Chadd’s Collection

Chadd's Collection

~ Past and Present ~

(Some of these are sold. Some are for sale.  Some will be for sale eventually. Some will not be for sale.)

To hear more about Sarge's story, please see Sarge's Page.
*** I assume you already saw: Sarge's Collection ***


Vito 'Model 35S' Alto - 1969-72, #2,7xx

This was the first sax in a long time that upon my first notes, my eyes lit up like a young sax player all over again. This is not to be confused with the Vito-Yamaha that most people know after the buyout.

Here's a super rare sax. Probably about 2000 ever made, and to that, perhaps even fewer in the "S" model--SILVER PLATED ENGRAVINGS! WOWZA! Highly engraved on the body tubes: body, bell, U-joint, and neck...with a Butterfly, and 3x Bees.

I acquired this one from a good, local fellow who had it in his collection for 18yrs(hidden in his storage unit)! Only needs a full repad and bell brace resoldered to the body. It has a very heavy build, some rib construction, some silver brazed posts on the body too--unique! This also has the later adaptations of the Vito Leblanc Rationale System keywork (funky keys, precise tuning, High F#, superb bass clarinet Rocker Octave system). Perhaps, a system so genius that it couldn't catch on.

The tone is amazing! It instantly took me back to my former '86 Selmer Super Action 80 Series II, that I played for 10 yrs, but this one had more body and depth like a Keilwerth/Couf.... (french) Selmer crossed with JK? = AMAZING!!!


1948 The Martin Tenor "Martina"

Nice early "The Martin Tenor". Serial number are actually different on the neck and body (a fluke I found later! HA), however from the same year: 164,360 & 163k.  This allows me to play her without 95%+ Original lacquer. The body is in overall great shape, mechanically and cosmetically and the Original lacquer is beautiful, which is an exception to the rule for martin lacquer. This one entered my life as my second TMT. My first one was a relacquer--the one that led me to Sarge. This is the one he passed over for WWS stock to sell and let me buy it. I know I still had to pay him the profit he lost in this "Gift". HAHA. either way, she's still a beauty and I have too much sentimental value to consider selling.

I rebuilt her with black saxgourmet roo pads and seamless flat metal resos (sexy on black!). I regret not giving it a Premium Upgrade to this day! You'll notice that I didn't make that mistake on my SML alto.

These early ones are highly sought after for the deeper, darker tone. I've already seen these inflate in price and I won't be surprised when you can't get a great TMT for cheap. Beauties like this are great investments. Lucky me.

The For Sale Description:

"pretty player", black roos pads

-May I introduce you to my original "Martina". It's a rare time when one of my babies will leave my ownership. This was the first, best sax, that Sarge helped me buy. It has my sentimental value all wrapped up; but I know she'll bring someone else joy.

-She's pretty, but not afraid to work--a few battle wounds, dent repairs, old neck pull-down addressed, and few limited solder fixes.

-I rebuilt her a few years ago with Black Roo pads, & seamless flat nickel resos. She was my main sax for a few years, but has only been to a few gigs in the last years. I feel bad for that. So I feel like I should help her go back to the music scene.

-the main markdown is her neck. Her neck has a different serial number of the 163k....SAME YEAR of production. Body ser#:164,xxx - Neck #163K

-CASE: is not a Martin, but it is a nice vintage type. I love the storage room and the vintage-red color. It could use a little glue on the interior box. I also always put a cloth/towel around the body so there was less wobble room.

-I'll tune her up, add fresh oils, and send her off ready to sing her heart out!

Item#: WWSCP1S2.0S0.3251.5-1C09


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1953 "The Martin Tenor" ... MINT

Named after my "Martina", this is Mint Martina; aka "M&M". Original lacquer, SOLD before arrival. Here's the scoop: a 99% MINT "The Martin Tenor" arrives in original condition (pads, corks and all). These are super hard to find and always in high demand. The serial numbers match on the Neck and Body #184k, the original sticker is intact to prove this! Original case is excellent to match, with keys, ...and I plan to sell her with the original mouthpiece, cap and, of course, the body end cap for the storage in the case. There is a dent underneath the neck, and I think 1-2 tiny pings. (being picky) They are subtle. I had to pay a fortune for her, also had plans to stash her here for myself; however, I sold her to a local friend, who in turn never finished purchasing her - so I kept her locked up for several months!

Then I made the mistake of telling another client about her ... and he's doing a very good job of telling me how much he'd like to have her - $$$$.


1963 Martin 'Official Music Man Model' Tenor #218k

 Previously form Sarge's Collection:

Sarge's words: "I was lucky enough to get this one with the original rivet pads still in it, in completely unaltered condition. Its serial # is 218,xxx, one of the very first Music Man Model's made in 1963. I gave up my 158k all original {The Martin Tenor} for this one. so i guess that answers all the questions as to whether the newer ones play/sound as nice as the forties models. i will regret selling this one, (it is one of my all time favorites)...Sorry, no trades (and NO, the mouthpiece does not come with it). you can listen to me play this Martin Tenor, from (my band) the Phantoms Blues Band's latest C.D, by clicking here" SOLD in 2010

Sometimes I get the sentimental stories to enjoy: previously sold and shipped around the world, this sax was repurchased by WWS (Consider that I should stash this in Chadd's Collection). I stashed it for a while, then put it for sale with this updated description:

Serial #218k with Black Roos, HUGE silver Resotech resos! This was one of Sarge's Collection saxes. He first got it in original condition and gave it his favorite rebuild setup. He recorded a few tracks on it. We sold it to Switzerland and I had the opportunity arise to buy it back. I took it!  It was loved, and played while away. I feel the need to mention a few dings that  just happen. The Eb guard was burnished out by me, as well as a little burnishing on a few ding in the bell and bow. The bow guard (front bottom) took a small hit too. Your eyes don't notice these things as you are certainly more drawn to the engraving that is full and crisp.

CASE: with original, orange Martin case in great shape also.



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(Strasser Marigaux Lemaire)

1954 SML - Revision D Alto

BEFORE: finish was not very attractive, worn metal touches, missing G# articulation, smashed Eb, bent bell lip, ugly neck brace

AFTER:  cleaned up Side touches, clean & gold plate all key guards, straighten bell lip, fix Neck brace, Fabricate G# articulator 

It took me a whole year of testing vintage saxes to really know what I wanted in an Alto. This was it! That American beef sound with warmth and the French design. There's nothing quite like a SML Rev D.  Serial number 10,308, 50%+ Original Perma-Gold finish with mostly silver showing now.  The body was in good shape when I got it but there were a few fabrications (G#, Neck brace) I had to do for repairs. I bought this once specifically to be my Player. She was uglier. I knew I couldn't take a nice one out. So I'm forever on a hunt for a beautiful Perma-gold finish alto to leave in the case.

I rebuilt her to be my Concert Band alto, with room to be versatile. She got tan prestini pads and 50% flat metal resos with rivet, and a Premium Upgrade.

Depending on the gig, I play her on my Selmer s80 C* hard rubber mouthpiece that I bought new back in 2001 for most concert band shows. Or my vintage Otto Link 4**** master model that I have Bob Carpenter open up to a 0.065" (i think), or my other favorite: the 4* Tonalin Great Neck New York mouthpiece. Mmm...

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    ALTOs-1961-SelmerVI-93k, 1954-SML-RevD-10k, 1949-SML-Rev-C-75xx, Sound File 4-2016

C.G. Conn

1924 Conn New Wonder I Soprano

I originally bought this as inventory to fix and sell. Needless to say, I fell in love with it. The intonation was a good improvement from my Buescher TT and the tone was tickling my ears! Sarge always felt that the Wonders had a better tone & intonation that the Chu era after. Serial number 147,425; 95%+ original Silver Plate with goldwash bell.

She has tan prestini pads and 50% flat metal resos with rivet. I continue to get compliments on my tone on this soprano. The audio techs always come up and say that this is the sweetest soprano they've ever mixed.

I play her on my Selmer Super Session 'I', hard rubber mouthpiece that I bought new back in 2002.

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Julius Keilwerth

1958 Silver Keilwerth "Tone King" Tenor

Rare. Stunning condition. Deluxe JK. A silver plate, professional Julius Keilwerth with high F# key, and G# trill, and the plastic guard in tact. Yes, the neck # matches. Unfortunately, the lyre screw went missing and you can see a few missing chunks of silver. If this is for the collector in you, I might even throw in a JK slimline mouthpiece to the sale of my baby. She is not perfect, as you can see the dreaded sax-stand scratches on the bell. It's got that JK tone, full of harmonics and volume with a good mouthpiece.
***BIAS NOTE: I loved playing on my COUF(JK) Superba 1 with my 0.110" Rubber Berg Larsen so I am addicted to the JK tone.

PADS: She was rebuild elsewhere with black roo pads and plastic resos. (The pads are far too new/nice for me to be unhappy with the setup that was chosen, so I will leave them. JK would have had domed-metal resos originally.)

CASE: Original "JK" emblem, green case in excellent condition. It's super cool to see these with the case, but they are hard to trust for safety of the plastic guard.

Sarge had one of these in lacquer in his collection. I enjoyed it so much that I had to get one for myself. I think Sarge would be impressed with the one that I got since his was a gorgeous one in lacquer.


1979 H. Couf "Blackie" Superba I Tenor

(previously in Sarge's Collection)

This is my 1979 Couf Superba One, Sarge nicknamed her "Blackie". Ser#79,875 She has most of her original Black Nickel finish and amazingly, she has original Gold Plated keywork.  I really enjoy the deep rich sound the Coufs produce and this one will most likely be with me for a long, long time.  Sarge restored her mechanically and did his very best Premium repad with black Kangaroo skin pads and oversized Resotech resonators...leaving 1mm of space for the tone holes. She SCREAMS!

(pictures originally with neck #2 from another Couf superba 1. I have a black one that Sarge sent with here which I believe was an SX-90 or 90R model neck to complete the looks. I've also noted that the new black neck is silver under the black plating. Photos to come) She is perhaps THE loudest sax that I've ever played!

I have a few mouthpieces that make my tenors come alive!
1) is my Berg Larsen 110-2-SMS Vintage Tenor: This is a hard rubber mouthpiece with a butt-kicking 0.110" tip size. Real fat tone, it's the duckbill + bullet chamber model with vertical denim (means early era).  The facing is original right at 110", plays nice, has THAT fat tone. Big body, loud treble with mids all at once.  Must blow lots to woo the crowd.

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2) is my Dukoff D6 transitional nickel plated brass: This is a free blowing piece. The Original Tip is about 0.096" and it plays awesome from subtones to altissimo! It's one of my Go-To mouthpieces but I must have lost my chops for a bit since I opted to keep this one over my D8 that I sold. But it ROCKS, and has original ligature and box. (Actually, I sold my D6 too.)


 My old D8:

Dukoff D8, "Miami, FL" Silverite Tenor  

Another great Dukoff example from the 60s. Metal, rock & roll Loud mouthpieces. These "miami" Dukoffs are preferred. It plays very nice overall. Tip and rails look great, original tip measuring 0.105", baffle is that large step/slope baffle. With original box, ligature and a plastic cap! Item: CP01.99.00.811.1-0-0

Sadly, I SOLD this mouthpiece. I did enjoy it lots while I had it.

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Arta Guban

1970s Arta Guban "Luxor Solo" (Version 1) Tenor, 

'The Ram'


I am really fascinated by this sax. There are so many ornate features!

It has some of the most elaborate tube rings with 3D weave on the bell lip too! The sheet metal octave key on the neck is where she gets her nickname: "The Ram", the pearl bonuses are great--even on the neck screw!, I love the light engraving on the key guards and the G# too, the lucite pants guard like JK or older Kolhert, and the raise bell logo.

FINISH: 99% original satin/shiny Silver Plate with goldwash bell....well, I think the Bell is actually a lacquer judging by the flaking part. I still need to electro test that. It could have been gold but not sticking to the brass (at the lip where it pealed off). I also did spot silver plate 4 small areas that shows some wear. You won't find where.

DATING: This still needs better surety, but I've run into my own trickery to date this model. Some Serial # charts may put 674,142 into the 50s,  year 1959. I had also owned the Alto "Luxor Solo" (You can see it in Chadd's Collection) and it didn't have the matte silver finish. My 1959 dating was the best guess I had until I had a client tell me about his buying one new in 1984! However, due to the two versions (Version 1 and 2, with different engravings).

Many thanks to my friend, Helen, at BassicSax for some info on this. Ironically, it's the exact sax she featured on her blog from many years ago but never in her possession if I recall correctly.

I don't claim to know this for fact:
The history here is a bit scarce and tricky. From my own brief research, they say these are hit-or-miss saxes.  Talk of Romanian makers, made in Timisoara, Romania to market in Hungry. Just a whole wild bit of cross-country marketing and imports (to Germany/Czech also?). There's so much more to be dug up. I've also talked with other saxophone experts and a potential link to Dörfler & Jörka designs. At any rate, we can all see the engineering pedigree for lineages of German/Northern Europe/Czech saxophone. 

***Also, I believe this is Version 1, by early dating comps, that has the fancier engraving with the raise logo. The other examples were all standard engravings. So that being said, I'll lean towards the 1970s.

The neck support also has the 3D weave! AND on the under-bell lip, around the bow connections, and on the bow ridge!

The neck support also has the 3D weave! AND on the under-bell lip & neck, around the bow connections, and on the bow ridge!

PADS: In great condition, hardly used. It was a new rebuild when I bought it. Unknown rebuilder. She has tan prestini (?)pads and 50% flat metal resos with rivet. The tone is very Czech-ish. Not as bold a Keilwerth but not gross and bright. She has some nice focus and power hidden in her sultry satin finish. Her acoustics hit the Mid-Trebles pretty hard and focused - so it's not a "quiet, mellow, muted, fat, vintage-sax tone".

For now, my only two complaints are the G# trill key is annoying (likely to get bent to a proper, playable location--lower) and the poor balance of the neck strap. You can see that someone else agreed enough to add and second one...IN THE WRONG needed to be 1.5inches lower. !@#$% I guess I might have to fix that in time also.

THE BAD: The only thing that I have run into is very bad A2--poor venting, air travel. The A2 comes out better/clearer WITHOUT the octave trigger. So that stinks.

Other info contributed by interested people who chimed in to WWS:


"Here is some info you may find interesting. I bought one of these new in 1976. At that time, they were the cheapest ‘student’ instrument on the UK market, and I paid £135 for it. I suspect this one is the same era, as it is identical other than being silver plated, mine was gold lacquer. The original case was amazing, like a silk lined Transylvanian coffin. They seem to be very rare now. I always assumed they were made in Romania as stated, but the theory that they were actually made in the former GDR is a possibility I suppose. It was a very nice instrument and played very well. Hope this may help -WT"

From a fellow ebayer, siting the website

   "In 1896 the violin maker founded Antal Braun (1877-1928) a Workshop in Temesvár (Timişoara) in Banat (at that time Austria-Hungary), at that time a "musical center" where he made various instruments. There were also repaired instruments and tuned brass instruments.
   After his father's death, his son Anton Michael (1911-1978), saxophonist, took over the business at the age of almost eighteen. During his wandering years he worked for V. Kohlert's sons and Julius Keilwerth in Graslitz. In the mid-1930s he built several saxophones inspired by the architecture of American Buescher Altos.
   From 1945, a large part of the German population was deported and expropriated, and after 1948, under Communist rule, production plants were nationalized and merged into cooperatives, as was similarly the case in the Music angle happened at B&S and Amati.
   Starting in 1958, craft businesses had to and the two of you will also be joining forces. This is how the state cooperative "Timis", in which saxophones are known as "Superior" and with soldered tone holes, also for left-handers. As with guitarists, there were saxophonists of the indigenous
   Folk music scene many left-handers. These Instruments have nothing to do with the "Arta Guban" saxophones."

If you really want some more information, I suggest you read this post as one of the most thorough discussions:

1970-1980s Arta Guban "Luxor Solo", (Version 2) Alto

Above are my "Arrival" photos from my phone. Once I got around to it, I was able to take the photos below...

(Compare the engravings on Version 1 Tenor above and the Version 2 Alto)

I had already acquired my Luxor Solo tenor when I saw this sax show up "For Sale" a year later--I had to have it! -  Set Complete! This alto is not in the matte finish, and it does have a different engraving setup. But overall they are very much the same with the ornate parts throughout.

***I did check to see if the A2 had an issue like the tenor. Fortunately, it doesn't!

It also appears that they were manufactured with lacquer in the bell (not gold). Probably a cost cutting measure.

The original white pads make me consider doing them for the rebuild! BUT, until then, I won't mind putting this out on display and allowing some tarnishing since I'll have to get in there an clean her up nice in the future.

More Special Mouthpieces

1950 Otto Link, no USA, Double band, NEW YORK, 5 < 6** Tenor

It needed Bob C reface/repair, This is another great Link that had been tampered with. Ser# 154, ultra-rare NEW YORK double band! This is before they moved to Florida, extra long biteplate. Bob was able to save it then he gold plated the repairs to seal it and the mouthpiece. The original plating was wearing too thin so, although we love to leave these as original as possible, in this case we had to seal it to protect them (ligature and mouthpiece).  Bob Carpenter reface, now a beautiful 0.097" or a Link 6** size. You know it's good when Bob takes it to the next gig, the whole gig, and THEN tells me how nice it played. haha. It plays excellent with a traditional smoky tone. With the vintage ligature!

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Item #: WWS4.0S0.0S0.5171.3-B75

Selmer "Classic", metal Airflow C* Tenor  

Another great Selmer mpc from the 1950s. Metal, Sultry and focused sound. It plays very nice overall. Tips and rails look great, original tip measuring 0.077". ROUNDED chamber (not the Horseshoe) makes this the rarer, and more desired Classic model. Note: The shank is a large fit for neck corks. Clear tooth guard installed. With original ligature AND a metal RARE sliding cap. SOLD Item: CP000.00.00.10161.2-0-0

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    TENORS-MPC, SMLs_SelmerClassic, Eagl

Berg Larsen 110-3-M "Very Vintage" Tenor

This is a stainless steel, metal mouthpiece with a butt-kicking original 0.100" tip size. you can see vertical, denim table marks and the short short shank. Real fat tone, it's the duckbill + bullet chamber model. Although pitted, "it's a Berg, baby!" Comes with modern nickel Berg ligature with the round, gripped screws, and cap (not the brass original setup). An excellent blower and I really like this one! SOLD Item: WWS00.1301.3-0-7

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Sound File:  Guardala brecker, Berg metal 110-3-M, Berg HR 110-1-M, Ponzol, Dukoff Fluted, King T "RAC"SoundfilePIC-guard-BL-BL-ponz-DF-king

1940s Otto Link "Tone Master" 7 Tenor

"Butter Love" - Mmm Mmm

yes, I said the super rare "7" tip!!! (keep in mind that is based on the vintage chart size: = a modern 5* Link size) It arrived in an Original Tip @ 0.085"!!! did not play well at all--facing was too long, So after leveling the table, and adjusting the curve start & end, I improved it and had to do a minor reface to 0.086".PLAYS AWESOME! It has a white tooth pad (confusing to me) but it looks original--NEAT!. These can easily demand$900.00+ at a retail listing, but I bet you'll be enticed by this one. Comes with original ligature & cap! Both are worn. "Before" photo to the right. It has a large chamber and a fantastic, vintage Link tone.

Factor in: refacing attention (+$125), silver plate repairs/mouthpiece($82), thin Gold plate ($82)to enhance the vintage look:

(SOLD in 2016) Item: WWSL4.5S0.0S0.1221.4-0-C60

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Brilhart Tonalin 7 Tenor


a super rare tip size! Ser#27407 with script in beautiful condition. FIVE DIGIT SERIAL NUMBER! This one plays really nice with decent focus for a Tonalin but a little extra power with the "7" tip. I'm biased, but I love these. A bolder, smooth Stan Getz-type sound. Original Tip size at 0.095", no tooth grooves!


Brilhart Tonalin 5* Tenor

( my baby ) 

(I did enhance the black script between the two photos)

Sarge's words: "That's the darn best playin' Tonalin I've ever played." (and we compared two in his collection)

This one is My Baby. I use it with the vintage three-band, gold plated (worn) Brilhart/King ligature.  I've probably played this around the shop on 90% of the Sound Files and it's my go-to mouthpiece for softer, controlled jazz, or when I want to mimic Stan Getz in tone and fluff. I intend to never sell this one. Sarge and I played it compared to 3 of his Tonalins and this one outplayed all of them.  Ser#207829 with script mostly faded, oh well. This one plays really nice with decent focus but doesn't blow the doors down with power. It is a sultry master. I'm biased, but I love these. Original Tip size at 0.085".

I have even graphed the facing curve on this one should I ever need to copy it!--knock on wood... It has a super short facing length! (see graph above)

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Dukoff brass "Stubby" 7 Tenor

Super super rare, 1940s, with the original tip and ligature.(I'll be hunting for a cap)

It arrived at Original 0.100" in the Tip. However a small bump was damaging the seal. I repaired that with a very minor reface and it now measures 0.101". (Photos were 'before' the repair)

It has a Large chamber and is a very smoky player. Mmm Mmm ... this one is an awesome mouthpiece that I hope you don't actually buy. Once you try it, you'll be like me and stash it!

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  Steel Ebonite "Chester Hazlett" TENOR

Another rare mouthpiece listed, it was named after the saxophonist in the Whiteman Orchestra of the 30s and 40s.  Terrific material and good classic design...very similar to "The Woodwind Co." models...  Large chamber makes for a big vintage sound. But also more suitable for Concert Bands and jazz alike. Bob Carpenter just opened this one up to a easy blowing 0.090" with a 21mm facing length and inscribed the his "RAC 90-21" on the table(sign of Bob's heartfelt workmanship again). The crystallized yellow band IS original! sorry, no ligature.

This has a great mellowness to the tone and blows Outstandingly easy! I REALLY wanted to keep this one when I got it back from Bob.  It plays so much like my Tonalin 5 (I use on most sound files) that it must be an Alto player's delight at that 0.090" tip.  = plays like butter! Item: WWS00.00.531.2-0-5B50

***WILD STORY: I did sell this mouthpiece and I was on good terms with the buyer in Germany who sold it back to me! = me Happy!

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Item: WWS02.1S0.3111.4-0-0

Steel Ebonite "Chester Hazlett" ALTO


I Just got this one back from Bob Carpenter. It's now an "RAC" stamped mouthpiece with a "85 - 20" facing. Tip @ 0.085, 20mm facing length.
Item: WWS4E1.0E0.3261.4-0B40

Otto Link 'Four **** Model' Alto, (RAC reface) - 0.073"


Warm, Vintage Tone all the way - from the vintage era of the late 1930s, a metal mouthpiece that is not loud and bright. These have a huge chamber, low baffle and a very reserved, warm tone. Serial number: DD 68. These were originally made with facings of #2 through 5*, and custom options. This was a Number #3, or Medium. Now at 0.073" it's pretty close to a modern Otto Link 5** comparison.

It was refaced by Bob Carpenter to 0.073" in about 2009 and the plated to seal the work. It has been in my private collection ever since. I have decided to let it go because I didn't use it anymore.

I have paired it with a ligature from the next era of Otto Link (thin reed plates - $50+) that have been credited with making the tone even better. The original reed plates on this model were thick and muffled the resonance.

I should have made a sound file before I said goodbye.... (archived listing: HERE )


Item: Chadd's Collection

ALTO Mouthpieces:

...coming soon


~Very Vintage 1940s Berg Larsen stainless steel, duckbill

~Rousseau Jazz, gold plated 5(?), "V" baffle design

~Selmer s80 C* (my first mouthpiece new in 2001)

~Strathon 5(?) [adjustable baffle], with original ligature

~Brilhart Tonalin Great Neck 4* !!!

...Oh the toys! They just keep multiplying...

Brancher C20 "Ebony" Tropical Wood Alto

***Previously sold, it was so good that it landed in the "Things I Should Have Kept" archive.

The mouthpiece sold to a player who traveled professionally around Europe playing this mouthpiece for several years. Once the opportunity came up to purchase it, I jumped at it instantly! After I tested it again, I still loved it ... years later.

Original Story: This is a very interesting mouthpiece. It arrived not playing well and I found table errors that needed addressed. Originally offered in sizes 0.084 and 0.094, this one I refaced the tip to 0.098". Hey, Tenor players! It plays well with mild resistance on a 2.5 reed. I feel like the treble is not a big part of the sound. It has a big roundness to the tone. Talk between models credit this one as very dark and very warm compared to the hard rubber ones. I will admit to not being very familiar with these. I think the Ebony wood model only came in "L" (large) chambers. By comparison to other mouthpieces, I would label it more like a Medium across other brands. The metal ring on the shank is intact, and the gold color is clean and pretty. The metal ligature has gone missing but I will pair it with a leather, rovner-like wrap.  Considering that retail on this is $289.00, I think the reface and wrap ($15) ligature will make this a fast seller.

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Steel Ebonite, Woodwind Co. "G5" hard rubber Alto

Terrific material and good classic design.  Larger chamber makes for a big vintage sound.  reminds me of a slant signature sound. Bob Carpenter just opened this one up to a easy blowing 0.075"; also had Bob put the metal band on the shank to repair a crack and save this great mpc.

249.00 Need a hook? This one is my Bench Mpc. 😉 That should tell you something. I don't know if I can sell this one anymore!

Item: WWS.CP-B35

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Sound File 2 : Selmer Mark VI, The Martin Alto, Buescher "The Aristocrat" series 1ALTOS-VI_TMA_aristo1-audio-pic

Sound File 3 : ALTOs x 4 "Blind": Random order: Dolnet Series-II, 1956 King Zephyr, 1972 Buffet "Super DynAction", 1947 "The Martin Alto"ALTOs4x-RANDOM_Dolnet_SDA72_TMA47_Zephyr56

Other TENOR Mouthpieces:

...coming soon

~Runyon chrome, tip 9!

~1980s Selmer long scroll, silver plated metal, C* became Bob Carpenter Custom.

~Selmer s80 C* rubber (my first tenor mouthpiece new in 2002)


...Oh, toys...


I hope you enjoyed looking at my collection.
Cheers, Chadd


Some of these are sold. Some are for sale.  Some will be for sale eventually. Some will never be for sale.