I have played a Selmer Super Action 80 “Series I” made in 1982 since 1994 when I graduated from HS. I have had opportunities to sell it and purchase another, but I love the combination of vintage and modern I have in my sax. I recently had it overhauled and it plays better than ever!
Hey Nigel, just wanted to make a correction. The Reference 36 is based upon the Selmer balanced action, which came before the SBA. Hence why the number 36 is used, because a Balanced action from 1936 was used as the basis for the design of the ref 36. I would also like you to compare a ref 54 to a mark vi, and even better would be to compare the ref 36 to the ref 54.
I am surprised in the difference in sound. The SBA is so mellow and deep, while the Ref 36 really cuts. Both are great, but I'd choose the Ref. 36, but I love my Selmer Balanced Action and don't think it can be beat.
Problems with an old sax are under rated. If your neck gets a small bump that could be it. Old key work can be a bummer. Sound is a 10/10 but I would take the 36 with a sound of 9/10 and no mechanical problems. If you bump the neck - plenty around to replace it with, too.
Hi Nigel, there is a huge difference between both. In my opinion the SBA sounds much better (by far)... in fact, it sounds amazing and it also looks better...
I heard from different pro musicians that the quality of Selmers can vary a lot between saxes of the same type, so it is best to go try a bunch in a shop instead of just ordering one and expecting it to be very good because of the Selmer name.
That’s all setup with any saxophone you need to take it to a really good tech and have them set it up and all of a sudden you’ll have “one of the good ones”.
@@benhostetler268 I find it sad to see that a manufacturer with such a hyped up brand name, that sells its saxophones at such a high cost does not even bother to set them up properly, and that buyers afterwards have to take them to a tech to set them up properly. At those high Selmer prices, one would expect to get a decently set up instrument when you buy it new.
@@marcbohets6671 I agree but that being said you need to do that with every sax no matter the brand because shipping messes up the setup. I always have any sax I purchase shipped to my tech then I go pick it up after he’s done.
I think the new one sounds more crisp and it’s a little louder. But the old one sounds smoother and seems like it would be more fun to play. Maybe not as a main workhorse money-making instrument but deff would be nice to have. Sounds awesome
The 36 has more erm well let’s call it ‘attack’ but if you wanted caramel smooth the SBA has it. Although both would sound equally unimpressive in my hands....your 4 different pieces demonstrated just why I love the sax so much...thanks Nigel....great playing.
They both sound better with you playing them! Clearly, in the Ref 36, Selmer has made a superb modern-day 'tribute' to the SBA...but both are still classic 'Selmer' sounds. Personally I prefer modern horns, so the Ref 36 edges it for me, but the SBA has a better bottom end. And I was surprised at the altissimo, so clear on both. Looking forward to your next comparisons!!
Firstly, enormous congrats: you did the best ever mix/overlay of the same song played on two saxophones! Fantastic work Nigel, this is the golden standard of how all comparisons should be done, it really helps. This Ref36 is by far the best tenor saxophone you have tested. I agree with the commenters that SBA sounds laid back and thick and dreamy, but is less versatile. SBA lags, cannot pace up with increased speed and when more projection is needed. Especially in the mid-range, where Ref 36 produces more harmonics clearly separated, SBA can't match it but 'fuses' them. Modern Ref 36 does all, without breaking a sweat!
I have an 83 year old Conn 30M tenor and have just bought a Yanagisawa OW10. I concur with just about all your observations about old verses new Nigel. I absolutely love the tone of my Conn and would never sell it, but the Yany is so much easier to play in terms of the mechanism. It sits so easily under your fingers and playing funk and faster material is a lot easier. The intonation of the Yany is to die for, but the Conn needs a bit of help. I had an SA series 2 for a while, but prefer the flexibility of tone the Yany offers. I play them both with the same mouthpiece, reed and ligature set up. Having both is just the best for me as I use the Conn for standards & ballads a lot, then jump on the Yany for anything else or a second voice if I'm recording. Enjoy the dilema and then admit you want both!!!!
Ha! You’re probably right Steve, I need to become a “collector”! I’ve also been testing some Yanagisawa tenors and I agree, the mechanism is just amazing.
Nice video, really. It confirms an impression I repeatedly hear, but also experienced myself. Modern Selmers, and specially the 36 and the S-III, have an extra « bite » and sparkle, which appeared with the MkVI. The pre-MkVI mostly tend to be on a more mellow side. It shows most in your « Butera » section, and more specifically in the articulation.
Difficult to make a true analytical comparison as one is silver and the other is lacquer how ever I feel the SBA is a better overall timbre with a bigger sound column. The latest model does not sound to me to have the same richness particularly in the 2nd register. Very nice playing.
My experience is limited as I just got started a few months ago, however, a beginners perspective could be valuable too. To me the SBA sounds cleaner and brighter then the 36. I really enjoyed listening to the SBA. In contrast the 36 has a raspy and darker sound then the SBA. Its really a personal preference. The difference is subtle and I would go with the 36 because of the improvements.
Thanks for the comparison. The Selmer is more than twice expensive as the Yanagisawa WO series. But a review shows virtually no difference in sound quality. Would you agree? If so, it seems one would get much more value for the money by choosing the Yanagisawa WO series over a Selmer.
Interesting point Ron. Actually I’m doing a comparison with some Yanagisawa saxes soon too and the TWO10 is very impressive for the price. I think people would choose to pay more for the Selmer Ref 36 because of it’s sound - which is definitely different from the TWO10. Personal preference.
I played one of those Selmer SBA in sterling Silver like this over at KB SAX, best sounding horn i have ever played...SOLD for 9 grand. wish i had grabbed it.
If you haven’t tried one yet I highly recommend checking out the Yanagisawa TWO20. I was convinced I would want a Selmer because I play a Mark VII alto and love the sound. I had a chance to try out a few new Selmers as well as a Yanagisawa TWO20 and TWO2. For me, the Yanis absolutely blew the Selmers out of the water. Wasn’t even close for me. I was shocked. I never considered Yanis before but they play so effortlessly, but with just the right amount of resistance and the tone is rich, deep, and absolutely silky smooth. The TWO20 is considerably more pricey than the TWO2 but imo absolutely worth the extra. However the TWO2 was a great horn as well. Just as effortless to play, just missing something in character that the 20 had. Needless to say I am saving to buy a TWO20 hopefully soon. If you try one or have tried one I’d love to hear your feedback.
Joseph, I think you may be even more AMAZED once you own a TW020 at how much better they sound, than what you thought they sound like, before you bought it. Hope this makes sense.
The SBA sounded better, but not worth it if it is harder to play! The difference wouldn’t be heard without this side by side comparison. Thanks for this really well done video! Looking forward to more from your shopping journey. How about Yanigasawa vs Yamaha?
immediately, when you started playing the SBA, i recognised the sound, i have an Keilwerth tenor Toneking , dated from 1973, beautifull sound that i really like
I found the SBA to be more focused. The Ref. 36 was more spread out and a tad brighter, perfect for Funk and Jump Blues. For Jazz, and classical music, the SBA was better. Just my $0.02 worth. Both sounded great. Wish I can afford either horn.
I have a mark vi tenor from 1955 and a mark vi alto from 1969, I also have a Yanagisawa 9937 elite tenor and a WO 37 alto Yanagisawa. They all play very well, however my favorite is the Mark vi from 1955. The yanagisawa elite model plays very nice, good sound bit very heavy.
I own 2 Tenor Selmer 137,xxx and Reference 36 Love both, but think the refence 36 is a little darker, but louder in my head, in front of and recorded it sounds equal. But the intonation of the reference 36(playing since end of february 2021) is much better , the springs has a little more resistance, i not sure, but i think thats a little help for playing with precision. therefore i can it better hear in my own head, which makes the band(hear myself)-situation a little more relaxed, better as monitoring, i maybe switch to the reference as main horn. the 137,xxx is "faster"(playing sincd 1995) and has a little more overtone and character in my ears during playing it, but ists only in my ears, i could hear the difference, the auditorium and records has no differences. Playing Matt Marantz double ring 9 ( .120) metal or Otto Link newer STM 9 ( .120, the only Link I have seen that is prefect, table, side rails, tip , measure direct from fabrik , no modifications) metall I like the Marantz more, because it is a little darker and the sound is, for me, rounder and exact that i looking for. Sorry for my english ... All the best and great thanks for Your superb videos! P.S. You sound great on both of this horns, in any style, wow!
For me absolutely no contest. OK, listening on moderate quality computer amplification but the Balanced Action is, tonally, far superior to my ears. The Reference 36 is fantastic of course but it's harsher, more aggressive in tone, louder; great for some songs if you've the fortune to own several and swop around! But Nigel, you never got the tonal richness I could hear in the B.A., from the R 36.
Well, I think the SBA clips the 36 off at the knees in every way. Yes, you’ve been playing that Guardala (I’m assuming it’s the one made by B&S as opposed to the later Taiwanese Guardala), so you’d have to get used to the older action. Pitch? Well, when you were playing the 36 I heard a couple of flat Bb’s (Ab concert) and C’s (Bb concert). I heard nothing with the SBA that bothered me. Dynamically? No contest. The SBA goes from ff to pp with what I would call “character”. Is it the same color? No, the 36 does that. But I want the voice to change as I crescendo/diminuendo. You’re an excellent saxophonist-perfect emboucher, excellent articulation, beautiful tone, so I respect your opinion. I, too, am a professional sax/flute/ clarinet-if-provoked player; this is my 48th professional year. As far as playing fast, Coltrane never seemed to get hung up by the SBA action. He switched to a VI for hot minute, then switched back. I’ve played a 50k SBA since ‘93, have had other horns during that time, they’ve all gone down the road. Chris Potter, Jerry Bergonzi, Ravi Coltrane, Josh Redman, all seem to favor SBAs. They could have anything, but there it is. Just my two cents. Thank you for your great vids, great teaching. All the best-Jon
My favorite Alto is the Selmer Reference 54 and Tenor is the newer version of the tenor 54 (they made it lighter and quietly adjusted the neck) but I have heard really good things about the tenor Supreme.
I like the Selmer sound, but could never get used to the feel. The Yanagisawa action and the key position just seemed to fit my hand better, so I settled on Yanagisawa. I own a 500 series Tenor and Alto (I would like a Baritone, not sure how to get it past the wife) . The Yamaha 82Z was another one I liked. I would like to try the Yanagisawa 9937, but at $10K AUD, not likely. There was quite a difference between the SBA and the 36.
1) Embouchure and player skills. 2) Reed. 3) Mouthpiece. 4) The instrument. I know, that is a general theme here. Which one is better? The one that plays right intuitively, without surprise false notes, that goes up to the high notes most easily and does the lowest notes in a breeze. Watch this video "A Saxophone Lesson in Harlem - Jason Marshall on Baritone Sax" - summary: forget "vintage".
Tough to pick a favorite. If I look away from the video I can't really tell the difference. I have a 1935 B/A. Although Selmer didn't officially call this model a Balanced Action until 1936, mine was an early transition model I'm told. I also have a 1973 MVI. I've had both for years and still can't decide which is my favorite. Both have pluses and minuses in keyword, sound etc. but the MVI is my usual gigging horn. Unlike you I've always had vintage horns. The few times I've tried a modern horn like a Yamaha Alto, I had had to run out of the store before I get get my credit card out. It was that good. Keep up the search, these are great videos.
I currently play a P. Maurit Paris Custom Class PMST-60NS (with F Key) and I love it. I had been playing a Conn 10M from my playing days back in the 60's. I still use my orginal mouth piece a Berg Larsen 95 3 M and still love playing it. On the Maurit I especially like the lower register.
Played all Yanagisawa for 30+ years. Now play Ref 54 alto and tenor although I still have the Yanis. I have found exactly the same as you in terms of the ease of the altissimo on Selmer. My Yani tenor in particular is much more difficult. The Ref 36 in your video has more edge and a more contemporary sound. I guess it all comes down to what you want. Great video, thanks.
Great comparison.. The vintage horn sounds better.. but not by much... l own several horns from a Ref 54 .Martin committee 3.. Yamaha 62.. and so on..All great horns.. But for me..the 54 is in its own league..... Best of both worlds.. As it sounds as good as the vintage 6..
It's the player or what is in his head plus years of study and playing. But in my opinion you can't beat the sound of a Selmer saxophone. It's what I was brought up with. the first saxophones I have heard were Selmers and I've never got that sound out of my head. It's just like there are certain players that you emulate. The first Live player I have heard it's a boy was Paul Desmond and I have to a great extent retained that style of sound in my head many years ago I was practising in the little band that I played in on the flute. The music director came in later and said you sound just like James Galway, well I was flattered but actually unbeknown to him that was the sound I was trying to imitate in my head. I'll tell my students in particular the younger ones today to go on RU-vid and listen to as many saxophone players as they can. We all learn by copying from the day we are born we tend to copy the words that we have around us. Education often tells us in the early stages not to copy. I think by copying and listening and being absorbed in music you eventually develop your own sound. It doesn't matter what instrument you play on you probably sound pretty much the same. Get the best horn that you can afford preferably with some good advice good night please find the best read for you and stick with it. For instance some players I think they have more mouthpieces than reeds. I count myself fortunate starting out in the late 50s playing so many bad reeds because it wasn't that long after World War II and many of the reed fields were bombed during the war. For instance it was very rare to get a VanDoren Reed where I lived and sometimes they were even green. So I think that the modern reeds are terrific becaus of the way the manufacturers give attention not only to the cut but to the packaging to deal with the humidity thank you so much for your brilliant video and your expertise. You will never know this side of eternity how many people you have influenced and are influencing. God bless you and yours Thank you so much - Bill - UK
Cheers for your comments Bill. I completely agree about listening as much as possible, and today we are so fortunate that it’s super easy to listen to loads of players via RU-vid, Spotify etc. Btw, I wish I sounded like James Galway on flute! More practice needed!
As you often see which names are popular they are Conn 10m before IIWW, King S20 early 50th, I individually prefer vintage Americans, many say negative things about mechanic,but you have to deal with it. They are truly originals and hard to copy with modern materials and economy in craftsmanship!
I love a good saxophone review, and yours is great - thank you Nigel! I suggest you try out a TJ Raw. There seem to be a whole raft of saxes now assembled from generic parts from Asia, and they can be really good. I have a Forestone which I love. I also have a 1960s Dolnet which I suspect sounds a little better , but the ergonomics and robustness don't match the new breeds. I'm looking forward to your next review!
I think the ref 36 just nicked it,i play a King Super 20 Silversonic Tenor and i wouldn’t swap it for any other sax,I’ve played Mk6,s,Yanigasawas and Yamahas,they were all good horns but I love the sound of mine to much to think about changing,good luck with whatever you choose 👍🎷
It’s said that the sound is made by you, the mouthpiece and the reed. I think I have a good hearing and I used my best headphones. They are pretty similar, but to me it seems that the SBA has a “wider” and rounder tone. Personally I have a Mark VI 1962 model tenor in mint condition. As a spear I have an almost new Conn Selmer Prelude. To be honest, I can’t tell the difference. I might prefer the key layout of the Mark VI, but that might be because I’m used to it.
I have only played a King Zephyr and a King Super 20. The Super 20 is newer and has a much better table. The 18 yr older Zephyr has a slightly richer sound. I would love to play something new to see if there is any significant difference, but there is no decent saxophone store in my area.
If you ever get an opportunity, try an SBA that was manufactured towards the end of their run, around the 50,000 serial numbers. Some improvements were made to those SBAs, as Selmer was approaching the change over to the Mrk VIs.
Great video. It all comes down to personal taste for me. I have had many Conn 10Ms, Selmer MK VI, Selmer MK VII, and now a 1937 Conn 30M, (Yeah Baby this one is super cool!). Some of the my vintage horns have been pretty rough, one 1956 Selmer MK VI, was really rough, heavily repaired, had a straightened bell lip, though working, it made a lot of key noise in the rods and mechanisms. Sooo.... for me Vintage horns are for those willing to spend time with "the care and feeding they require", it is the only way to get the cool vintage patina look they have, (which might be the secret real deal??), "if that is what your in to"
Wow that’s a fantastic collection you have! Congrats. I do like the vintage sound and the fact that there is a lot of history but I’m a sucker for new fast mechanism I’m afraid.
@@McGillMusicSaxSchool I think maybe your comments helps me zero it in. I am a "huge" Lester Young fan. I listen over and over and I also just play Ballads. I like to get a note and just hang on....... I work on the "syllables" in my playing.
Man, you are amazing Nigel. That Flight of the Bumble Bee was crazy. I'm such a novice I didn't hear any difference, they both sounded amazing to me. Not much help I know. I do have a new Selmer and I love it.
Both the horns sound good. But my ears loved the sound of the modern horn. Thank you, Nigel, for the comparisons you have made and helped some of the viewers to make an easy choice for their difficult decisions to pick up and own a horn for themselves. By any chance will you make a video on Mark VI and Reference 54 tenor saxophone.
The sound of the old one is like being consisted of two sounds one after another glued to each other. Like aftersound. More natural and analogues. The new one sounds unnatural. Mechanical without soul. I have a strong belief that in those times people who made them belonged to those ones connected to reality ergo could influence the fabric of reality.
It’s shocking how the 36 sounds so close to the BA but the 36 has more presence, I have listened to videos on 54 and 36 and find the 36 the closest sound to a vintage selmer. For anyone out there looking for that Dexter Gordon sound try the Wanne Lakshmi with the 36, can’t put the horn down, the best ever for me.
There’s no comparison to the SBA, it is the quintessential sax sound, and no other modern horn has replicated it. The alchemy, the mystery, the magic of that horn. Would love to hear you play that horn with a more classic combination of mouthpiece/reed. I agree with your points about the mechanical aspects of modern horns but why compromise sound for ease? Skill makes up the difference, and unlocks what only a very small number of sax players will ever experience- the sound of a Selmer SBA. Thanks for sharing this video, you’ve inspired me to seek out an SBA one day...
Thanks for your comments Ashwin. The SBA does sound great. I guess it depends if you are looking for a sax to do lots of different jobs - most pro players will need to be very flexible and play in different styles, and that is where the newer sax wins for me. However, that sound.....!
Regarding the action speed issue on the SBA let us remember that a vintage horn is only as good as the quality of its last overhaul... SBA can be blazing fast. Other notable vintage horns include the Conn 10M, the SML Gold Medal, the Buescher big B as well as early Mark VI. As far as new horns on the market the Yanagisawa (single post model) and the Lupifaro are in my opinion a step above others. The only real way to find the horn that best fits you is to try them all! -I went through that exercise myself 3 years ago. :-)
my experience: Silver plated selmers have nice buzz on stack D on both octaves. DG by B&S most resistance of any horn I played. Sounded great but alot of work. Old selmers through mark vii had best action. Altimissio easier on older Yamahas.
Thank you for this! the diffence was clear. I m in a bit of a hard situation exactly cz of these differences. I have a beauty Mark 6 however Im working in pop-and rnb mostly and I cant help but wondering if a modern horn would suit my needs better btw your playing and sounds is just awesome. i got the chills non stop :D
Super playing--The SBA sound more focused and maybe more one dimensional sounding which makes it sound punchy and clear but the Ref36 is sweet, spread sound and i think would give more flexible sound possibilities. Very close for me but probably lean to Ref 36 . I have a very nice easy playing ,good sounding yanagisawa T990-- John
Some heavy duty breath control on Flight of the Bumblebee aye? The Vintage is for sure going to have a warmer sound for a few reasons. The main reason being the casting and second is the affects of many years of oxidation inside the horn. I will let you in on an old recording studio trick is to place cloth friction tape inside the bell all the way down towards the bottom of the horn. Not too much though. Two strips should be plenty. Too much and the musician will start freaking out because the instrument’s tonal balance and intonation can faulter
While I agree with others that the SBA has the low notes, I couldn’t really tell any difference in the regular frequency notes. Thanks for your demo. Tom
In terms of sounds they sound the smallest margin of difference. Maybe a little more punchy or bolder with the Ref 36. The SBA is just a little more rounded sound to my ears. It looked as though you didn’t work as hard with the newer horn though. Only minimally though.
The SBA was just beautiful sounding - watching you play both was so inspirational, Nigel. I could see what you mean about the having to think more about key placement on the SBA though - you could see the concentration on your face with Flight of the Bumble Bee - you seemed to be having a slightly easier time on the 36. Definitely the Ref 36 is a punchier, more aggressive sound than the SBA to my ears, but the SBA seemed to rise to the occasion with Streetlife. Based on sound alone , I would go for the SBA.
I agree with your choice, although the SBA sounded great, the mechanism in the new horns are hard to beat. I have always wanted a Selmer 36 or Selmer 54.. but i am content with my Yani 992, intonation is great.😊🙂
Great comparison. I found the SBA more centered sound, clear and very flexible. The Reference 36 ist more spread, more powerfull, just different. Perhaps you can try a yanagisawa t wo10. To me it beats all modern saxophones. Perfect intonation, keywork, little resistance and a solid core. YTS82z is more freeblowing but can lack control over intonation in the uper register. The 82z has also not a so clear core to my ears. Perhaps you have the same impression when playing it. Great work. :-)
Great video Nigel! Sound wise I think the SBA is a little warmer and more rounded.. maybe even a little more focused and pointed than the ref.36 to my ears. On Street life I preferred the ref. 36. Very close call on the Sam Butero song!! On both classical and straight ahead I preferred the SBA. I hear and really understand you about the mechanism.. but since you have great technic I can’t hear any struggle with the SBA. Personally I played a SBA (-47, a transitional model between BA and SBA but it got almost all of the SBA features)for many years and sort of got used to it. But a couple of years ago my curiosity drove me towards the iconic mark VI and today I’m mostly playing a markVI 165xxx. (-65). They’re quit different in both sound and feel. The VI has much more power and volume. And I think it has both a very warm and full sound and at the same time definitely more brightness and “zing” quality than the SBA.. however the SBA has a fantastic evenness in the whole register! And also a sort of mellow, more centered tone. And Some kind vulnerability ( in a positive way!)in the sound that is typical for old horns I guess. There is an article somewhere with Joshua Redman where he talks about the difference and I think he really described it well. At the moment I’m trying to play some Bach cello suites and it’s amazing how nice that music fits the SBA!! Very curious about you’re upcoming videos with more saxes! I’m actually not a must-have-a-vintage-horn guy. So I’ve tested a few new horns before I found my mark VI. The Yanagisawas are absolutely great! Mechanics are the best I’ve came across so far! I really liked the sound of the WO20! A bronze horn. More warmth and depth in sound compared to the WO10 I think..Also tried some Canonball horns. Good ones, but the mechanics are more refined on the Yanis. And speaking of intonation I do think that most good modern horns play better in tune than old vintage ones. I haven’t really had a chance to test that but my mark VI do have some intonation issues. As has my SBA.
Thanks for your comments here Mats. I’m actually testing some Yanagisawa tenors (video coming out this week I think). I agree they are incredible. Also got some other very interesting Saxes I’m testing which are turning my head. Keep you posted!
The Ref I mentioned to you in the email was the new 54 which is supposed to be an attempt to be an updated MK 6. Although I like the sound I get with my SBA series 2 there was a desirable punch to the 36. These old arthritic hands will never move fast enough for the key action to make much difference..
Cheers John. I would really like to compare those two - the Ref 54 and Ref 36. Personally I would really like to have the high F# key (not on the 36), but the sound of the 36 is lovely.
Have you considered the Trever James Signature Custom raw or the laquered version? A lot of people are rating these. I have a raw Alto and its excellent.
Although the SBA has a slightly more colorful sound, the Reference 36 seemed more consistent when it came to intonation. Pretty obvious, I know, but I wasn't expecting to actually hear it myself. Nice playing on that Ben Webster tune btw
The Ref is definitely better for the Pop setting. It almost sounds like you're using a different mouthpiece to be honest! I think you sound great on the Ref, and if I may say so better than on your regular darker sounding Sax, but I'm a fan of the bright sound anyway. I play on a YTS 62 and love the brightness.
Cheers Benjamin. I appreciate your comments. It is interesting the difference between the two. Your 62 is another great sax. I am also testing a Yamaha 82z at the moment an will have a video out soon about that review. Very interesting!
I am saving to upgrade my alto next year from a Yamaha YAS-280. Played it for 2 years and really feel I want to upgrade to a pro sax. Currently looking at a Yanagisawa AWO1. I did think about a Yamaha YAS-62. Yes it has a bigger tone over the 280 and more depth and ease of play, but I don't feel its enough of a difference compared to my 280 than the Yani is to it. as I like the centered tone on the Yani, but if I did have the money, I'd maybe get a Yamaha 875-EX instead as I quite like the depth of sound it has compared to other Yamaha models.
Great video. To me, the Ref 36 sounds much fuller and expressive and from a sound perspective is the better horn because you clearly felt happier with it. Ultimately I feel 90% of any sax tone comes from the player's diaphragm, throat, mouth, reed and mouthpiece. The horn is only really changing the pitch and adding nuance to the note being blown. If a poor player like me picked up either horn, it would sound terrible compared to a competent player on any other horn. Factor in the room acoustics and recording environment and the degree the horn body can change anything must be very small compared to everything else going on.
That first low note you played on the Ben Webster solo just puts the SBA in a different category, wow! To me the Ref 36 stands out in the contemporary solo though, as a more focused sound. Tough call.
I agree - tough call. Both are better for different things. I’ve got a few more videos like this coming soon so interested to know your thoughts on them too.
