We believe our necks can make a huge difference to your sound! First of all, our necks are made out of one piece of seamless metal. That’s right, no seams!
We make use of a technique that is called ‘metal spinning’, which allows us to get a cone shape. Next is getting the cone to bend in a curved shape. This is done with a special filler material that prevents the metal from cracking.
The curve and angle are precisely set, so that when you play, your posture and the position of the larynx allows you to get the sound you want with less effort.
Any change in the position or tension of the larynx becomes immediately noticeable: the sound becomes dull and fragile rather than brilliant and clear. Also, the angle is optimally set so that the pressure on the reed you cause with your lower lip is minimal, which helps producing the rich sound you’re after.
What also helps is the fact that we make sure that our necks have optimal contact with your sax and that the air flow is used in such a way that producing a rich, warm sound has now become easy.
As a last stage we solder on the parts like ligature, glue on the cork, bring the spring mechanism into place and…our logo of course!
Possible finishes: brass, bronze and red copper. Want something else? Contact us or leave a comment below.
Here’s a few examples:
Again, don’t take our word for it! Here are some customer testimonials (translated from Dutch):
Only recently I became the first ‘in the world’ proud owner of a real ‘deQuelery Custom neck’ for my Tenor Saxophone with a fixed soundbridge. I have been playing for almost 30 years on my lovely Conn Ladyface. My greatest love next to Monique. My ‘Golden Lady’ has an unsurpassed sound. When you have found the perfect sax, you simply stop looking.
At the beginning of this year, Jurjen de Quelerij took her for a revision and she sounded even better. When I visited the work shop, I got intrigued by the necks that Jur had designed and built. I decided right there and then to have one build for my Conn. Since this week I am playing a sax from 1920 with a neck from 2012. It’s unbelievable; I really thought my sax could not sound better! With this new neck, a new world opened up to me. From high to low, notes fly out like nothing else. Broad sound. From whisper to roaring loud, everything is possible. Only downside is; I can’t make any excuses anymore, my sax is even more perfect than it was!
Cor de Jonge