A good piece, Bassic, although there's a little bit of salesmanship there. The enthusiasm shows, and I wouldn't argue with that.

I noticed in particular (without detailed study) his comment on the "common fault where the neck joins the body" and the claim that the "new C melodys" solve this problem. My 1924 Martin Bb tenor (S/N in the 40,000 range) also solved the problem, as did my 1955 King Eb alto. The break in conical form at the mouthpiece can be more severe, but is usually intentional due to the popularity of the "more edgy sounding jazz mouthpieces." These "deviant" mouthpieces were the standard that came with new instruments from around 1930 and into at least the early 60s. In the middle to late '50s, Buescher was the only one I found actually making a mouthpiece in the form that Adolphe specified in the patents (with true conical bore): and you had to special-order that one. I preferred the sound of the Buescher mouthpieces on mine, but others expressed other opinions. (The original form mouthpiece does facilitate playing into the upper half of the third octave and all of the fourth octave; but few players ventured there until more recently.)

John