So I have noticed a new trend forming in the music industry that makes me quite happy. We are seeing several brands starting to pay more attention to "hand time" as I call it. This is just as it sounds, more work being done truly by hand.
For manufacturing and cost reasons, more and more instruments had less and less "hand time" in their assembly over the past few decades. This of course helped bring quantity levels of good horns up, but over time, the quality has continued to slip.
Well, we are starting to see a change. In particular, I am finding a few instruments from makers like Conn-Selmer that are going back to the "roots" of instrument making. Products like the Bach Strad trumpets and the new Conn "Vintage 8D" models. These are examples of horns that once were truly done by hand and had gotten more and more mass produced over the years. Both now are using more hand assembly now. With the Vintage 8D french horn, it is completely hand assembled.
The downside to this is cost. More hand time means more employee hours meaning more cost to make the item. But the upside is in performance.
When instruments are truly hand assembled, there tends to be less stress at solder joints which frees up the vibration of the instrument thus producing more response and sound from the horn.
Its just nice to see in the day and age of mass production and computers, that even some of the big guys can still bring back old world craftsmanship.
Friday, October 3, 2008
Monday, September 29, 2008
New Selmer Paris Series III Bari Sax
Selmer Paris, the world's leader in professional saxophones has been teasing the Bari market for years with rumors and hints at a new Bari sax design. Back in January 2008, I posted on the Sax On The Web (SOTW) forums that we had a chance to see one of the first Series III bari saxes in person and play it.
As I posted on the SOTW forums, we were VERY impressed with the playability of the new horn. The intonation was superior to previous designs, the ergonomics were much improved from the Series II and most importantly, this horn had the response that was lacking from the Series II.
Overall initial impression: Great playing horn and arguably one of the best we have ever played.
Fast forward to today and we find ourselves on the "eve" of official shipping. We have obtained 1 stock photo of the new Series III bari sax and will show you all some of the new aspects to the design.
First, the concept of this horn was to create a low A bari that vibrated and responds like a low Bb bell bari. This is a tricky feat to accomplish as part of the problem is that the extra weight created by the longer bell of the low A bari severely hinders vibration. Many players want the low Bb bell response but NEED a low A key these days.
So in order to accomplish this, Selmer decided to lighten the horns overall weight. This was done in several ways. First, they got rid of some on the bracing in the neck crook. The weight at this point of the horn can make a substantial difference in the overall response of the horn through all the registers. Combine the lighter weight neck crook with the improved bore design and you get a good performance improvement.
This split rib is from the rib holding the posts of the left hand stack of the horn. This I believe makes a big change in the vibrational response of the saxophone. This design concept doesn't work on all horns but rather depends on the bore. From our experience playing the Series III in January 2008, this split rib construction is a good idea on the Series III bari.
The last area where Selmer chose to decrease the physical footprint on the horn was the bell to body brace. This is one area where I personally am going to have to disagree with the choice made.
With a low A bell, the other negative aspect is the ability of the larger bell to be knocked out of proper position. This type of damage can happen rather easily on a low A bari. Most manufacturers have switched to a "3 Point Bell-to-Body" brace. The concept is that instead of having just the 2 contact points, one on the body and one on the bell, a 3rd contact is added to the opposite side of the body. This extra brace helps stabilize the bell.
We did bring this up to Selmer when we were trying the horn and they believe that the horn would not need it and that the 3rd contact point effected the performance of the horn. They also believed that the people who would be buying such a horn (price tag of $9,549) would tend to be more responsible players and would take better care of the horn then your typical high school student would.
Only time will tell whether or not this was a good idea. While I do not have photos of the case, I do recall that the case provided with the horn does seem to brace the bell of the bari better then most bari cases. This can help with this concern but in my opinion, will not fully prevent it from happening.
The last interesting design concept to note on the Series III bari is the new approach that Selmer has take on the floor peg. Some players have floor peg mounts put on the bottom bell bow of their bari and now several companies offer this as an option. Yanagisawa for instance offers a floor peg mount.
The idea is that with a floor peg, the player no longer has to worry about supporting the weight of the horn when playing thus allowing their hands great flexibility for playing.
The problem with most floor pegs is that even when not using the peg, there is a rather large mounting bracket still attached to the bow of the bari. This bracket adds a lot of weight but more importantly, if the horn suffers an impact on the mount directly, it can cause catastrophic damage to the bell of the horn.
For the Series III, Selmer has come up with a great mounting idea. The horn is standard equipped with 2 mounting knobs on the front of the bell. When the peg is not in use, these knobs have brass covers screwed on to them. To use the peg, one simply unscrews the covers and then screws on the floor peg. This gives great support but without the negative aspects. There was even talk of offering a "standing" position peg as an accessory so that the player can stand with a peg attached that is long enough to reach the floor.
All in all, the Series III bari is definitely a different animal then anything we have seen from Selmer in the past. Overall, I love the changes made on the horn. My one concern is on the bell to body brace. Hopefully I am wrong.
I have great respect for Patrick Selmer and all the team at Selmer Paris. I think that they make great products and have continued to impress the industry with revolutionary designs and performance.
Dave Kessler
If you are interested in purchasing the new Series III Baritone Sax, please call our store Toll Free at 1-888-830-0474 Mon-Sat 9:30-6:00 West Coast Time. You can also email me at music@kesslermusic.com
As I posted on the SOTW forums, we were VERY impressed with the playability of the new horn. The intonation was superior to previous designs, the ergonomics were much improved from the Series II and most importantly, this horn had the response that was lacking from the Series II.
Overall initial impression: Great playing horn and arguably one of the best we have ever played.
Fast forward to today and we find ourselves on the "eve" of official shipping. We have obtained 1 stock photo of the new Series III bari sax and will show you all some of the new aspects to the design.
First, the concept of this horn was to create a low A bari that vibrated and responds like a low Bb bell bari. This is a tricky feat to accomplish as part of the problem is that the extra weight created by the longer bell of the low A bari severely hinders vibration. Many players want the low Bb bell response but NEED a low A key these days.
So in order to accomplish this, Selmer decided to lighten the horns overall weight. This was done in several ways. First, they got rid of some on the bracing in the neck crook. The weight at this point of the horn can make a substantial difference in the overall response of the horn through all the registers. Combine the lighter weight neck crook with the improved bore design and you get a good performance improvement.
I also notice a tighter bore neck that then seems to rapidly increase once it hits the body of the horn. I believe this is a tighter bore neck then the Series II design was which if so, will give greater compression to the air column and better speed giving a more focused and responsive sound.
Another change done to decrease weight is the ribbing construction. For those who don't know what this is, read my post here about it.
With the Series III alto, tenor and soprano, Selmer opted for a "mini-rib" design. In stead of doing a full solid rib in any spot of the horn, they do several smaller ribs. I refer to this as a "split rib" myself since they are still doing a ribbed construction of sorts, they are just splitting up a rib instead of making a singular rib smaller.
This split rib is from the rib holding the posts of the left hand stack of the horn. This I believe makes a big change in the vibrational response of the saxophone. This design concept doesn't work on all horns but rather depends on the bore. From our experience playing the Series III in January 2008, this split rib construction is a good idea on the Series III bari.
The last area where Selmer chose to decrease the physical footprint on the horn was the bell to body brace. This is one area where I personally am going to have to disagree with the choice made.
With a low A bell, the other negative aspect is the ability of the larger bell to be knocked out of proper position. This type of damage can happen rather easily on a low A bari. Most manufacturers have switched to a "3 Point Bell-to-Body" brace. The concept is that instead of having just the 2 contact points, one on the body and one on the bell, a 3rd contact is added to the opposite side of the body. This extra brace helps stabilize the bell.
We did bring this up to Selmer when we were trying the horn and they believe that the horn would not need it and that the 3rd contact point effected the performance of the horn. They also believed that the people who would be buying such a horn (price tag of $9,549) would tend to be more responsible players and would take better care of the horn then your typical high school student would.
Only time will tell whether or not this was a good idea. While I do not have photos of the case, I do recall that the case provided with the horn does seem to brace the bell of the bari better then most bari cases. This can help with this concern but in my opinion, will not fully prevent it from happening.
The last interesting design concept to note on the Series III bari is the new approach that Selmer has take on the floor peg. Some players have floor peg mounts put on the bottom bell bow of their bari and now several companies offer this as an option. Yanagisawa for instance offers a floor peg mount.
The idea is that with a floor peg, the player no longer has to worry about supporting the weight of the horn when playing thus allowing their hands great flexibility for playing.
The problem with most floor pegs is that even when not using the peg, there is a rather large mounting bracket still attached to the bow of the bari. This bracket adds a lot of weight but more importantly, if the horn suffers an impact on the mount directly, it can cause catastrophic damage to the bell of the horn.
For the Series III, Selmer has come up with a great mounting idea. The horn is standard equipped with 2 mounting knobs on the front of the bell. When the peg is not in use, these knobs have brass covers screwed on to them. To use the peg, one simply unscrews the covers and then screws on the floor peg. This gives great support but without the negative aspects. There was even talk of offering a "standing" position peg as an accessory so that the player can stand with a peg attached that is long enough to reach the floor.
All in all, the Series III bari is definitely a different animal then anything we have seen from Selmer in the past. Overall, I love the changes made on the horn. My one concern is on the bell to body brace. Hopefully I am wrong.
I have great respect for Patrick Selmer and all the team at Selmer Paris. I think that they make great products and have continued to impress the industry with revolutionary designs and performance.
Dave Kessler
If you are interested in purchasing the new Series III Baritone Sax, please call our store Toll Free at 1-888-830-0474 Mon-Sat 9:30-6:00 West Coast Time. You can also email me at music@kesslermusic.com
Wednesday, June 4, 2008
"No Parts Available" - What does that REALLY mean???
There is a phrase used in repair shops all around the country. This phrase makes the customer cringe. It damages their faith in the instrument that they are playing on. These 3 little words are the worst thing that a customer can hear when they are talking about their horn...
"No Parts Available"
But what does this REALLY mean? Sadly, there is no clear cut answer to this. However, there are a few things that it could mean.
Typically, repair technicians use this statement when working on non "name brand" horns. They tell the customer that since the instrument is not a major brand, there are no parts available and therefore, they cannot repair it for you, the paying customer.
Well, this phrase can also apply to vintage older horns. Say for instance, a Buescher 400 "Top Hat & Cane" model made in 1940 - which is a very good professional vintage horn worth thousands of dollars. Are there "parts" still being made for this horn?
No, the "parts" are not made for this vintage horn any longer. So does that mean that the technician cannot work on it either? Not at all! In fact, technicians work on those type of horns all the time.
So why then can they not work on your "non name brand" horn?
The fact is this: In many cases, they can actually work on the horn, they just may not want to or may not be allowed to for one reason or another.
One of these reasons could be that in fact, the instrument is of poor quality. Working on a horn or instrument built poorly or of poor materials, could lead to problems for the technician. For instance, if the metal is so soft there is a chance that when they are trying to service it, that typical repair techniques could damage the instrument, which would then make them liable for it.
So they could decide not to work on it as protection for themselves.
At the store that I work with, we have our own brand of saxophones under the name Kessler Custom Las Vegas. They are great intermediate saxes. There have been numerous reviews through the internet praising the value that these horns offer. Even with our horns, there are no "parts" available through the major parts suppliers. We stock parts and have them available for customers or repair stores upon request.
However, the truth of the matter is this: The large majority of "parts" used in repair of a woodwind instrument are pads, corks & felts... which are all universal parts used in all brands.
So when a technician tells you that "parts" are not available, they could be telling you the truth, but they could also be telling you that they simply will not work on it. Now if you have a broken metal part, something that was made at the factory, then you may have an issue. However, many good technicians can still repair that broken part.
Sadly, you as the customer may not be able to tell what is really being said with that phrase. So if you are ever unsure, get a second opinion. Worst case scenario, call the person you purchased it from or call the business that sells them brand new. Don't just assume that you have a bad instrument that "cannot be serviced". Many times this is just not the case.
The opinions offered in this blog do not necessarily reflect those of Kessler & Sons Music, it's officers, owners or employees.
"No Parts Available"
But what does this REALLY mean? Sadly, there is no clear cut answer to this. However, there are a few things that it could mean.
Typically, repair technicians use this statement when working on non "name brand" horns. They tell the customer that since the instrument is not a major brand, there are no parts available and therefore, they cannot repair it for you, the paying customer.
Well, this phrase can also apply to vintage older horns. Say for instance, a Buescher 400 "Top Hat & Cane" model made in 1940 - which is a very good professional vintage horn worth thousands of dollars. Are there "parts" still being made for this horn?
No, the "parts" are not made for this vintage horn any longer. So does that mean that the technician cannot work on it either? Not at all! In fact, technicians work on those type of horns all the time.
So why then can they not work on your "non name brand" horn?
The fact is this: In many cases, they can actually work on the horn, they just may not want to or may not be allowed to for one reason or another.
One of these reasons could be that in fact, the instrument is of poor quality. Working on a horn or instrument built poorly or of poor materials, could lead to problems for the technician. For instance, if the metal is so soft there is a chance that when they are trying to service it, that typical repair techniques could damage the instrument, which would then make them liable for it.
So they could decide not to work on it as protection for themselves.
At the store that I work with, we have our own brand of saxophones under the name Kessler Custom Las Vegas. They are great intermediate saxes. There have been numerous reviews through the internet praising the value that these horns offer. Even with our horns, there are no "parts" available through the major parts suppliers. We stock parts and have them available for customers or repair stores upon request.
However, the truth of the matter is this: The large majority of "parts" used in repair of a woodwind instrument are pads, corks & felts... which are all universal parts used in all brands.
So when a technician tells you that "parts" are not available, they could be telling you the truth, but they could also be telling you that they simply will not work on it. Now if you have a broken metal part, something that was made at the factory, then you may have an issue. However, many good technicians can still repair that broken part.
Sadly, you as the customer may not be able to tell what is really being said with that phrase. So if you are ever unsure, get a second opinion. Worst case scenario, call the person you purchased it from or call the business that sells them brand new. Don't just assume that you have a bad instrument that "cannot be serviced". Many times this is just not the case.
The opinions offered in this blog do not necessarily reflect those of Kessler & Sons Music, it's officers, owners or employees.
Wednesday, March 5, 2008
Bach Strads - New & Improved
It seems that in the music industry, there are many products that at one time were great industry standards. The trend though is that as demand increases, the companies try to increase production which in turn seems to negatively effect quality. Eventually, the inferior product sells solely because of the popularity of the name.
One of the products that most fits this description (at least for trumpet players) is the Bach Stradivarius.
Honestly, I could spend days on this subject. However, I will try and make it a little easier of a read then that. :)
It is true that the Bach Stadivarius trumpets (a.k.a. Strads) quality has been suspect for the better part of the past 2 decades. Once the industry standard for professional trumpets, the Bach Strad became the most popular trumpet on the market.
Bach to Basics
Aside from the bad pun there, I feel that this phrase really describes what Bach has done recently for the Strad. Now it is well publicized that the Union that represented the factory workers (United Auto Workers - UAW) went on strike in 2006. Now, I am not going to get into the strike issue at all in this post, however, a good number of the workers are back to work in the Bach factory and the factory is at full production.
Bach has changed several key aspects to how they are now making the Strad trumpets. 2 of the biggest are in how they are bending the bell and their final assembly process.
Bells
If you take a look at the following pictures of the "crook" of the bell of 2 Bach Strad models. One was from 2003 and the other from late 2007:
One of the products that most fits this description (at least for trumpet players) is the Bach Stradivarius.
Honestly, I could spend days on this subject. However, I will try and make it a little easier of a read then that. :)
It is true that the Bach Stadivarius trumpets (a.k.a. Strads) quality has been suspect for the better part of the past 2 decades. Once the industry standard for professional trumpets, the Bach Strad became the most popular trumpet on the market.
Bach to Basics
Aside from the bad pun there, I feel that this phrase really describes what Bach has done recently for the Strad. Now it is well publicized that the Union that represented the factory workers (United Auto Workers - UAW) went on strike in 2006. Now, I am not going to get into the strike issue at all in this post, however, a good number of the workers are back to work in the Bach factory and the factory is at full production.
Bach has changed several key aspects to how they are now making the Strad trumpets. 2 of the biggest are in how they are bending the bell and their final assembly process.
Bells
If you take a look at the following pictures of the "crook" of the bell of 2 Bach Strad models. One was from 2003 and the other from late 2007:
Now to most people, this really means nothing. However, when you really look at the 2, you notice that the 2003 (marked as "old") is much more rounded off in its curve then the the 2007 (marked as "new"). The 2007 bell is "Bach to the Basics" (sorry, last time I will use that pun).
This return to the "double radius" design gives the air column in the bell more focus and compression. This gives the trumpet a much richer and more centered sound. This helps produce the "Bach Sound" that trumpet players originally fell in love with.
Assembly
The other area that I have noticed a big improvement is the assembly. While this sounds like a rather basic issue (why wouldn't they assemble it well?), it really the area that I feel Bach had become the worst at during those 2 decades.
When an assembler rushes putting a trumpet together, they will push pieces together using clamps and braces. They will rush through not taking the time to make sure that the various braces are aligned properly. Instead, these braces are clamped on and then soldered. Once the clamps are let go, the solder holds the horn together.
What is wrong with this is the fact that metal has a "memory". This is the metal trying to stay in its shape. However, when clamped and forced to fit when it does not naturally, the metal is being forced from its "memory". Once the clamps are let go, the metal attempts to go back to its original shape but is held in place by solder. This creates a stress at the solder joints. This stress negatively effects the vibration of the trumpet thus effecting the sound.
Since about June 2007, I started to notice how much better Bach trumpets were being assembled. The horns did not have the same stress that we were accustomed to seeing and in turn, we noticed that these horns vibrated extremely well.
When you combine a better vibrating horn with the original bell design, you get a horn that gives the performance that brought fame to the Bach name.
Final Note
We have had great success recently with Bach Strad trumpets. We have had local professionals & teachers, who had previously stopped recommending Bach's, sending in their students to buy Bach Strads once again because of how impressed they have been with every horn we put in their hands.
Granted, Bach still can make a mistake here and there, in which we send those horns right back to Bach, but overall as a whole, they really have returned to the quality level that should have never left the Bach name.
Saturday, February 9, 2008
New Sonare Flute - 301
Sonare (division of Powell Flutes) has been offering their model 301 for awhile now. Designed originally for the 1st year student in mind, the 301 was a closed hole, c foot flute. It featured a handcut headjoint with a Solid Silver Lip Plate & Riser.
This flute truly performed much higher then a typical "student" model, instead performing closer to what we consider an "intermeditate" model flute. However, being closed hole and low c, this kept it bound to students and doublers.
As of February 2008, Sonare now offers the 301 with open hole, low b foot & split e. All of these features added on to an already fantastic platform have helped bring the 301 into an area of the market that was being poorly served; the $700 intermediate flute market.
At $712, the Sonare SF31BEF (SF=Sonare Flute, 31=301, B=B foot, E=split e, F=French Open Holes) fills this price range with one of the best flutes we have seen in years at its price. Intonation is excellent, mechanics are good, pad quality is excellent and playibility is great.
The SF31BEF is shipped in a very high quality french style case and case cover.
This flute truly performed much higher then a typical "student" model, instead performing closer to what we consider an "intermeditate" model flute. However, being closed hole and low c, this kept it bound to students and doublers.
As of February 2008, Sonare now offers the 301 with open hole, low b foot & split e. All of these features added on to an already fantastic platform have helped bring the 301 into an area of the market that was being poorly served; the $700 intermediate flute market.
At $712, the Sonare SF31BEF (SF=Sonare Flute, 31=301, B=B foot, E=split e, F=French Open Holes) fills this price range with one of the best flutes we have seen in years at its price. Intonation is excellent, mechanics are good, pad quality is excellent and playibility is great.
The SF31BEF is shipped in a very high quality french style case and case cover.
Wednesday, January 30, 2008
"Ribbed" Body Construction for Saxophones - What is it?
One of the most common questions that I receive for saxophones is "what does ribbed body construction mean?"
On a saxophone, every key is suspended up from the body by no fewer then 2 posts. These posts can be attached to the body of the saxophone in one of two ways.
Post To Body - Each post is individually soldered on to the body.
Ribbed Body - Large groups of posts are soldered to a large plate of brass, aka a "rib". This "rib" is then soldered on to the body.
With ribbed construction, you add more weight to the saxophone. This changes the vibration of the instrument. Typically, ribbed body saxophones will give a warmer overall sound because of the added weight.
Ribbed is not always better!
It is a common misconception that ribbed is better. The reason behind this is that all student level saxes are post to body construction. Most intermediate models are ribbed. So many sales persons will use this as an explanation as to why the intermediate model is more expensive, quoting it as better.
There are many professional model saxophones that do not use ribbed construction. Keep in mind that the weight of the sax can negatively effect the playability if the construction is too heavy for the design.
The design of a sax effects the tone of the sax more then the weight does. So if you have a design that by nature is already dark in tone, then adding more weight can actually be a negative thing.
For instance, all modern professional Keilwerth saxophones do not use ribbed body. Instead they use post to body construction. Many vintage professional horns also did not use ribbed construction.
Post to body models vibrate easier then ribbed body models. This is why student models are made this way, it makes it easier for a basic beginner to play. However, depending on the design of the sax, the more vibrant body may be the better bet.
On a saxophone, every key is suspended up from the body by no fewer then 2 posts. These posts can be attached to the body of the saxophone in one of two ways.
Post To Body - Each post is individually soldered on to the body.
Ribbed Body - Large groups of posts are soldered to a large plate of brass, aka a "rib". This "rib" is then soldered on to the body.
With ribbed construction, you add more weight to the saxophone. This changes the vibration of the instrument. Typically, ribbed body saxophones will give a warmer overall sound because of the added weight.
Ribbed is not always better!
It is a common misconception that ribbed is better. The reason behind this is that all student level saxes are post to body construction. Most intermediate models are ribbed. So many sales persons will use this as an explanation as to why the intermediate model is more expensive, quoting it as better.
There are many professional model saxophones that do not use ribbed construction. Keep in mind that the weight of the sax can negatively effect the playability if the construction is too heavy for the design.
The design of a sax effects the tone of the sax more then the weight does. So if you have a design that by nature is already dark in tone, then adding more weight can actually be a negative thing.
For instance, all modern professional Keilwerth saxophones do not use ribbed body. Instead they use post to body construction. Many vintage professional horns also did not use ribbed construction.
Post to body models vibrate easier then ribbed body models. This is why student models are made this way, it makes it easier for a basic beginner to play. However, depending on the design of the sax, the more vibrant body may be the better bet.
Tuesday, January 22, 2008
NAMM Report - 2008
Well the NAMM show in Anaheim has come and gone now. This is the big industry show for retailers. This show is not open to the public.
Because of this, I will typically post a "NAMM Report" on the popular saxophone message board, "Sax On The Web". This post is usually a rather long post so I will simply give you a link to it instead of reposting the whole thing here:
http://forum.saxontheweb.net/showthread.php?t=75833
There were several highlights of the show for me. They include:
Leblanc "Bliss" Clarinets by Backun
Avanti Flutes designed by Bickford Brannen
Selmer Series III Baritone Sax
as well as MANY other items.
Go log on to SOTW (short for Sax On The Web) and give it a read.
Because of this, I will typically post a "NAMM Report" on the popular saxophone message board, "Sax On The Web". This post is usually a rather long post so I will simply give you a link to it instead of reposting the whole thing here:
http://forum.saxontheweb.net/showthread.php?t=75833
There were several highlights of the show for me. They include:
Leblanc "Bliss" Clarinets by Backun
Avanti Flutes designed by Bickford Brannen
Selmer Series III Baritone Sax
as well as MANY other items.
Go log on to SOTW (short for Sax On The Web) and give it a read.
Saturday, January 12, 2008
NAMM Convention 2008
So coming up this coming weekend is the NAMM show in Anaheim, CA. This is industry convention where are the manufacturer's display for the retailers all of their newest products. It's a great place for us as dealers to evaluate new instruments, accessories and new opportunities in the music industry.
Each year, we spend several days at the show evaluating everything from the best saxophones in the world to the newest low cost Chinese products. Not many of these items actually will make it in to our store, but every year, there are a few things that catch us by surprise.
Check back here to read about these changes to the industry. We already know of a few new products that we cannot wait to put our hands on! Two new items that are already on our agenda are the new Avanti Flutes as well as the new Leblanc by Backun "Bliss" Clarinets. Both of these are products of Conn-Selmer, Inc.
We are also looking for the next great accessory to compliment our store's product offerings. Some of the previous highlights of the show have been the High Spirit Native American Flutes, Chopsaver Lip Balm, Petersen Music Stands, and of course many more then I can remember.
So check back next week for updates from the NAMM show!
Each year, we spend several days at the show evaluating everything from the best saxophones in the world to the newest low cost Chinese products. Not many of these items actually will make it in to our store, but every year, there are a few things that catch us by surprise.
Check back here to read about these changes to the industry. We already know of a few new products that we cannot wait to put our hands on! Two new items that are already on our agenda are the new Avanti Flutes as well as the new Leblanc by Backun "Bliss" Clarinets. Both of these are products of Conn-Selmer, Inc.
We are also looking for the next great accessory to compliment our store's product offerings. Some of the previous highlights of the show have been the High Spirit Native American Flutes, Chopsaver Lip Balm, Petersen Music Stands, and of course many more then I can remember.
So check back next week for updates from the NAMM show!
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