I was listening and not watching at the end when you played both horns. It might have been my phone speaker but there really was no difference in sound. I couldn't even tell you switched. No wonder Mintzer switched
I purchased one and love it, been playing it at my University for a year now with no issues. Great sound, easy to play, buy heavy as an anchor. Fantastic horn for the money.
Thank you, Dan, and everyone who commented! Now I'm really interested in getting one of these. For a long time, I have been playing a Conn 10M that also is heavy and produces a dark sound. But my Conn is from 1936 with noisy keys and a bit challenging to make those lowest notes sounding. It seems a 52 would be a worthy companion. I like the sound concept of big opening bright mouthpieces with a dark sounding sax. Nevertheless, I love my old Link STM 9* that in fact is very dark, and I use to boost some highs when recording it. All my other MPCs are much brighter, which seems to work well on a darker horn.
Thanks for the feedback. To be honest, I'm gun shy about Taiwan made horns. This month, I tried a brand new Antigua Power Bell . I sent this thing back so quick it'd make your head spin. Each time I play it, had all kinds of problems/defects.
I seem to be the only person saying this, so maybe I'm missing something, and apologies that I'm not great with the language or description of sax tone, but for me the 52nd st's tone seemed to have some weird bright artifacts or overtones almost like some notes wanted to crack, whereas the Mk VI seemed much smoother and centred. It seemed a huge difference between the 2 sounds to me and I massively preferred the VI.
Hi Dan, the 6 is just more refined. Can hear a difference in the hands of a pro, but for the average punter, probably not so much. But a huge difference in price to be sure. Have friends who play these and love them and should be a consideration when looking for a new sax.
Hi Dan nice review and video. Can I ask in relation to the colour/ unlaquered will it retain the colour now or will it go that manky brown looking colour like the TJ raw seems to. I like the vintage look of these says but don't really want one to move much away from the colour when purchased new. The mark 6 with that vintage dark colour is great but they are just so expensive unfortunately. Thanks very much
I bought an Eastman 52 Tenor and I love it. For me, I was looking at the Yamaha's, Selmer's and Eastman 52nd series. It came down to deciding between the Reference 54 and the 52nd street. I think they both sound great. For the price, I felt the 52nd street was a better option for me. I just love the depth of sound. The artists I'm inspired by include Illinois Jacquet, Gene Ammons, King Curtis, John Coltrane, Ben Webster and Justin Ward.
If you can, you should review the Lupifaro Platinum tenor. I’ve heard a lot of good things about them and it would be cool to see what you think about it compared to your VI
Most of them do have intonation issues regardless of what anybody says. Of course if you own one or make money from MKVI sales you want the values to keep going up.
I am anxious to hear what you will do with your nerve issue... I wonder if you should not switch tenors for a few weeks or so and see if that makes a difference. As much as you love your M6, nerve damage seems a high price! Good luck man!
The higher notes are good but probably as good as any decent horn. The low notes come out so easy. Low Bb can actually be played very quietly if you want to very easily and even stick some breathy vibrato on to. It's just very easy to blow throughout the whole horn really but especially the very low notes
Gary Hoole how does the layout of the keys feel? I have rather small hands and I have heard this is great for someone with larger hands but well I don't have large hands...
Hey Dan! How is the horn resistance-wise? I've been unsatisfied with my setup being way too free-blowing (I tried my friend's setup, Otto Link and MkVI and it is the polar opposite of mine). I play a Drake Gerry Bergonzi but will soon be switching back to an Otto Link, so that will do some of the trick. Cheers all the way from Montreal!
Hi Alexandre thanks for the comment. It's quite free blowing IMO, (which is what I generally prefer.) However I do find that changing reed setup can be helpful in creating a more resistant setup?
Dan Forshaw will check that out, thanks! I'm looking at the Alexander NY reeds, much more resistant than other reeds, i'll keep you posted if you want. Thanks for the reply! Alex
They are headquartered in Austria and James Morrison is one of their greatest ambassadors. In my opinion, their horns are a dream and have an incredible price point. If possible, I would suggest you find one to play. You will not regret it.@@DanForshaw
Slightly too dark? Good recent review of loads of tenors (and baris) on sax.co.uk The issue I have with the modern Far Eastern horns is that the latter are much heavier than an MkVI. I have yet to see a review or on manufacturer websites the weight of these horns. Is it much heavier than a MkVI?
$10K for a vintage VI, $9K for a new Reference 54. Eastman 52nd St for $4K. Yeah, there might be a difference in sound from the vintage and new Selmers vs the Eastman. But not a $5K difference. I love my VI, I am the original owner. I also have a Cigar Cutter alto. My next tenor will be something other than a Selmer if they don’t get their act together.
Craig Donaldson I mean Mark VI doesn’t start at $10k, you can find a great horn for $7k. That’s also why the reference isn’t worth it because it costs more than a VI.
Robert Moffat I think they may come out of the same factory, and maybe were designed by some of the same people even, but when I played the eastman side by side with different mauriats I thought it felt much better overall. Probably just personal preference, but I thought the keywork felt much more solid, and this horn played much better than the mauriats I tried. I liked it so much I actually ended up buying it right then.
I think they are made in the same factory ... that being said ... I've played the Mauriats and the key work is garbage. Granted, I was comparing it to my custom 875 Yamaha which is sheet butter, but the P. Mauriats are clunky as hell. I've seen the keys come back to my store after 1 year and they are wrecked. I've had multiple techs tell me that they can bend the Mauriat keys without even trying. The Eastman keywork is far, FAR superior. It doesn't feel as buttery as my Yamaha, but it is very solid and consistent. The pinky keys feel a bit heavier and... grip-ey-er if that makes sense. . . but I think its just the double brace. Basically, I've played both makes extensively and while they both have good tone, the Eastman actually feels like a high quality horn in your hands... while mauriat FEELS cheap (and IS cheap)
![#121 Geartest "Andres Eastman 652, Bob Mintzer" Tenor Saxophone [PL]](/img/1.gif)
I was listening and not watching at the end when you played both horns. It might have been my phone speaker but there really was no difference in sound. I couldn't even tell you switched. No wonder Mintzer switched
The Eastman sounded better in that final short burst. On the Selmer you sounded out of breath. Thanks for the review.
I purchased one and love it, been playing it at my University for a year now with no issues. Great sound, easy to play, buy heavy as an anchor. Fantastic horn for the money.
Thank you, Dan, and everyone who commented! Now I'm really interested in getting one of these. For a long time, I have been playing a Conn 10M that also is heavy and produces a dark sound. But my Conn is from 1936 with noisy keys and a bit challenging to make those lowest notes sounding. It seems a 52 would be a worthy companion. I like the sound concept of big opening bright mouthpieces with a dark sounding sax. Nevertheless, I love my old Link STM 9* that in fact is very dark, and I use to boost some highs when recording it. All my other MPCs are much brighter, which seems to work well on a darker horn.
Thanks for the feedback. To be honest, I'm gun shy about Taiwan made horns. This month, I tried a brand new Antigua Power Bell . I sent this thing back so quick it'd make your head spin. Each time I play it, had all kinds of problems/defects.
I seem to be the only person saying this, so maybe I'm missing something, and apologies that I'm not great with the language or description of sax tone, but for me the 52nd st's tone seemed to have some weird bright artifacts or overtones almost like some notes wanted to crack, whereas the Mk VI seemed much smoother and centred. It seemed a huge difference between the 2 sounds to me and I massively preferred the VI.
The case is enormous!
Hi Dan, the 6 is just more refined. Can hear a difference in the hands of a pro, but for the average punter, probably not so much. But a huge difference in price to be sure. Have friends who play these and love them and should be a consideration when looking for a new sax.
hello, what's the difference with the new version of Eastman 52 street tenor?
Hi Dan nice review and video. Can I ask in relation to the colour/ unlaquered will it retain the colour now or will it go that manky brown looking colour like the TJ raw seems to. I like the vintage look of these says but don't really want one to move much away from the colour when purchased new. The mark 6 with that vintage dark colour is great but they are just so expensive unfortunately. Thanks very much
I got one Eastman 52 Alto, it's excellent horn ! very easy to play, and the sound is so beautiful!
The tone of the Eastman seems nice and even. However, I get that out of a vintage Martin at a fraction of the cost.
I bought an Eastman 52 Tenor and I love it. For me, I was looking at the Yamaha's, Selmer's and Eastman 52nd series. It came down to deciding between the Reference 54 and the 52nd street. I think they both sound great. For the price, I felt the 52nd street was a better option for me. I just love the depth of sound. The artists I'm inspired by include Illinois Jacquet, Gene Ammons, King Curtis, John Coltrane, Ben Webster and Justin Ward.
If you can, you should review the Lupifaro Platinum tenor. I’ve heard a lot of good things about them and it would be cool to see what you think about it compared to your VI
They look interesting, I'll see if I can get one in
I found the Selmer (believe it or not) had a few intonation issues
Aidan Selmer players are well aware of intonation issues.
Most of them do have intonation issues regardless of what anybody says. Of course if you own one or make money from MKVI sales you want the values to keep going up.
How does it compare to your Yanagisawa tenor?
I am anxious to hear what you will do with your nerve issue...
I wonder if you should not switch tenors for a few weeks or so and see if that makes a difference.
As much as you love your M6, nerve damage seems a high price!
Good luck man!
The VI just shades -more dept- it or maybe you just know the VI a bit better having played it for so long and know how to get the best from it.
Where is It made?
I never Heard about It before.
I've had an Eastman for about a month now and loving it.
Gary Hoole is it heavy?
It is slightly heavier than most tenors but it feels like you've got something in your hands
Gary Hoole thank you for responding.....how do you feel about the response in the low and higher notes?
The higher notes are good but probably as good as any decent horn. The low notes come out so easy. Low Bb can actually be played very quietly if you want to very easily and even stick some breathy vibrato on to. It's just very easy to blow throughout the whole horn really but especially the very low notes
Gary Hoole how does the layout of the keys feel? I have rather small hands and I have heard this is great for someone with larger hands but well I don't have large hands...
hi Dan , quick question ? Eastman 52nd ST or Cannonball big bell series ?
thank you
Personally neither, but if I had to choose the Eastman
@@DanForshaw Thank you 🎷👍
Hey Dan! How is the horn resistance-wise? I've been unsatisfied with my setup being way too free-blowing (I tried my friend's setup, Otto Link and MkVI and it is the polar opposite of mine). I play a Drake Gerry Bergonzi but will soon be switching back to an Otto Link, so that will do some of the trick.
Cheers all the way from Montreal!
Hi Alexandre thanks for the comment. It's quite free blowing IMO, (which is what I generally prefer.) However I do find that changing reed setup can be helpful in creating a more resistant setup?
Dan Forshaw will check that out, thanks! I'm looking at the Alexander NY reeds, much more resistant than other reeds, i'll keep you posted if you want. Thanks for the reply!
Alex
Pp ok hbbnnn
I forget what’s the name of this song at the beginning
Four
When are you going to review the Schagerl T1-VB Tenor Sax? I would love to hear your opinion.
when they send me one for a review - who are Schagerl?
They are headquartered in Austria and James Morrison is one of their greatest ambassadors. In my opinion, their horns are a dream and have an incredible price point. If possible, I would suggest you find one to play. You will not regret it.@@DanForshaw
how sturdy is the bag that came with it?
Very - but I like sleek, lightweight cases and this isn't either! Very heavy duty, which some people like.
Eastman sounds better than the 6
Slightly too dark? Good recent review of loads of tenors (and baris) on sax.co.uk The issue I have with the modern Far Eastern horns is that the latter are much heavier than an MkVI. I have yet to see a review or on manufacturer websites the weight of these horns. Is it much heavier than a MkVI?
pimeye it is definitely heavier than a mark vi, but I don't think it's extraordinarily heavy or anything.
$10K for a vintage VI, $9K for a new Reference 54. Eastman 52nd St for $4K. Yeah, there might be a difference in sound from the vintage and new Selmers vs the Eastman. But not a $5K difference. I love my VI, I am the original owner. I also have a Cigar Cutter alto. My next tenor will be something other than a Selmer if they don’t get their act together.
Craig Donaldson I mean Mark VI doesn’t start at $10k, you can find a great horn for $7k. That’s also why the reference isn’t worth it because it costs more than a VI.
🤨
Basically a P. Mauriat...
Robert Moffat I think they may come out of the same factory, and maybe were designed by some of the same people even, but when I played the eastman side by side with different mauriats I thought it felt much better overall. Probably just personal preference, but I thought the keywork felt much more solid, and this horn played much better than the mauriats I tried. I liked it so much I actually ended up buying it right then.
I think they are made in the same factory ... that being said ... I've played the Mauriats and the key work is garbage. Granted, I was comparing it to my custom 875 Yamaha which is sheet butter, but the P. Mauriats are clunky as hell. I've seen the keys come back to my store after 1 year and they are wrecked. I've had multiple techs tell me that they can bend the Mauriat keys without even trying. The Eastman keywork is far, FAR superior. It doesn't feel as buttery as my Yamaha, but it is very solid and consistent. The pinky keys feel a bit heavier and... grip-ey-er if that makes sense. . . but I think its just the double brace.
Basically, I've played both makes extensively and while they both have good tone, the Eastman actually feels like a high quality horn in your hands... while mauriat FEELS cheap (and IS cheap)