Thank you so much for this informative video. I have been concerned about possible tone hole failure for years and feel much more secure about my Martin saxophones now.
I own three Committees and one 1923 Handcraft, three altos one tenor. These Pro horns play like no other saxophone. There's no break anywhere on the horn; low or high notes. I have found Martin horns are forever saxes! Martin saxes allow me to be free, to be me, to seek for the beauty!
And let me tell you just once again that I wanted that kind of horn to see with a modern key work. Is something I wish to have. But instead everyone just copying the same thing
Sweet! I have a Martin C-melody with damage in the same area, but the tone hole looks fine. If you haven't already re-attached the tone hole, it would be great to see a video of you doing so.
Echoing the comments before, really surprised how much metal there is. I’ve been working on an old Conn and the chimney is like the body in metal thickness. Thanks as ever for sharing!
Hey Matt, would you try to suck out the solder under the bow band where you can access? and then try and push up the dent in the band? Just curious how you would tackle that section. Peace
Thanks Matt. I have a Martin c-melody from 1925 and there were still no tone hole issues per the technician after all this time. so durable indeed. From a manufacturing process one can understand that it is easier and cheaper to stretch the material to create tone hols rather than adding parts like Martin did. Would there be a benefit from a tone /acoustic standpoint to have the tone hole as a separate part?
Thank you so much for this informative video. I have been concerned about possible tone hole failure for years and
feel much more secure about my Martin saxophones now.
SIMPLY FANTASTIC!
I own three Committees and one 1923 Handcraft, three altos one tenor. These Pro horns play like no other saxophone. There's no break anywhere on the horn; low or high notes. I have found Martin horns are forever saxes! Martin saxes allow me to be free, to be me, to seek for the beauty!
This is really helpfull and insitefull. Thank you so much for sharing!😊
And let me tell you just once again that I wanted that kind of horn to see with a modern key work. Is something I wish to have. But instead everyone just copying the same thing
Sweet! I have a Martin C-melody with damage in the same area, but the tone hole looks fine. If you haven't already re-attached the tone hole, it would be great to see a video of you doing so.
Hello Matt and thank you, very interesting. I didn't think the "cheminée" was so thick. 👍
They get somewhat thinner later on, but they are still much much thicker than a regular tonehole chimney.
Echoing the comments before, really surprised how much metal there is. I’ve been working on an old Conn and the chimney is like the body in metal thickness. Thanks as ever for sharing!
Wow it's so thick and cool. I would prefer to have that instead of modern one
in alto sax, if we press which keys together with the octave key, the octave crook key does not go up?
Hey Matt, would you try to suck out the solder under the bow band where you can access? and then try and push up the dent in the band? Just curious how you would tackle that section. Peace
Yep, that's what I did. I used stripped speaker wire as a solder wick.
Can’t say enough about Martin! Have an old 1927 Handcraft tenor loved it so much that I recently bought a 1925 soprano in silver!
Thanks Matt. I have a Martin c-melody from 1925 and there were still no tone hole issues per the technician after all this time. so durable indeed. From a manufacturing process one can understand that it is easier and cheaper to stretch the material to create tone hols rather than adding parts like Martin did. Would there be a benefit from a tone /acoustic standpoint to have the tone hole as a separate part?
Never met a Martin I did not like.