Bob Kolada wrote:Any thoughts on these?
Who knows? Made by Instrument Makers Anonymous, or however you say that in Chinese, so it's not like they're staking their reputation on how well they put them together. Some might play OK, others not.
I played my bass sax yesterday evening, in rehearsal, Julius Keilwerth from probably the early '80s imported by Armstrong under an H Couf label. (Thought of it when I read a Tubenet comment this morning about awkwardness of `Barnum & Bailey's Favorite' for CC tuba - we played that one, and the bass part was as if written for bass sax - after a couple edits to restore the low Ab's that I'm sure the author must have intended.) No repairs or adjustments for years, and it was playing as smooth and easy as it always does, even though it gets carried around in a gig bag - essentially unprotected, but the case is a giant bummer.
That's a very good thing, because repairs & adjustments are a headache with a big saxophone. If it started playing rough and needed work, I would try to do what I can myself before taking it anywhere. I can find leaks, re-float a pad, replace cork, but key mechanism adjustments I'm not so sure whether I could trust myself to do the right thing. But technicians around here, that I have any experience with, will either take months to get around to your big saxophone, or they'll do a bunch of chargeable stuff but fail to make it play any better, so you end up doing the rest of the work yourself anyway.
So a saxophone that will hold up to routine abuse will save you a lot of grief. Big saxophones are subject to the same laws of physics that make the giant ants of B movies impossible in real life - the bigger they get, the more delicate they are. Along with "plays great", I would want to check that a sax "stays great" thanks to sturdy, well engineered key mechanism.