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SANTTONIO Neck for Tenor Saxophone
SANTTONIO Neck for Tenor Saxophone
SANTTONIO Neck for Tenor Saxophone
SANTTONIO Neck for Tenor Saxophone
SANTTONIO Neck for Tenor Saxophone
SANTTONIO Neck for Tenor Saxophone
SANTTONIO Neck for Tenor Saxophone
SANTTONIO Neck for Tenor Saxophone

SANTTONIO Neck for Tenor Saxophone

AVAILABLE IMMEDIATELY
€537.19
Material
Finishing

Description

SANTTONIO´s neck for tenor 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 sound of the instrument, we could call it the "heart of the timbre".

Why do vintage saxophones not sound like today's saxophones? This question is constantly asked by many amateur and professional musicians and has always motivated the research of the Santtonio tenor saxophone neck. Thanks to the analysis of the necks that we like the most (geometry, angle, timbre...) that history has left us in different brands and periods, we have kept the strong points of each of them to 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. Rescuing the purest vintage sound and grafting it to a modern saxophone while enjoying all its ergonomic advantages is 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, color and flexibility of the legendary Selmer Super Balanced Action and the early Mark VI.

Who ever imagined one day being able to have a Selmer Mark VI or SBA sound in any saxophone made today? We have tenons to adapt and make the fitting to most current manufacturers: Selmer, Yanagisawa, Cannonball, Eastman, Selmer vintage, and many others; do not hesitate to contact us!

It is available exclusively in two finishes: 

*raw brass: aggressive and edgy.

*satin gold plated brass: round and with a lot of tonal center.

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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