THE NEW SAX DESIGN by JIM SCHMIDT

If you dig common sense, practicality, good technology and comfortable ergonomics, read on.

The logic behind my fingering system is straightforward. One note follows the next chromatic note by closing down the next key with the next finger of your hand, and so on down the line, one after the other in linear sequence; not here and there, helter skelter as on conventional saxes.

This new fingering system is easy to memorize and enables the player to perform passages with great ease and rapidity. Chromatic scales sound wonderfully smooth. All scales, regardless of how many sharps or flats are involved, can be easily played. As you know, the conventional fingering is built around the C major scale with the sharps and flats of other scales inserted where they can fit. Because of this, many other key signatures become more difficult to play - especially the key of Db which is very awkward. My sax overcomes this problem because it is based on the chromatic scale which is the only scale to include all twelve notes of the octave. C major (and every other scale) is a sub category of the chromatic scale.

Click for more alto sax images.

The Schmidt chromatic fingering makes perfect sense and is a pleasure to use. Since the tone holes are generally located directly underneath the fingers being applied, the player understands that he/she is making the sax longer and dropping the pitch by applying more fingers, making it shorter and raising the pitch by lifting fingers, or venting it for altissimo by lifting some fingers and closing others. This direct link of fingers over tone holes enables players to visualize what they are doing to the sax. It encourages them to use more creativity and intelligence in their playing. For example: it is easy to transpose down a third by simply pressing down 4 more fingers on their keys. Practice becomes more enjoyable, more time is spent at it, and so players become better musicians.LINK TO FINGERING CHART

When you look at a conventional sax you see a lot of complicated interconnecting linkages, unnecessary weight and redundant keys (side keys, bis key, F#, Bb. G# etc.). I swept away all of this extra key work by starting with a clean slate and designing it efficiently from the start. In the new system, scales and tones are cleaner and quicker due to the fact that each key is independent (except the low note keys) and is not loaded down by interlinkage mechanisms as are, for instance, mid Bb and F# in the conventional Boehm method. Tones are also clearer because you have the choice of closing only those holes which produce the best sound. This is especially true when playing altissimo (the conventional sax locks you out of some of the best altissimo fingerings). My fingering system allows you to do much more. For example, low note trills and interval tremolos are now available - a big advantantage over conventional horns. A unique technique is employed to achieve this which allows two fingers to operate the low note touchpieces instead of just the pinky. For example - you can hold down low B with the ring finger while trilling low Bb with the pinky. This is easy because spring pressures are about 1/3 as heavy as found on conventional horns. There is also a special right thumb tip key which operates only the neck octave vent - this key facilitates the secure playing of harmonics, upper partials, multiphonics, etc.

Click to enlarge thumb key image.

Both thumbs are used on my sax. The right thumb key is an unusual combination of touch piece and thumb hook. A special guard keeps the sax clear of the players body so that the right thumb is free to operate its key. This guard reduces pressure on the right thumb and improves the stability, comfort and balance of the horn. Some players have commented that this guard would be a welcome addition to conventional horns as well.

The special qualities of this sax can also be heard in the free style with which it plays jazz and classical music. Since the keys are independently operated, you can use alternate or false fingerings to create special effects, multiphonics (chords), super clear altissimo and extremely rapid passages.

Click to enlarge left hand keys.

Other features include the use of new materials and designs in the key work such as:

Sleek, low profile keys which are precision machined from solid stainless steel plate - a very time consuming and costly process, but the benefits in accuracy are well worth it. These keys are designed to be much stronger and resist bending which would upset the precise seal of the high tech pads. Conventional keys and pads are too thick and bulky. My lower profile keys offer more control, a better feel, and the lightest, fastest action you've ever experienced.
This is a racing sax with high speed, high performance capabilities.

Go to Jim Schmidt's racing experience

The top keys have been designed to be played with either the undersides of ones knuckles (as with conventional palm keys) or with the fingertips. Using the fingertips improves playability and circumvents the clumsy limitations of palm keys.

Click to enlarge right hand keys.

Elimination of posts and tone deadening ribs which have been replaced by one piece bridges in order to effectively reduce unwanted weight and solder joints. This enables my sax to project with greater clarity, tone color, and volume on demand. It is much closer to the ideal of a bare resonate horn unencumbered by key work.

Go to Jim Schmidt's "TONE TEST"

More even spring pressures throughout the key system due to the elimination of interlinkage mechanisms (such as F# on conventional saxes). The keys require minimum closing pressure to seal the pads. This feature allows players to play faster and longer without tiring - your fingers fly and dance over the keys without effort. The lightly sprung system cooperates and works for you. In contrast - the conventional Boehm system can fight against you by requiring heavy finger pressure and mashing of the keys which wears the player down and can lead to permanent injury or tendonitis. Players find my touchpiece layout to be more ergonomic and considerate to the hands and tendons.

Excellent intonation due to the fact that there are no flattened or shaded notes (which occurs with Boehm interlinkages). This allows for an even graduation of tone hole size and location, allowing correct location at the exact nodes of the scale which in turn provides better response, tone production and intonation.LINK TO TONEHOLE LAYOUT INFO

Incorporation of more durable pads which eliminates the most troublesome aspect of sax maintenance. These pads have been developed for over 25 years and are revolutionary in their design and performance. They are quiet, form an excellent seal and are much longer lasting and superior to conventional pads in every way. Skin deterioration, moisture warpage and all those other headaches are no longer a problem. The internal (bore side) of each cup has a smooth metal surface that forms a very streamlined internal shape - perfect for boosting your tone production. The pads are more like O rings or gaskets. They fit into a narrow groove in a machined cup and make conventional pads look obsolete in comparison. Those old bulky conventional leather pads act just like mufflers and dampen the vibration of conventional saxes... they rob you of your tone when you play and they rob you of your $ every time you have to replace them. Its time get rid of them!

When you look down the bore of my sax, all you see is the flush metal undersides of the cups and the horn tube. That's the best surface you can have for reflecting good sound waves. The best tone you can ever get is from a sax that has no toneholes, pads or keywork - just a bare but very resonate body. My sax is closer to that ideal than any other horn you can buy.

TENOR

Altos and Tenors use the dimensions of the best sounding horns but are tweaked in the direction of better intonation. In addition – there is a completely new horn which has the proportions of today’s best Tenors but has been down-sized to incorporate the ideal dimensions between the Alto and the Tenor. It has the best of both worlds, the high register tone and light action of the Alto and the rich medium and warm low register of the Tenor. It is called a "CONTRALTO" (in the key of C). LINK TO CONTRALTO AND MOUTHPIECE DESIGN

The Contralto has a wide open sound and wonderful tone color. It offers new dimensions of sound beyond the capabilities of conventional saxophones. (Because of its large bore and wide conical expansion, it shares absolutely nothing in common with the smaller, ill fated C Melody). The Contralto is in the same key as my C flute (identical fingering system). This makes "doubling" of these instruments more practical than it’s ever been before.

Young musicians are naturally attracted to this new design. The chromatic layout makes it easy for a beginner to find correct notes just as a child counts on his fingers.

Advanced players find tremendous potential at their fingertips. Tone quality is improved for classical playing, accelerated passages are available for the jazz artist, and a whole new horizon opens up for extended techniques.

Click for more tenor sax images.

HERE ARE SOME QUOTES from professional players and recording artists who either own my instruments or have played them. I have not asked them to endorse my product, so I am not including their names.

"It has acoustical advantages over the Boehm system. The tone is better [than conventional horns] over a wider range of pitch bending [lipping]."

"This fingering system is not key weighted" [it does not favor one key signature over another].

"It has an amazing live sound" "...super rich in harmonics that I dig enormously."

"Amazing, wonderful, it could be dangerous. Better have it registered with the authorities"

"The musical extension of the number of possible multiphonics is fantastic."

"Extraodinary qualities ...It speaks immediately and has a full and consistent tone, top to bottom."

Playing one of these horns isn't going to make you sound like Parker or Coltrane - to do that you must practice as Parker and Coltrane did. What you achieve depends on your own capabilities, ambitions and dedication. My horn is just a tool - in this case a better tool.

NOTE: The bell and bow portions of the Contralto sax are carefully hand hammered and tempered for the ultimate tone. No casting or mass production techniques are employed. Each part is meticulously hand fabricated or painstakingly precision machined. No other method provides the extreme accuracy and high strength to low weight relationship necessary for my high performance key system, pad sealing and tone production. No compromises are made for ease of production or economy. The intensive labor invested in each of my horns produces a level of craftsmanship and tone quality that are best seen first hand. GO TO PRICES & ORDERING