after the fact, if the tone is mildly stuffy waffly or super muddy.
I think necks can make a difference. I have several different Yamaha necks. I've tried all different combinations of necks on my Yamaha 875, Mark 6, B&S, and numerous Taiwan made Tenors.
There are a number of businesses claiming their saxophone neck is the secret sauce made especially for them, and they have exclusive rights to it. All of these necks are being made in Taiwan or China. In my opinion highly unlikely that this is not the same neck found on some Taiwan made horn. In the end I generally play the neck that came with the horn.