(Are critics talking about the same saxes here, or have I just been lucky in picking up three jewels?!)ĭating for the ser. It has highly detailed and painstakingly executed floral motifs - far more beautiful than my Selmers, Buffets or Conns. The sound is again very big, but beautifully mellow around middle D octave and arpeggio-work is very easy and fluid, though I have had a few pitch problems around upper A/B/C/C# emanating, I think, from tired crook corking.Įngraving is - contrary to what I read about them being plain 'belt and braces' saxes - quite exquisite. The action is very fast indeed, despite the quite oversized low B/Bb key-cups. My Belair alto matches the tenor quite precisely, with all the same keywork features except for the octave thumbrest which is black Bakelite or rubber, a straight-drawn collar at the crook-cork and a more conventional round crook ferrule. With this baby I use a Dukoff D7.ĭating is VERY vague but info.
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The action is very free and fast, with a colossal lower end and a really juicy B/Bb.This sax just outroars my '68 VI AND easily equals my '75 VII - a great rock sax in its own right. Keywork is (apart from the superb Dolnet octave system) otherwise conventional.Įngraving is quite distinctive: elaborate concentric geometic scrolling, all emanating from what might be called a central 'cartouche' - I think the artist was strongly influenced by the patterns in the magnetic field! The overall effect is stunning. The crook-cork collar is rolled, like Selmer's. The LH thumb-rest is a round pearl, as are the centres on the geometric keyguards.
It's a big bore sax with the typical hexagonal 'Art Deco' touches to the side keys, the crook ferrule and the C/Eb cluster. My Dolnet tenor is, I think, a Belair model, but in silver.
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