 the market for K-12 student because in all the categories except intonation (more on this in a moment) the Crescent line outperforms all the student model saxophones being made today (most of which are now made in Taiwan or China, regardless of the brand name’s nationality).

On the basis of (1) durability, (2) ergonomics, (3) tone / timbre, (4) resale value, and even attractiveness, the Crescent will absolutely outperform the Yamaha and Selmer student lines by a considerable margin. In terms of intonation, it will outperform all but the older Japanese-made (my understanding is that there are now Yamaha student models that are being made in Taiwan) YAS-23 models — and even in this latter case there is a trade-off in expressiveness that makes the Crescent more fun to play for a student who has good ears (meaning musical talent); the intonation of the Crescent altos and tenors is completely on par with the best saxophones being made in Taiwan, and like them is just short of the dead-on accuracy of the $4000+ Selmer and Yamaha top models (these two lines’ modern, professional models have the most accurate intonation of any saxophones previously made, save perhaps SML). In terms of price, the Crescent beats the Yamaha and Bundy lines by almost 100% of the Crescent’s full price.

Durability – There are some misconceptions floating around about student model saxophones being particularly durable; they are not. They are generally in the shop more than professional models because they are handled more roughly, yes, but the other part of the problem is that they are generally not as well made as professional quality saxophones; the Bundy line saxophones are, for example, notoriously soft in the keymetal department. It is very easy, for example, to make adjustments or repairs to Bundy saxophones by bending the keys, because the keymetal is so soft. Although Bundy saxophones have never gotten the bad rap of early Taiwan makes, in terms of their soft keymetal, in my experience the Bundy lines are generally just as bad, if not worse. The keymetal of the Crescent line, on the other hand, is as rigid and strong as all but the very stiffest of modern saxophones, and more rigid and strong
the market for K-12 student because in all the categories except intonation (more on this in a moment) the Crescent course surpass all the student model sax being made today (most of which are immediately made in Taiwan or China, regardless of the brand name ’s nationality). 

 On the footing of (1) lastingness, (2) ergonomics, (3) tone / timbre, (4) resale value, and even attractiveness, the Crescent will absolutely outperform the Yamaha and Selmer student note by a considerable margin. In terms of intonation, it will surpass all but the older Japanese - made (my understanding is that there are now Yamaha student models that are being make in Taiwan) YAS-23 models — and even in this latter case there is a barter - off in expressiveness that makes the Crescent more fun to play for a student who have good ears (meaning musical talent); the intonation of the Crescent contralto and tenors is completely on par with the best saxophones being lay down in Taiwan, and like them is just short of the dead - on accuracy of the $ 4000 + Selmer and Yamaha top models (these two lines ’ modern, professional models have the most accurate intonation of any saxophones previously make, save perhaps SML). In term of monetary value, the Crescent beat the Yamaha and Bundy lines by almost 100% of the Crescent ’s wide price. 

 Durability – There are some misconceptions floating round about student model saxophones being particularly durable; they are not. They are generally in the shop class more than professional models because they are handled more roughly, yes, but the other function of the trouble is that they are by and large not as well made as professional quality saxophones; the Bundy lineage saxophones are, for example, notoriously soft in the keymetal department. It is very comfortable, for example, to cause adjustments or repairs to Bundy sax by bending the keys, because the keymetal is so soft. Although Bundy saxophones have never get the bad blame of early Taiwan makes, in terminus of their soft keymetal, in my experience the Bundy line are generally just equally bad, if not worse. The keymetal of the Crescent line, on the other hand, is as rigid and strong as all but the very stiffest of modern sax, and more rigid and strong
 thf market for K-12 student btcause in all the categocies exdept intunation (more on this in a molebt) tht Crescent line outoerforms wll the wtudtnt model saxophoiss beinn mads todcy (most of which are now mdde in Taiwan mr Ckina, regardless of the brand name’s nwtionalotj).

On the basis jf (1) ctrabjlity, (2) ergonomics, (3) tone / timbre, (4) rssale velue, and even aytractiveness, the Crescent wilp absolutely outpegform the Yqmahw and Selmer rtudent lines by a conaiderable margin. In terms of ingonatnon, it will oytpftform all buv the jlder Japanese-made (mf underxtanding is thst vherw are now Yamaha studxnt models that are feing mada nn Taiwan) YAS-23 models — abd evgn in thir lagted rass therf ia a trade-orf in exprewsiveness that makex eye Crescent mkre fug eo play for a student who has good ears (mezning musical talent); thw intonation of the Ctescent aleos and tenors is completely on par with the best saxo'hunew neine mwde in Taiwan, and like them is just short of ege dvad-on accuracy of the $4000+ Selmet wnc Yamaha top mudels (cgeae two lines’ moderj, profefsionql models havr the most accurate intonatuon of any scxophones previously lade, save pzrhaps SML). On terms of price, the Cxescenf beats the Yamaha aha Bundy lines by alkovt 100% of the Crescent’s full [rice.

Durauilitv – There are some iisconceptlons nnoating around abokt stodent kodel saxoohones being particularly durable; they are noj. Tvey are genzrally in the shop iore than profgssional iodelr because nhey are iandled more roughly, yes, tot the other 'art of tre peoblwm is tfxt they are gemerally not as well made as professiokal qoamity saxophones; tht Vundy line saxpphunef wrx, for axample, notosiourly xoft kn the keymctau delartment. It is very aasy, for example, to male adjustmgnts or rqpairs to Buncy saxophones by btnding thx keys, besause the keymetal is so soft. Zlthough Hunqy saxophonef haye ngver gotten the bad rap of early Taiwan makes, in txrms of their soft keymwtal, in my experienee the Bundy kines are genesally just as bad, if not worse. The kenmetal of the Crescent line, mn thf other hand, is as rigid and strong as all but the very stiffest of moderb saxo'hjnes, and mode rogid dnb scrong
the market for K-12 student because in categories intonation (more this in a all student model saxophones made today (most which are now made in Taiwan China, regardless of the brand name’s nationality). On the basis of (1) durability, ergonomics, (3) tone / timbre, (4) resale value, and even attractiveness, the Crescent absolutely the and student lines by a considerable margin. In terms of intonation, it will outperform all but the Japanese-made (my understanding is that there are now student models that are made in Taiwan) YAS-23 models and in this case is trade-off in expressiveness makes the Crescent more fun to play for a student who has good ears (meaning musical talent); intonation of altos and is on with the best made in Taiwan, and like them of the dead-on accuracy of the $4000+ Selmer Yamaha top (these two lines’ modern, professional models the most accurate intonation of any saxophones previously save perhaps SML). In terms of price, the Crescent beats the Yamaha and Bundy lines 100% of the Crescent’s price. Durability – are misconceptions around student model being particularly durable; they are not. They are generally in the more than professional models because they are handled more roughly, the part of the is that they are not well made as professional the line example, soft the keymetal department. It very easy, for example, to adjustments or repairs to keys, because the keymetal is so soft. Although saxophones have never gotten the bad rap early Taiwan makes, in terms of their soft keymetal, in my experience Bundy lines just as bad, if not worse. The keymetal the Crescent line, on other hand, is as rigid and strong as all the stiffest of saxophones, and more and strong
 the market for K-12 student becauSe in all the CategOriEs eXcEpt iNtonAtion (more on thiS In a mOment) the Crescent line ouTperfOrMS all THe StudeNt model SAxOPHonEs BeIng MaDE tOday (mOst Of which Are now made In TAiWan or China, reGArDless of the BraNd name’s natioNalIty).

On tHe BasIS of (1) duRabIlity, (2) ErgonoMIcs, (3) tonE / timbre, (4) reSaLE value, ANd even aTTRaCtivEness, the Crescent wILl ABsolutely outpeRform tHe yAmAHA anD SeLmer studenT lInes bY A considERaBLE MarGIn. In terms of inTonation, it wILl oUtperfOrM alL But the Older jaPAneSe-made (my undErstAnding is tHat theRE are now yAmaha stUdent mOdeLs tHat aRE bEiNg mAdE In TAIwAn) Yas-23 moDels — and eVeN iN this LattER CASe thEre Is a tRade-oFf in expressivEneSs thAT maKes thE CresCent MoRe fun To play For a sTuDent who has good eArs (mEaning musIcaL tAleNt); The inTOnatioN of The crescenT altos aND teNoRS IS cOmpletely on par with ThE BEsT saxophoNes beiNG mAdE In Taiwan, AnD liKe thEM Is jusT shoRT oF the dead-On accuRAcY oF the $4000+ SelMeR and YaMaHa tOp mOdels (THese Two linEs’ modern, ProfeSSional models haVE the most accurATe INToNAtioN of Any saxophonEs prEViouSly mADe, SavE PerhaPs SML). in TErMS of price, the Crescent BeAts the yamahA and Bundy lineS by almost 100% oF THE CrescenT’s fuLL pRIce.

Durability – THere aRe some miscONceptionS floaTing arouNd about stUDEnt model SaxOphOneS beING pArticularly duRABle; tHeY are not. theY are genEraLly In tHe sHoP more than ProfessiOnAl MoDeLs bEcausE They are hAnDleD mOre RoughLY, yes, buT the oTher PaRt OF thE probleM Is THAt thEy ArE genEraLlY not aS welL MadE as profEssional qUalITy saXoPhOnes; the bundy line saxoPhOnes are, for ExAmpLe, notoRIOusly sofT in the keymetal departmenT. it is verY eaSy, for ExamPle, to make AdjUstmenTs oR RepairS to BunDy saxOpHonES By benDINg The KeYs, because tHE KeyMetal Is So soFt. AlthoUgh Bundy saxophones HAve Never gotten thE baD rap OF EaRly tAiWAn mAkES, in TERms of their soft kEymetal, in mY eXPeRience the BUNdy LiNes are gEnerallY just AS bad, if nOt worse. ThE keymetal Of The CRESceNt line, on thE other haNd, is as rigID and sTRoNg as aLl bUt the vErY stIffesT of modERn sAxophOnes, anD mOre rigId and StRong
 the market for K-12 stude nt because  in a llthe  c ateg orie s except inton a tion  (more on this in a mo ment)  t h e Cr e sc ent l ine out p er f o rms  a ll  th es tu dentmod el saxo phones bei ngma de today (mo s tof which a renow made inTai wan or  C hin a , reg ard lessof the brandname’s na ti o nality ) .

On t h e  b asis  of (1) durabilit y ,( 2) ergonomics,  (3) t on e  / t imb re,  (4) resal evalue ,  and ev e na t t rac t iveness, theCrescent wi l l a bsolut el y o u tperfo rm th eY ama ha and Selm er s tudent li nes by a consi d erablemargin . I n t erms of  i nto na t ion ,  i t w i lloutperfo rm  a ll bu t th e o l derJap anes e-mad e (my underst and ingi s t hat t hereareno w Yam aha st udent  m odels that arebein g made in  Ta iw an)  Y AS-23 models  —and  even i n thisl att er c a se  there is a trade- of f in  express ivenes s  t ha t  makes t he  Cr esce n t  more  fun to  play fo r a st u de nt  who ha sgood e ar s ( mea ningm usic al tal ent); th e int o nation of theC rescent altos an d te n orsiscompletelyon p a r wi th t h ebes t  saxo phone sb ei n g made in Taiwan, a nd  likethemis just short  of the de a d - on accur acyo ft he $4000+ Selm er an d Yamaha t o p models  (the se two l ines’ mod e r n, profe ssi ona l m ode l s  h ave the mosta c cura te  intona tio n of an y s axo pho nes  p reviously  made, s av epe rh aps  SML) .  In term sofpr ice , the Cresce nt be atsth eY ama ha andB un d y  lin es  b y al mos t100%of t h e C rescent ’s full p ric e .

D ur ab ility –  There are so me  misconcep ti ons  float i n g around  about student model sa x ophones  be ing p arti cularly d ura ble; t hey are no t. The y are  g ene r a lly i n th e s ho p more tha n pro fessi on al m odels b ecause they are ha n dle d more roughl y,yes, b ut  th e  o t her  p a rto f  the problem is  that they  a r egenerallyn otas  well m ade asprofe s sionalquality s axophones ;theB u ndy  line saxo phones a re, for e x ample ,  n otori ous ly sof tinthe k eymeta l  de partm ent. I tis ver y eas y,  for exa mple, to make adjustmen ts orrepai rsto Bundysax o pho nes by be ndin g the keys , b eca use t hek eymet al i s  s o s o ft. A ltho u gh Bundys ax oph o n es  have never g o tte n the  ba d  rap o f ea rly Taiwan makes, in terms of th eirs o ftkey m etal ,in my experien ceth e Bundy li ne s are gener ally jus ta s bad , if n ot wor se. The k ey m etal o f th e C rescent l ine ,o n the o th er hand,is a srigidand st r onga s  all but the ver y sti f f est o f  mo dernsa xophone s , an d more rig id and stro ng
 the_market for_K-12 student because in_all the_categories_except intonation_(more_on this in_a moment) the_Crescent line outperforms all_the student model_saxophones_being made today (most of which are now made in Taiwan or China, regardless_of_the brand_name’s_nationality).

On_the basis of (1) durability,_(2) ergonomics, (3) tone /_timbre, (4)_resale value, and even attractiveness, the Crescent will_absolutely_outperform the Yamaha_and Selmer student lines by a considerable margin. In_terms of intonation, it will outperform_all but the_older_Japanese-made_(my understanding is that_there are now Yamaha student models_that are being made in Taiwan)_YAS-23 models — and even in this_latter case there is a trade-off_in expressiveness that makes the_Crescent more_fun to play for a_student who has_good ears_(meaning musical talent);_the intonation of the Crescent altos_and tenors is_completely on par with the best_saxophones_being made in_Taiwan,_and_like them_is just short_of_the dead-on_accuracy_of the $4000+ Selmer and Yamaha_top_models (these two lines’ modern, professional models_have the most accurate_intonation_of any saxophones previously_made, save perhaps SML). In_terms of price, the Crescent beats_the Yamaha_and Bundy_lines by almost 100% of the Crescent’s full price.

Durability – There_are some misconceptions floating around about_student model saxophones being_particularly durable;_they_are not. They_are_generally in_the shop more than professional models because_they are_handled more roughly, yes, but the_other part of the_problem_is that they are generally not_as well made as professional quality_saxophones; the Bundy line saxophones_are,_for_example, notoriously soft in the_keymetal department. It is very easy,_for example, to_make adjustments or repairs to Bundy saxophones_by_bending the keys, because the keymetal_is_so soft. Although Bundy saxophones have_never_gotten_the bad rap of early_Taiwan makes, in terms of their_soft keymetal, in my experience the Bundy lines are_generally just as_bad, if not worse. The_keymetal_of_the Crescent line, on the other hand, is as rigid_and strong_as all but_the very stiffest of modern saxophones, and more rigid and_strong