System 76 Custom Class Vintage Series Tenor Sax (Vintage French Sound)



"The P. Mauriat sounds as close to my VI’s as any horns I have played." - Jazz Improv. magazine. Review of the P.Mauriat System 76.

The System 76 tenor has a different bore size and tends to sound a bit brighter than the 66R -  it has more of the jazz sound associated with the classic French saxes making it a great responding and sounding horn. 

Double arms are fitted to the lower keys to help keep them flat. This model come with the SUPER JAZZ NECK VI.

It has even more fine engraving which adorns the bell & bow and note the beautiful abalone shell key touches. 

Supplied with hard case, strap & basic mouthpiece. Nice metal ligature and cap that matches the saxophone finish.

The pads have seamless dome metal resonators which increase attack and projection. 
"Like most companies, P.Mauriat boasts of having the "vintage" sound for which people search. Unlike most other companies, I believe they might have just found it." - USA Jazz Times

Also available in gold lacquer >


P.Mauriat Saxophones Prices & Ordering

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"For twenty years I've been convinced that no modern saxophone could compete with my Mark VI.  The P. Mauriat System 76 has proven me wrong.  It offers the same pleasing mechanics and focused sound of my Selmer, plus all the technical and maintenance advantages of a brand new instrument.  I couldn't be happier with this Saxophone, well done!" Listen to Andy play his System 76

Andy Snitzer has performed and recorded with a veritable who's who of contemporary music artists. From Eric Clapton to Beck, Aretha Franklin to Jus Blaze, Dr. John to Christina Aguilera, Andy’s performances with these artists and many others have showcased his passionate sound and melodic style, and have earned him a place in the elite ranks of contemporary jazz saxophonists.  Andy has performed in over 40 countries, via tours with the Rolling Stones, Paul Simon, Vince Gill, Dr. John, Bob James and the Manhattan Jazz Quintet, to name a few.  Andy's three solo recordings, "Ties that Bind", "In the Eye of the Storm" and "Some Quiet Place set the bar for inventiveness and creativity in Contemporary Jazz, and showcase Andy's outstanding ability as a player, writer, programmer and record producer. www.andysnitzer.com

 

"The P. Mauriat Saxophone possesses everything that I need in a great horn: beautiful rich warm sound, superior intonation, perfect harmonics and effortless response.  The System 76 is a great saxophone for both classical and jazz, the sound is so vibrant and full of character, unlike most other modern saxophones.  From vintage to modern, P. Mauriat can stand up against them all, and at a price everyone can afford." - Patrick Trahan http://ptrahan.sitesled.com
http://www.myspace.com/trahansax

Excerpts from a review in Jazz Improv. magazine Spring 2007  
P.Mauriat System 76 Alto and Tenor Saxophones
(Reprinted with permission from V7N2, Spring 2007)

We can now add the name P. Mauriat to the list of manufacturers of fine saxophones. For the last several weeks, I have had the pleasure of playing the newest entries to the P. Mauriat product line, the System 76 alto and tenor. I played the System 76 soprano for a couple of days, but I had to return it well before I was ready to part with it. These horns were intentionally designed to duplicate the sound of the vintage Mark VI, but with modern improvements in key design and placement.

The System 76 features straight drawn tone holes, a P. Mauriat super jazz neck VI, a slightly larger bell, high F# key, double arms on low C and B, metal resonators, custom engraving, and multi-coloured abalone key pearls. It is available in two finishes, gold lacquer and an antique brushed dark lacquer. The metal is French brass which is a yellow brass made of 85% brass and 15% tin.

Each of the horns that I am playing has the antique brushed lacquer finish. I have never seen a horn that looks like this, and I like it very much. It is a very distinctive look. The engraving feels like it was done after the lacquer was applied; you can see the brighter brass colour in the engraved metal. When you run your hand over the bell, you can feel the edges of the engraving. The abalone key pearls are a nice touch as well, an unexpected bit of colour.

As you might expect with a new horn, the feel of the keys is a little tight and springy because of the newsprings. Key placement is generally good. Now, on to the sound. I play a Mark VI London model alto and tenor. Both of these horns have been overhauled by master saxophone technician Ken Beason, so to me they sound better than the standard Mark VI. The P. Mauriat sounds as close to my VI’s as any horns I have played. I can hear a "tightness" in the sound, but after playing for a few minutes that aspect disappears and I just hear the sound of the horn. From behind the horn the Mauriat seems slightly darker than the VI, but there is no lack of resonance and colour. The Mauriat’s straight tone holes give the sound the same focus as the VI, which also has straight tone holes. The air moves through the Mauriat comfortably and the pitch of the horn is very good. The middle D is a little dead to me, but after acclimating to the instrument that might be less of a problem. The altissimo responds beautifully as well. I did notice on the alto that, in order to tune up, you have to push the mouthpiece pretty far up on the cork. I don’t know whether this is an intentional design aspect or just a coincidence.

If there is a dealer in your area that carries the P. Mauriat horn, you should make an effort to check it out. I think you will be glad that you did; it is a fine instrument made even more attractive by its relatively low price.

— John Alexander

 
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