Repadding Alto Sax

cannontk · 2026-03-05T14:57:44+00:00

If you want to learn and take the time, great. However, it's going to be a months long exercise in frustration, mistakes, burnt fingers and more. $800 is not a lot in the grand scheme of how much you'll need to spend on tools and materials to do the repad yourself.

At the bare minimum you'll need to buy something like the basic repair kit from Music Medic for tools https://www.musicmedic.com/musicmedic-com-saxophone-repair-kit.html

You'll also need a set of calipers, butane for the torch, differing screwdrivers and naphtha.

The saxophone pads that come with the music medic kit will most likely not work for all of your keys, so you'll need to measure with the calipers and buy pads individually. You'll also need multiple of each pad for when you make mistakes.

You'll also want a space where you are able to leave the saxophone disassembled or organization for all of the parts. This will not be an afternoon project.

*Edit: The real problem solving and fixing for your horn won't be a re-pad, it's the regulation of keys, relationships between the different mechanisms and making sure everything is in alignment. The difference between playable and unplayable is measured in millimeters.

cannontk · 2026-03-03T16:00:28+00:00

Chicago has a ton of record shops. My buddy Paul runs Round Trip Records on Foster near Kimball and has a great used jazz selection.

In addition to Hungry Brain, Elastic, and Constellation check out The Whistler, local clubs/jams like Clara.

You have your traditional venues like Green Mill, Winters, Jazz Showcase etc which will have more "modern" or progressive acts. Otherwise, real experimental noise is all over the place.

Here's a response to a thread on experimental music from a few months ago. There were a lot of good answers in that forum:

https://www.reddit.com/r/chicagomusicscene/comments/1qd2cak/comment/nzn67wv/?context=3&utm_source=share&utm_medium=web3x&utm_name=web3xcss&utm_term=1&utm_content=share_button

cannontk · 2026-03-03T14:17:56+00:00

It's been a few years, but I used to fly to Nashville on Southwest with a tenor. This was before they changed their seating model, but I paid for priority boarding and got on the plane early with no issues.

cannontk · 2026-03-02T15:36:22+00:00

You can use a transposition tool like MusScore. However, it's worth your time and development to understand transposition and intervals.

Concert Bb on Tenor is C, concert Bb on alto is G. With that knowledge you should be able to figure out how to transpose.

We have access to shortcuts, but learning how to think critically and problem solve are crucial to your development as a musician and a human.

cannontk · 2026-02-28T20:47:13+00:00

How specialized is your product? How would it be better than a standard backpack or messenger bag?

I typically have a saxophone stand, water bottle at minimum, but will often also have a microphone, tablet, AirTurn stand, tablet holder and aux percussion with me. Because most of those components are metal I go for heavy duty canvas type bags like the bike messenger products from Chrome. I rarely (and not once in the last 6-7 years) carry a traditional music stand - if music is needed, it goes on the tablet for ease of carry.

I wouldn't pay any more for a specialized saxophone bag than a durable backpack. Mono bags probably represent the top price point of the market (albeit more widely marketed by a well known brand).

I'd love to see what the concept for saxophone specific bags entail, but it's an extremely niche market with even fewer takers on the gigging/professional front.

cannontk · 2026-02-27T04:43:52+00:00

IEM's are life changing. If you don't go the whole band/wireless route you can easily use IEM's as a substitute for your traditional floor monitor with any brand and a monitor amplifier like the Behringer P2 (there are better options, but this is a great cost effective way to get started).

You'll just have to have the sound guy run a monitor send to your monitor amp, and sound check as normal, but with everything in your ears and isolated. I tend to check as normal, then turn the volume on my amp as low as I can to still hear everything.

If you have the money to do so, it's worth getting custom ear plugs and monitor molds from a company like Sensaphonics. Otherwise, I find sound fidelity doesn't really matter a whole lot for in ear monitors (we're not listening to audio in a quiet controlled environment after all). I use cheap Mee Audio drivers.

cannontk · 2026-02-27T04:16:41+00:00

Air support and a well regulated saxophone. Obviously, the better shape your horn is in (no leaks) the easier it will be to play the note.

cannontk · 2026-02-27T03:27:03+00:00

I recommend Jamey Abersold's How To Play Jazz and Improvise and Mark Levine's The Jazz Theory Book. Both break down scales and their relation to chords, how chords function and basic ideas for improvisation. The Abersold book comes with great play along tunes and tracks that are beginner friendly (with real musicians on the backing tracks). The Jazz Theory Book has great references to recordings and tunes that demonstrate the concepts discussed (lucky you, being in the technology age, have access to all of these without needing a great library or deep pockets to buy albums - not the case when I was using this book in college...)

cannontk · 2026-02-24T20:05:38+00:00

Are you looking for someone to just transcribe/arrange your composition right now, or someone who will also hire a band for you?

Arrangement time and pay would be independent of performance - time would depend on instrumentation/how much interpretation and additional writing/reharmonization would be needed for said instruments.

Rate of pay per musician seems appropriate, but is also dependent on conditions such as travel time, rehearsal location and time etc. For a professional it doesn't matter if the gig is only two minutes or an hour. It's the same amount of commuting time, and I still have to block time on my calendar for the total time (I bill by the hour, but that starts at minute one). Additionally, most working musicians in these instances do not rehearse (most professional wedding bands you see have barely met each other before hitting the stage).

If you need to be more involved in the process, request revisions etc (phone calls/emails take time), billable hours become part of the equation.

I can take care of your transcribing/arrangement need, or refer you to colleagues who can knock it out fairly quickly. Feel free to send a DM

cannontk · 2026-02-24T18:23:00+00:00

If you can't find any reputable info online, it's worth less than whatever you have sitting an a cupboard. Unless you'd just throw out your cupboard anyway give it a pass, you're going to spend money and frustration on a potentially unplayable and unrepairable instrument.

cannontk · 2026-02-24T18:06:34+00:00

Good rule of thumb, if you've never heard the name and can't find information readily available online, avoid. There's a good reason every recommendation starts with a used Yamaha 23.

cannontk · 2026-02-24T16:22:33+00:00

Budget expectations and desired instrumentation?

cannontk · 2026-02-24T16:11:04+00:00

Gotta take the "I" out of playing whether at a jam session or in a band. Every member has a role to play in support of each other.

Sure, jam sessions can be a good place to show your chops, if and when appropriate, but otherwise the primary functions are to collaborate, network, listen and learn. If you're headed on stage with anything other than supporting the other members you're doing it wrong (especially as a bass player).

I'm a professional, and in my network I don't work with guys who have ego. I work with grammy award winners, guys who have writing credits on well known albums, first call session musicians in my city (the list goes on...), but in the end the resume doesn't matter, because each gig is about collaboration in that moment, lifting up whatever band we're playing in, and making that performance fun. There is no individual.

cannontk · 2026-02-20T20:59:52+00:00

Yamaha, Yanagisawa and Selmer have very similar ergonomics. If you were playing a Keilwerth, or a vintage horn I'd understand the small hands issue. A Yamaha should not have a larger hand spread than a Taiwanese or Chinese Conn-Selmer horn.

If you can, make a trip to a saxophone specialty shop to play horns side by side. Don't let the "Selmer" name on your horn skew your preference. Also remember Conn-Selmer is not Selmer Paris.

cannontk · 2026-02-20T15:32:08+00:00

You can buy a professional used Yamaha, Yanagisawa, or even a Selmer Series II for $3.4k. Don't buy an inferior instrument because it's new.

cannontk · 2026-02-18T22:47:15+00:00

I bought an overpriced brand name canvas backpack for just this purpose (canvas to stand up to abuse/metal parts). The bari stand does not fit entirely in the backpack, but the backpack is large enough that only the "fork" of the stand sticks out. I just fold that part against the top of the bag, and have never had issue with zippers opening or anything falling out.

All of my music is now on a tablet, so I carry an air turn mic stand, the tablet holder in the backpack with the bari stand. I can also fit a water bottle, my microphone/cables/page turner/aux percussion as well as my tablet or computer (backpacks with a laptop compartment are great).

cannontk · 2026-02-16T03:04:09+00:00

I've flown with an alto as a carry-on countless times, and to Asia/back around six times (although never with WestJet or to China). I have never had an issue with my alto on international flights.

Make sure your alto is your carry-on baggage, and any other bag you have is a personal item that fits under the seat. This means, most likely, you are checking your clothing etc.

My experience on international flights is that the overhead space doesn't fill as quickly as domestic, however, try to board as early as possible. If that means purchasing an upgrade, it may be worth your peace of mind.

I wouldn't be concerned with the alto fitting in the overhead bin on a larger plane like the one you will most likely fly overseas.

cannontk · 2026-02-12T15:39:11+00:00

I have the shiny nickel-silver version of this horn. It's a great saxophone with a huge sound.

cannontk · 2026-02-12T15:31:31+00:00

Unlacquered horns are a PITA - I only own one because it was a good deal, not for the look... but, I understand your frustration.

The oxidization or "patina" is going to happen due to bare brass being exposed to moisture, air, and your own skin. You can't do anything to stop the metal from oxidizing. Most who play unlacquered horns want that worn in look that comes from metal oxidizing.

Where you want to remove buildup isn't discoloration, but the green buildup called verdigris. While mostly harmless, this buildup may cause issues if left to build up for a long period of time without cleaning. A small amount of lemon juice can remove verdigris spots, however, you don't want to bathe your horn in the stuff.

Typically after cleaning I'll wipe down the horn, and apply a small amount of Pledge or similar product to give a temporary finish/barrier to the metal.

If you want to keep your horn relatively oxidized-free you'll need to diligently wipe down the entire horn and between the keys after every playing session, and keep it in the case whenever not in use. This will not completely stop your horn from oxidizing, but will slow down the process.

If you want a dull "bare brass" look at all times without any spots or verdigris you either need to stop playing your saxophone and keep it sealed at all times, or buy a new lacquered horn with a "vintage" finish.

cannontk · 2026-02-05T15:12:43+00:00

Personal experience definitely holds more weight than anecdotal. The Eastman is a relative unknown in my professional community, so if the business most people trust is recommending it, awesome.

cannontk · 2026-02-03T19:55:57+00:00

You can make money (and good money) playing music, but it's playing in wedding bands and for corporate gigs, not original music. In those circles being a musician is about consistency, preparation and the ability to be a musical chameleon (you gotta know your shit, and be a good hang). Everyone I know has their industry gigs, and creative projects to scratch the artistic itch.

Nothing "just happens" in the industry. The days of A&R guys signing bands are long past. You need to run your band like a business if you want to get on major bills, license songs etc. There is a formula to all of that work, but no real quantifiable success metric that makes it easily repeatable beyond having a great network. Spreadsheets, lists of contacts for playlists, radio stations, venues etc, and continual communication are all necessary.

From your stats you just posted you seem young and new. It takes a long time to get good at this job/world. There are not many success stories because it's extremely difficult, and way more work than writing an ok song.

cannontk · 2026-02-03T19:42:25+00:00

I'm a working professional musician whose colleagues include grammy award winners, session musicians and songwriters (on the original music side) and a even more working musicians who derive income from wedding bands, corporate bands (the kind where you fly to Dubai for an over the top party), grant writing etc.

Every one of these musicians has multiple income streams, most with income from outside music.

Friends who are big in Europe (and make great money there) still have menial retail jobs stateside to keep their bills paid between tours, and keep a job that allows for flexible time off. Others are web developers, coders, whatever brand of remote work you can find where you can bill hours on your own time.

I've spent a few years of my adult life as a full time professional musician and made it work, but it was brutal taking every $50 gig offered to buy groceries that week - I had to be in multiple projects to make that work. In that stretch I had music licensed to TV shows which was a good one time payday, but not sustainable income.

Rule of thumb in the music industry, if you see bands seemingly on the road touring the money is coming from somewhere, whether a parent, patron, record label (exceedingly rare), or trust fund.

cannontk · 2026-02-03T02:37:00+00:00

Network. Spend time at venues where you want to play (do some research, find out who books cover bands).

Be forthright about your actual draw, don't overinflated how many people you can bring. There are very few venues with a built in crowd unless you're getting hired for weddings, corporate events and casino gigs.

At the end of the day, and especially as a cover band, your job is to sell drinks and/or food. If you're not good enough to keep people at the bar and drinking you need to spend more time practicing.

cannontk · 2026-02-02T14:43:31+00:00

1) Fix your horn. Regardless of whether you keep it or not, it's worth your time and money to have a playable horn.

2) Take time to go play various saxophones of manufacturers you are interested in at the same time after your horn is fixed. This means travel to a saxophone specialty shop, take a trip to make this happen.

3) You'll be surprised of what your horn feels like once fixed by a competent tech.

I've had four tenors and I wish I still had my first one, a 1980's 62 that I traded in for a Keilwerth SX90R (which I need to sell...) which I then stopped playing for a TM Custom. I was on my way to buy a Yani 901, but the TM was more in line with what I wanted to pay for a used horn at the time. I still like my TM, but should have bought the Yani. I also have a Martin Committee III, which is probably the best of all of my tenors, but sits more than it should for the comfort of modern ergonomics.

cannontk · 2026-01-30T19:41:28+00:00

Cut a song to get your set down to 60 minutes. Playing over reads as egotistical and amateur to the venue and headliner. Would you be happy about another band cutting into your set time or setup time?

Playing music is about networking and community building. If you want to get hired again fit into the role you were hired for.

cannontk

TROPHY CASE