Phil Dwyer Edition SeaWind Tenor Sax
Countries of origin: Parts manufactured in Taiwan; assembled by hand in Canada.
Price: $3,399.00 (March 2015)
Date of manufacturing: 2014
Date of review: 2015
A few months ago SeaWind saxophones started advertising on the Woodwind Forum. As one of the WF’s admins, as well as a saxophone content expert, I was asked if I would be interested in play-testing one or two of these horns to see what they were all about.
I asked the fine folks at SeaWind if they would allow me an extended play-test, and provide me with an instrument to use for my (then) upcoming show at the Vancouver Art Gallery. They said yes, and provided me with a prototype baritone sax (reviewed separately), as well as this Phil Dwyer Edition SeaWind tenor sax.
Disclaimer: I am first and foremost a vintage horn player. All my playing experiences with new instruments are limited to horns that I have played, or play-tested, for relatively short periods of time only.
The six weeks that I had both this SeaWind tenor sax, and the prototype baritone, allowed me an opportunity to not only become familiar with these lovely, local horns, but also play modern, new horns for an extended period of time. I must admit it was a lot of fun.
Tone
Of all my tenor saxophones, the tone of the SeaWind tenor sax is closest to that my Selmer Mark VI. This makes sense, since SeaWind used Phil’s Super Balanced Action as a starting point for their design.
The SeaWind is beefy, with a lush subtone. It also has a lot of volume, and is without a doubt one of the loudest saxophones that I have ever played.
That said, even at the highest volume level with a Dukoff mouthpiece, the sound does not distort. It stayed clean, crisp, clear, and full over the entire range of the horn. This is not a tinny, thin, or light sounding saxophone.
As a player who tends to use a lot of effects in their playing, I really liked the SeaWind tenor sax’s malleability. I was able to shape the tone with inflections and effects extremely easily.
Response
The SeaWind tenor sax played extremely even up and down its entire range. All in all I would say that it is as even as my Mark VI, with perhaps slightly less resistance. Comparing it to my main tenor (a 1950 Zephyr), I would say that the SeaWind tenor is not as free-blow as the King, but the SeaWind’s response is certainly what one would expect from a pro horn.
Feel
The SeaWind tenor sax is extremely well set up, and its overall key action is supurb. In large part this is because of the way the saxophones are manufactured.
Although the parts were manufactured in Taiwan (see below), the instruments come here in pieces. They are then assembled in Qualicum Beach, on Vancouver Island, by Claudio Fantinato. Claudio and Phil Dwyer are business partners in SeaWind Musical Instruments Inc. Claudio makes sure that each saxophone is perfectly set up before it is packed in its case and sent off to wherever it’s going.
I did find that the low Eb key was too stiff for my liking, but then I was playing Claudio’s personal horn. I would have mine set up differently.
In contrast, the left pinkie cluster was very easy to play, and the springs were adjusted perfectly.
When it came to the upper stack, it was sweet, but there too the springs were a bit too stiff for my liking. Again, this I believe is Claudio’s personal preference, since I didn’t find this left/right spring tension difference in the prototype bari.
The balance of the SeaWind tenor is really good. The placement of the strap ring is such that the horn hangs on the neck perfectly.
Intonation
This is where I struggled a bit because I am a vintage horn player, and therefore am used to compensating for the tuning individualities of vintage saxes.
I initially had problems with the SeaWind tenor sax for the same reason I have problems with Yamahas and many other new horns: I automatically make too many facial adjustments when playing saxophone. Once I put a new reed on; tried a vintage Dukoff with a rounder chamber; and consciously tried to control my facial muscles, the tuning improved greatly.
These horns are easily capable of playing 100% in tune. The tuning foibles I experienced with the SeaWind tenor sax were simply a case of operator error.
Phil Dwyer playing SeaWind tenor sax with new Gale Force neck and Jody Jazz Giant mouthpiece 7*
Want to know what these horns sound like? Here is award-winning Phil Dwyer himself playing the saxophone that bears his name…
SeaWind tenor sax specs
The following are the SeaWind tenor sax specs, taken directly from the SeaWind website:
The SeaWind Tenor Saxophone includes:
- Triple annealed body, bow and bell
- Ribbed construction
- Hand-hammered bells
- Reinforced double armed low C, B, Bb keys
- Extra braces on bell and key cluster
- Best quality imported brass from Japan
- Vintage honey gold finish
- Extra arm with adjusting screw on F/F# key
- Vintage style octave key and bell key guards
- Customized hand engraving on bow and bell
- High quality black roo pads
- Stainless steel dome resonators
- Genuine white pearl key touches
- Metal thumb pad and hook
- Adjusting screws on upper & lower stack arms
- Best quality blue steel springs
- Additional bell to body brace for stability
- Additional G# post to body brace for stability
- High quality ABS contoured case
The pix
SeaWind Saxophones: the backstory
Over a decade ago, when Phil Dwyer and Claudio Fantinato first decided to get into the saxophone business, they spent a considerable amount of time doing research. Using Phil’s beloved Super Balanced Action as a starting point, they came up with designs of what their ideal saxophones would look/act/function like.
When they went factory shopping, it took them a long time to check out all the various possible factories that could manufacture their horn for them. What they saw in many of the factories was quite surprising, and not very encouraging. Then they toured a factory that would give them exactly what they wanted, including: strict quality control standards and a willingness to work collaboratively on the new horns’ designs.
The parts for SeaWind saxophones may be manufactured in Taiwan, but these parts are shipped to Canada. It is in his shop on Vancouver Island where Claudio carefully and painstakingly assembles each horn. Then he play-tests each horn before it is shipped out to its final destination. (A job previously done by Phil before he began attending law school in New Brunswick.) Phil’s and Claudio’s goal is to make each horn as consistent as the one that came before it. This would allow players, regardless of where they are, to play-test a horn that comes properly setup, and playing like a saxophone ought to.
Each part of the saxophone—like the springs, pads, and resos—has been carefully selected by Claudio and Phil. The same is true for all the parts on the cases, like the latches (which happen to be the same ones as on my BAM Hightech bari case). In short, no corners have been cut, and no expense spared when it comes to manufacturing SeaWind saxophones. Not many modern saxophone companies can make that claim. There are also very few saxophones that you can play straight out of the box.
SeaWind saxophones in Phil’s own words and notes
Concluding thoughts
If you are looking for a new alto or tenor saxophone, there are currently a boatload of choices out there. How do you choose? Part of it comes down to price. You might want a Selmer, but you can’t afford a new Series III or Reference horn.
If you’ve decided that you want a new horn, and you’re going to play-test some Asian—read Chinese or Taiwanese—brands, you’re faced with a plethora of brand names, some of which have totally unknown origins. How do you choose? What plays well today, might not hold up in the long, or even short run. Is the company you buy from really going to stand behind their product? Do they even have a high quality horn to sell?
The SeaWind tenor sax that I play-tested for six weeks is a really solid horn, which while manufactured in Taiwan, is assembled by hand here in Canada. Its engraving is a work of art by a well-known, West Coast artist. No short cuts or cost-cutting measures have been employed by the company in the saxophone’s build and design process. At the end of the day, it’s very unclear how many companies can make that claim.
If I was in the market for a new horn, I would definitely give the SeaWind tenor a play. It has all the hallmarks of what one expects in a really solid pro horn.
Hi Helen,
How is the malleability of the SeaWind compared to that of the Zephyr?
Hi Theo.
I would say the two horns are probably similar in that regard. Hands down, the easiest horn I have to manipulate the sound on, is my 1963 Conn 10M. What’s interesting to note about this, is that that horn has also the “boring” tone of any of my tenors.
All my tenors sound interesting or special in some way. Not the 10M. To me it has a very white bread sound.
Thanks, that gives me a clue, as I have played some Zephyrs before.
I translate your white bread sound of the 10M (never played one) to “bland”,
which refers in most cases to something that is easy to manipulate. :beat:
But I could be toasting my metaphors. :nuclear:
Yes, by “white bread” I mean bland. That said, I haven’t played enough 10Ms to know if they all sound that way, or if mine is just especially bland. That said, I had a fellow come over one day who used to have a 1938 Conn, and he said mine sounded like his used to. I find that hard to believe, since everyone always swoons over those old 10Ms, and says how wonderful they are—while in the same breath saying how junky the late model ones were. When the late, great Sarge, from World Wide Sax in Seattle, had finished rebuilding my horn, I asked him what he thought of it. His reply: It sounds and plays exactly like a 10M should.
When I compare my Conn tenor to my Mark VI, Toneking, Zephyr, Handcraft, or President, the 10M comes up short in the tone department. It might have perfect intonation, great key action, a good even, scale across the range of the horn, but its sound is just so boring. Play it by itself and it sounds like a nice tenor sax. But play it against any of my others, and most people will prefer the tone of either the Selmer, JK, King, Martin, or Hohner, because they they have more character. Either they more overtones, or core tone, or more presence, or just a certain intangible something, that makes them more interesting-sounding.
This reminds me of the discussion amongst painters how much character a new canvas needs.
Most of them prefer it as bland as possible. White bread is not bland enough.
But there are still painters who like a canvas with character.
The question how bland do you want your saxophone is very personal.
Most Dutch saxophone players, who prefer old American saxophones, play a Martin.
Second is Buescher, King and Conn share the third and fourth postion.
So in the Netherlands only a minority plays the old bland 10m, and we respect their choice.
My preferred alt is a 6M, one of the last to leave the American factory, with plated key guards,
and it oozes character.
Interesting… My American choices in tenor are King Zephyr and Martin Handcraft. For bari it’s The Martin (Committee III).
My very favorite alto is also a late model 6M, but mine still has the wire key guards. When I bought it in a pawn shop in 2005, it was the first alto sax that ever allowed me to truly sound like an alto player to my ears. The tonal concept that I had been carrying around for nearly 30 years was finally achieved through this $400 horn. I think I’ve played my Mark VI a total of twice since then.
That said, my Hohner alto is very close as well. I really like its tone, and if I spent more time playing alto, it’s quite possible that it would become my #1 alto. My Toneking alto another animal altogether, and while it hardly has any overtones present, its core tone is so rich, it allows for a really nice mid-century jazz sound. Again, depending on what I’m playing, it too allows me to feel like a true alto player, rather than a bari or tenor hack, making noise on an alto. :saxplayer: