Official Dealer

Sound characteristics, projection, dynamic limit, flexibility, homogenic sound, intonation, response, ergonomics


These are the main tags which describe the sequoia concept and which were central issues in the development of these saxophones.

Before explaining all these terms, I want to stress by listing all these terms that the sequoia saxophones are not yet another brand filling the market, but rather a product of years of experience which we as repair specialists have gathered while working with a variety of different musicians. It is because of this experience that we created a concept which implements the precise characteristics that many musicians are looking for – and have a hard time finding... or it never even occurred to them to look for all these things not knowing that their existence is possible.

But let me introduce ourselves.

We are:

Roberto Buttus from North-East Italy, repair specialist with many years of experience and known across the borders in Italy, Austria and Ex-Jugoslavia; and Marcel Jansen from the German-Belgian area near Aachen, repair specialist with many years of experience and known across the borders in Germany, Belgium and the Netherlands.

Our focus, however, does not only belong to the musicians, but also to the audience, for it is the audience who gets to enjoy this experience of sound.

This leads us to the first to tags:


Sound characteristics and Projection

It is important to note that the perception of sound and music is a subjective matter. The musician hears himself differently from the listener, who is in another position in the room. The musician decides how he or she sounds – the listener decides whether or not to come again in the future! This is why it is so important for the musician to deal with what gets to the listener. The sequoia concept starts right there: we did not want to built yet another instrument which would only be perceived as a 'dot' somewhere in the back of the room, but as sound that carries through the room. The musician should fill the room with sound from his instrument, for both people sitting close to the player, as well as people who sit on the other end of the room. This 'room filling sound' is the basic feature of all Sequoia saxophones. It is not only important in respect to the listener, but it is also appreciated by the player. Therefore, it is not only interesting for performers, but for hobby musicians and beginners alike. A room filling and warm tone is perceived as pleasant by both the musician and audience. A hard tone without warmth and broadness - although 'bright' and 'poppy' and played with a classical embouchure, even full-bodied and defined – will sound

obnoxious and exhausting (though musicians tend to tolerate themselves generally for longer periods of time...). But a bright, poppy and defined full-bodied tone, on the one hand, and 'room filling' or warmth, on the other, do not necessarily exclude each other. A saxophone can have projection and a 'room filling' quality. Then the sound will spread from the instrument straight forward, as well as sideways. A saxophone which is capable of both is hard to build, and only few saxophones have this capability. Sequoias do. We aimed for this during drafting and we were surprised, to which extent this can be done. Depending on the model, the amount of 'room filling' and projection varies. The strongest blend out of both sound characteristics is the Sequoia booster (please see descriptions of the various models). Every musician has in respect to his own embouchure, his or her own sound qualities. This is why there are different Sequoia models, with which everyone can find a individually sound-wise fitting saxophone. The different looks only serve the purpose to create variations in sound. The look is in itself just a side effect. We see ourselves as sound-designers, not fashion designers.