Shop Rates and Philosophy
I believe in the Fast-Good-Cheap pyramid:
It can be Fast and Good but it won't be Cheap.
It can be Fast and Cheap but it won't be Good.
It can be Good and Cheap but it won't be Fast.
But you can see actual figures here on the Services page.
Every saxophone restoration project begins with listening to the musician; it is a forum in which they share the history of their horn, describe their relationship to their instrument, and discuss their musical vocabulary. These consultations often evolve into conversations that feel like therapy sessions where I help musicians understand how the mechanical errors of their horn are blocking access to their musical vocabulary and hindering their artistic growth.
I find these sessions give me an emotional connection to the musician, their horn, and its history. While this connection is difficult or impossible to quantify, it is essential to the craft.
I believe my approach to the craft resonates with the artists whose horns I restore; that they value the emotional connection and my attention to each horn’s story.
I’ve had the privilege of working for great artists such as:
Anat Cohen
Martin Perna (Dap-Kings, Antibalas)
Cochemea Gastelum
James Brandon Lewis
Angelo Moore (Fishbone)
Wenzl McGowen (Moon Hooch)
Matt Bauder (Arcade Fire, The Exploding Star Orchestra)
Gary Hammon (Big John Patton, Ray Charles, Stevie Wonder)
Morgan Price (Ellington Orchestra, Angelique Kidjo)
Andrew D’Angelo (Human Feel, DNA Orchestra)
Gary Smulyan
James Falzone (Allos Musica)
Stuart Bogie (Antibalas, Arcade Fire)
Kevin Sun
Theo Wanne
It can be Fast and Good but it won't be Cheap.
It can be Fast and Cheap but it won't be Good.
It can be Good and Cheap but it won't be Fast.
But you can see actual figures here on the Services page.
Every saxophone restoration project begins with listening to the musician; it is a forum in which they share the history of their horn, describe their relationship to their instrument, and discuss their musical vocabulary. These consultations often evolve into conversations that feel like therapy sessions where I help musicians understand how the mechanical errors of their horn are blocking access to their musical vocabulary and hindering their artistic growth.
I find these sessions give me an emotional connection to the musician, their horn, and its history. While this connection is difficult or impossible to quantify, it is essential to the craft.
I believe my approach to the craft resonates with the artists whose horns I restore; that they value the emotional connection and my attention to each horn’s story.
I’ve had the privilege of working for great artists such as:
Anat Cohen
Martin Perna (Dap-Kings, Antibalas)
Cochemea Gastelum
James Brandon Lewis
Angelo Moore (Fishbone)
Wenzl McGowen (Moon Hooch)
Matt Bauder (Arcade Fire, The Exploding Star Orchestra)
Gary Hammon (Big John Patton, Ray Charles, Stevie Wonder)
Morgan Price (Ellington Orchestra, Angelique Kidjo)
Andrew D’Angelo (Human Feel, DNA Orchestra)
Gary Smulyan
James Falzone (Allos Musica)
Stuart Bogie (Antibalas, Arcade Fire)
Kevin Sun
Theo Wanne
