A few weeks ago I had the opportunity to pick up a very lovely Martin Committee III baritone from 1958 in silver plate with gold wash bell. While most vintage baris we see from this era look like they've been to war and back, this one is in very fine condition indeed.
I wasn't looking for another baritone, and was perfectly satisfied with my low Bb Mark VI, from 1967. Then I made the mistake of playing The Martin, and I was hooked. I don't know why these horns have a bad rep for tuning, because I play this baby 100% in tune with no effort whatsoever. The D2 is about 30 cents sharp, but that's consistent with mid-century German horns that I'm used to, so for me this is no big adjustment at all. I'm not even aware that I'm making a tuning correction.
The 2 things that are really odd are: 1. The lack of a chromatic F# key. I use that key a lot, and do miss it, and 2. The place on the neck where the horn tunes. Regardless which of my main m/p's I use (Selmer scroll shank, Berg H/R or S/S) the m/p has to sit way out within a 1/4 of an inch of the end of neck. This combined with where the strap ring is, requires me to use an extra-long neck strap on the horn.
The Martin is going to my tech's shop this week to get the few minor dings taken out, and the C# post pulled out (the bell keys are not easy to play quietly ATM due to a minor leak at the C# key). It will also be totally disassembled and polished at the same time. Once back, I'll have a hard time deciding which bari I want to use all the time.
The Selmer has been my main axe for years, and according to my instructors, when paired with my HR Berg, gives me that quintessential bari sound. But being a rocker at heart, I have to admit, the Committee III just has more of that presence that Martins are known for.
Last week at symphonic band, I had to take the Martin to rehearsal because the Selmer's water key cork fell out. The sound of the Martin caused the clarinets to turn around. One of the players--a sax player doubling on clarinet ATM--noticed immediately that there was something different. He talked to me during break and said he couldn't believe what a difference in sound there was. He too couldn't really qualify it, but the vibrations were just different.
I think that's a really good way to describe it: The Martin Baritone vibrates the column of air in a way that no other baritone saxophone that I have ever played before has.
I'm curious what others' experiences with Martin baritones (any models) are, and how you would compare them to other brands/models that you've played.
I wasn't looking for another baritone, and was perfectly satisfied with my low Bb Mark VI, from 1967. Then I made the mistake of playing The Martin, and I was hooked. I don't know why these horns have a bad rep for tuning, because I play this baby 100% in tune with no effort whatsoever. The D2 is about 30 cents sharp, but that's consistent with mid-century German horns that I'm used to, so for me this is no big adjustment at all. I'm not even aware that I'm making a tuning correction.
The 2 things that are really odd are: 1. The lack of a chromatic F# key. I use that key a lot, and do miss it, and 2. The place on the neck where the horn tunes. Regardless which of my main m/p's I use (Selmer scroll shank, Berg H/R or S/S) the m/p has to sit way out within a 1/4 of an inch of the end of neck. This combined with where the strap ring is, requires me to use an extra-long neck strap on the horn.
The Martin is going to my tech's shop this week to get the few minor dings taken out, and the C# post pulled out (the bell keys are not easy to play quietly ATM due to a minor leak at the C# key). It will also be totally disassembled and polished at the same time. Once back, I'll have a hard time deciding which bari I want to use all the time.
The Selmer has been my main axe for years, and according to my instructors, when paired with my HR Berg, gives me that quintessential bari sound. But being a rocker at heart, I have to admit, the Committee III just has more of that presence that Martins are known for.
Last week at symphonic band, I had to take the Martin to rehearsal because the Selmer's water key cork fell out. The sound of the Martin caused the clarinets to turn around. One of the players--a sax player doubling on clarinet ATM--noticed immediately that there was something different. He talked to me during break and said he couldn't believe what a difference in sound there was. He too couldn't really qualify it, but the vibrations were just different.
I think that's a really good way to describe it: The Martin Baritone vibrates the column of air in a way that no other baritone saxophone that I have ever played before has.
I'm curious what others' experiences with Martin baritones (any models) are, and how you would compare them to other brands/models that you've played.
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