I believe in the value of one-on-one consults for each customer. Through appointment-only meetings, we have the opportunity – and the time – to really talk about what you’re looking for in terms of sound and performance from your saxophone. I can ask questions and share my recommendations for the highest quality repair, setup and/or restoration. It also gives each customer the uninterrupted space they need to try a new instrument or mouthpiece.
In 1932 Selmer had a “cigar cutter” shaped octave mechanism on their SSS (Selmer Super Saxophone) saxophones. However, the design was changed fairly quickly because of a patent infringement.
This particular Cigar Cutter tenor came from England and made its way to its current owner. The original silver plating was about 95%+ and the body and neck were remarkably straight. It has a two-tone finish and marvelous engraving on both the bell and bow.
The hardest part of this restoration was removing the tarnish. It took four passes with Hagerty’s silver polish – close to 90 years of oxidation and grunge just didn’t want to let go. But, as you can see, it did. I used Pisoni professional pads and oversized, slightly-domed, nickel resonators. A little silver touch-up took this tenor to 99%+.
The sound is really fabulous. It has that old-school vibe, but it still has an edge. These tenors are notorious for having sharp low B and Bb keys. I helped out by making and installing crescents (silver plated of course) to eliminate some of the work for the player. The keywork feels surprisingly modern compared to other brands of the same time period.
I just love the Super, Cigar Cutter and Radio Improved tenors. In fact, they’re hard to beat.
Barnard Instrument Repair is pleased to present a remarkable example of an early 875 Custom tenor in silver plate. It is a four digit, coming from the early days of the Custom when they were strongly trying to compete with Selmer to make the next best horn to rival a Mark VI.
The tenor is physically in 99% original condition. The pads have been replaced at some point with metal resonators, giving it a bit more punch to the sound. The sound can easily be tamed down with the correct mouthpiece if you are looking for a more dark, focused sound.
The horn has been cleaned, polished, and all set up ready to go.
It comes in the original case with the case cover still in good condition.
Attention 18 and older:
Beautiful Naked Lady in the shop.
Here is a great example of a 26M Conqueror. The physical condition is 95 percent original condition. The naked lady engraving is impeccable. There are no solder joints or major dents on this horn. I have removed a couple very miniscule dents that are not even noticeable. There is only some minor scratching around the right hand thumb rest on the back side of the body tube. It even comes in its original tweed case!
The horn has been rebuilt using plastic resonators. I will go through the horn and do a complete setup on it before it leaves the shop.
Conqueror models have some of the deepest, yet lively sounds of any Conn Saxophone. It is a must try if you have not played one properly set up.
The Aaron Barnard Bare Naked Brass Restoration is the ultimate expression of freeing a saxophone for maximum vibration. It enables an instrument to realize its full potential in terms of performance from the perspective of resonance and the quality of sound produced.
Imagine a saxophone stand that holds your horn more securely, won’t tip over, weighs practically nothing and collapses to fit into the bell of your sax for travel. That’s exactly what the new carbon fiber saxophone stand from Woodwind Design delivers.
No more separate bags of heavy gear for gigs. Consider a Hercules steel tenor stand at 2.09 pounds compared to a Woodwind Design carbon fiber tenor stand at 0.33 pounds. With four legs and a molded bell cradle, the stability is outstanding. And the neoprene foam inside the bell cradle won’t damage your instrument’s finish. Plus, it assembles in seconds.
Fit and finish? Hands down the coolest stand on the market.
Barnard Instrument Repair is pleased to offer these fabulous stands to discerning players and will have a limited number of stands in stock. Given that each one is handmade, there will be a 4-6-week lead time on back orders.
Pricing as follows:
$ 65 / Soprano Stand
$ 169 / Alto Stand
$ 169 / Tenor Stand
$ 225 / Low A Baritone Stand
$ 225 / Bb Baritone Stand
$ 35 / Alto Adapter for Tenor Stand
$ 75 / Additional Low A or Bb Bell Support
$ 20 / Pouch for Alto Stand
$ 20 / Pouch for Tenor Stand
$ 25 / Pouch for Baritone Stand
A customer recently shared an interesting story about a mishap on a gig that he was playing. Turns out a mic stand accidentally got knocked over and ended up hitting something that ricocheted off his tenor sax that was at rest in its carbon fiber stand. Unfortunately, the body tube of the sax now has a dent, but the stand with the instrument stood firm and didn’t fall over which prevented major damage. Ultimately a nice testament to the stability of the Woodwind Design stand.
The vintage and professional saxophone market can be tricky to navigate. Sometimes horns (and mouthpieces) are available in the “usual places” and sometimes they aren’t. But that doesn’t mean a particular vintage Selmer, Conn, King or whatever you’re looking for isn’t there for the taking. I have a high-quality network of collectors who may have what you want. Talk to me about your needs. Who knows, I just may be able to surprise you.
We’ve all been there. You try to hit a G# or a low C# and nothing happens. Turns out the pad is glued tight to the tone hole. So you reach down and open it manually. And then it sticks again. Now there’s a better fix. Pad-Stick. You simply run the Pad-Stick strip between the closed pad and tone hole under light pressure. Its fabric surface magically cleans the pad. The Pad-Stick strip is tapered so the narrow end works perfectly on small keys and the wide end is great for big ones. And if it ever gets dirty, a little soap and water will clean it right up. As a repair tech, I always have Pad-Stick on my bench. I love this product. It really works.
Pro Tip: As a preventative measure, run Pad-Stick between your closed keys before putting your horn away to keep your pads nice and tidy.
The best way to know when something new is available at Barnard Instrument Repair is to sign up for inventory updates. I’ll help keep you informed with a regular email update. That way you won’t miss anything you can’t live without.
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The Meyer Bros alto mouthpiece is truly the holy grail of alto mouthpieces. It’s got that presence. Huge. Bottomless. Rich. Bold. With an edge. So linear yet so flexible. Hard rubber that sets the high mark for quality. A finish that’s so consistent. Played by some of the greatest legends in the world. Maybe that’s why it’s the most copied alto mouthpiece out there. Imagine having the opportunity to own an original. And having a selection of three top-playing pieces to choose from. How fortunate for a couple of lucky individuals that one of the top pros in the business is thinning his backup.
Barnard Instrument Repair, D'Addario and Friends of Puerto Rico are pleased to present A Tribute to Puerto Rico by José Antonio Zayas Cabán. José Antonio Zayas Cabán, Joel Gordon and Casey Rafn will be performing the music of Astol Artés, Beytelmann, Feld, Mendelssohn, Villa Lobos and Puerto Rican composer Rafael Hernández. This will be a very special series of performances and we hope you can join us. Contact Jose directly for more information.
José and his trio are raising funds through their music in A Tribute to Puerto Rico to support the recovery of communities in Puerto Rico; the efforts are done in partnership with Friends of Puerto Rico. Since October, 2017, Friends of Puerto Rico has invested 1.5 million dollars to provide relief and recovery for the island. José and Friends of Puerto Rico invite you to participate to meet their March goal of $15,000.
Future Tour Dates to Come
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This is a fabulous horn. It’s a poster child for what the 80-90xxx Mark VI tenors are all about. Zero to 100 in no-time-flat. Huge sound. Almost unbelievable fatness. Incredible punch – practically enough to take out the other side of the room. Remarkably, this is a one-owner horn. It still has the original lacquer, even though there’s a good bit of it missing. But that helps this beast resonate like a madman.
I just finished a fresh overhaul on this Mark VI tenor and it’s dialed in to perfection. Pisoni Pro pads. ResoTech domed nickel resonators. Any little dings are now gone. I resoldered the Eb guard feet and it’s now as solid as it can be. It’s been played all its life, yet it has so much more life to give. It even has the original case. This is one axe I’d truly like to keep.