Santtonio Neck for Alto Saxophone
Santtonio Neck for Alto Saxophone
Santtonio Neck for Alto Saxophone
Santtonio Neck for Alto Saxophone
Santtonio Neck for Alto Saxophone
Santtonio Neck for Alto Saxophone

Santtonio Neck for Alto Saxophone

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€342.98
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SANTTONIO´s neck for alto saxophone

Santtonio, in its persistent commitment to design and manufacture equipment for the professional saxophonist, launches its latest creation: "the Santtonio neck".

The neck, that part that could pass so unnoticed between the mouthpiece and the body of the saxophone, is of vital importance in the final sound of the instrument, we could call it the "timbre heart".

We have analyzed what we consider the best necks that history has left us both in geometry, angle and timbre, and we have kept the strong points of each of them; and adding, as we always do in Santtonio, the wisdom of Roberto Santtonio's numbers, so that they converge in the new Santtonio neck

The main advantage over vintage necks has been to improve their response, to obtain a greater projection and depth of tone, without losing intonation or control of the instrument, to rescue the purest acoustic responses and graft them to your current saxophone, enjoying all its advantages, priceless!

...a neck with a uniform and consistent tone color throughout the entire register of the instrument, while retaining, or perhaps even improving, the resonance, intonation, color and flexibility.

Who ever imagined one day being able to have a neck to enjoy a new timbre on your Selmer Supreme? Why has the neck of a Super Action 80 Series II given Selmer so many headaches? and on a Yamaha Custom 875EX? do you dare to try it? for any saxophone that is manufactured today we have tenons to adapt and make the corresponding fitting: Selmer, Yanagisawa, Yamaha, Forestone, Buffet, Cannonball, Eastman, Selmer vintage, and many others; do not hesitate to contact us!

It comes in 3 options: two materials with different finishes: 

*unlacquered brass: more aggressive and nervous.

*brushed gold plated brass: round with a strong tonal center.

*unlacquered bronze: powerful, timbral, with a lot of personality.

David Salleras plays in the following video "El cant dels ocells". The comparison is made with his Selmer Supreme together with different finishes of the Santtonio necks. To appreciate the differences we invite you to use headphones!

Product Details

About Santtonio

Craftsmanship in modern times.

A brand of accessories for wind instruments, inspired by the tradition and good work of the prestigious manufacturers of the 20th century, which seeks to recover the manufacture of a durable, functional and quality product.

The origin of the brand is a notebook signed by Roberto Santtonio, an Italian clarinetist and saxophonist of the late nineteenth and early twentieth centuries.

In this notebook we could find out that Signore Santtonio was a great follower of Leonardo de Pisa - known as Fibonacci - and also a student of his mathematical theorems, which he always tried to apply to music and woodwork, his two arts and professions.

The golden number, or Fibonacci sequence, has been respected since Leonardo Pisa published it in the 12th century, but we have no record of anyone before Roberto trying to apply it to organology or music theory.

We want to accompany all musicians, professional and amateur, in their effort to forge a close but broad relationship with music, facilitating from our side the improvement of accesories and music equipment.

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About Santtonio

Craftsmanship in modern times.

A brand of accessories for wind instruments, inspired by the tradition and good work of the prestigious manufacturers of the 20th century, which seeks to recover the manufacture of a durable, functional and quality product.

The origin of the brand is a notebook signed by Roberto Santtonio, an Italian clarinetist and saxophonist of the late nineteenth and early twentieth centuries.

In this notebook we could find out that Signore Santtonio was a great follower of Leonardo de Pisa - known as Fibonacci - and also a student of his mathematical theorems, which he always tried to apply to music and woodwork, his two arts and professions.

The golden number, or Fibonacci sequence, has been respected since Leonardo Pisa published it in the 12th century, but we have no record of anyone before Roberto trying to apply it to organology or music theory.

We want to accompany all musicians, professional and amateur, in their effort to forge a close but broad relationship with music, facilitating from our side the improvement of accesories and music equipment.

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