John Packer JP 045V alto saxophone
Guide price: £490
Date of manufacture: 2010
Date reviewed: October 2012
A budget horn with a lot of potential - perhaps
yet to be realised
Although ultra-cheap horns have been around for a few years now it still
pays to be careful about where you buy one from. Whilst it's true that
the general standard of construction has improved over the years it still
remains the case that some examples are better than others - though it
should be noted that price isn't always a reliable indicator.
The standing recommendation for would-be purchasers is to stick to models
from established retailers - so that in the event of any problems there'll
be recourse to an after-sales service of some kind. You might pay a little
more than you would buying from, say, an auction site, but the assurance
of quality more than makes up the difference.
The performance of certain models from some retailers is now quite well
documented - on this site alone you can find a number of reviews of ultra-cheap
horns from sellers such as Bauhaus Walstein, Windcraft, Academy, Largo
etc - and this review marks the addition of one the UK's best-known retailers,
John Packer, to the list.
The JP 045 series is their 'step up' student model, one up from their
basic starter model. I doubt many people will kick off with the basic
model and then upgrade to this one - being only £150 or so dearer
- and it more likely fits into the 'slightly better quality starter horn'
bracket. In other words it's a bit like buying a basic model car but specifying
allow wheels or power steering - though it should be noted that even the
cheapest horn in the range costs half as much again as many of the basic
Chinese horns from other retailers.
What you get for your money is horn that quite clearly 'takes its inspiration'
from the Yanagisawa 992 alto. It's a popular 'pattern' model with Chinese
manufacturers, so it should come as no surprise to see apparently identical
models being sold by other retailers. I say 'apparently identical' because
although such horns often look the same - even from quite close quarters
- they're very often completely different instrument, both in terms of
who made them and how they're put together. And in how they blow.
On the face of it, there's little to distinguish this model from
many of the other 992-alikes. All the usual features are present,
such as a detachable bell, a removable side F# key guard, adjustable
thumb rest, double arms on some of the bell keys and the distinctive
'underslung' octave key.
What sets this example apart from many others is how it's all put
together. It may not be perfect (as we'll see later) but there are
enough good points to tip the scales in its favour at this stage.
For example, the body and fittings are quite neat and tidy - and
the fact that this horn has survived a couple of years in the hands
of a young student is proof enough that the pillars are held on
with more than just a hint of solder. This robustness is echoed
in the design by such features as ribbed construction, a triple-point
bell brace, a meaty sling ring and a semicircular bell key pillar.
The keys have some nice features, the most obvious of which is
the pearls - which are either figured mother-of-pearl or abalone.
Either way, they're not the usual plastic fare, and they're flat
- which makes a nice change from the usual concave fare, though
I noted that the Bis Bb pearl wasn't domed...which is a shame, as
it's a very cheap way of improving the feel under the fingers for
In contrast, there's a teardrop-shaped front top F touchpiece which
I find a lot more comfortable than a rounded key pearl - and, likewise,
a generously-sized metal thumb rest.
was also pleased to see a fork and pin arrangement on the side Bb
and C keys (no nonsense, reliable and quiet in action) and key height
adjusters on both main stacks. I was also pleased to note that all
the screwed-on key fittings were nice and secure. This is a common
failing point on cheap horns...all those little stubs (like the
one the G# lever arm sits on) are often held on with screws. If
they're not done up tight - or, as is often the case, poorly made,
so they won't tighten up - they'll cause problems down the line.
Powering the keys is a set of blued steel springs.
I noticed the pads were a little sticky - though with no pull-through
or shove-it swab in the case this is probably as much to do with the lack
of a cleaning regime as it is to do with the pads, which were the standard
Chinese fare. They weren't bad, but the basic Bauhaus Walstein alto sports
a set of Italian pads for around £30 more.
An even closer look at the action reveals the use of parallel point screws.
This is quite unusual for this type of horn - nearly all of them tend
to have pseudo points (bar the Bauhaus Walstein AI series, which has proper
shoulderless point screws) - but both types require very precisely drilled
holes in the key barrels if they're to have even half a chance of holding
the keys on snugly.
it came as a pleasant surprise to find that the barrels apparently hadn't
been typically overdrilled, and while I wouldn't go so far as to say the
holes were accurate in terms of diameter (thus allowing the circumference
of the screw's tip to act as a bearing surface) they at least allowed
the point of the screw to do its job. What this would mean to you is that
when the point screw action wears it could be easily tightened again by
lightly reaming the pillars. It sounds drastic but it's a relatively simple
job, and it's a lot cheaper to have done than replacing the point screws
or swedging the solid key barrels.
This features translates to the player by way of how the action feels
under the fingers - that little bit of extra precision will result in
a slicker, more responsive action...and that's worth having.
my pleasure at seeing a half-decent stab at precision was short-lived,
because a quick peek into the key barrel revealed that old chestnut of
a piece of leather stuffed into the point screw hole.
Yep, the holes have been drilled too deep - and to take up the excess
free play the manufacturer has packed out the holes. In effect, then,
the entire point screw action is pivoting on bits of screwed-up leather.
Oh, it will work - it just won't work for very long. It put me in mind
of visiting a Hollywood film set and being impressed by what appears to
be an entire city street built in the middle of nowhere...and then finding
that when you look behind the buildings there's no back to them and nothing
The rod screw action fared a little better.
There was some excess play on the lower stack action, with the F key being
the worst affected, but I've seen a lot worse.
That doesn't make it better, of course (and especially at this price-point)
- but then again this is a horn that's seen a couple of years' use. But
then again (again) there wasn't much evidence of rod screw wear anywhere
else...so it would be reasonable to assume this horn came out of the factory
with a bit of a sloppy right-hand action.
The 'V' suffix on the model name stands for 'vintage', and this describes
the finish. It's basically a two-tone finish that's scratched-brushed
(or it could be electrophoretic lacquer). Either way it's about as vintage
as a DVD player...but it looks OK. Combined with the extra engraving around
the bell rim it actually doesn't look too bad at all, and in the odd spots
where it had worn down to the underlying brass (mostly on the heads of
pillars) it looked as though it was degrading with dignity...which is
lot more than I can say for some of the finishes I see on the workbench.
The whole outfit came in a rather neat semi-soft shaped case. It's tough
enough to protect against light knocks and light enough not to be too
much of a burden for young students to heft around - and unlike a lot
of other Chinese cases, it hadn't broken after a few months' use.
mentioned earlier about how a lot of ultra-cheap horns look the same until
you get very close to them, whereupon you begin to see the differences.
You also see quite a few other things too, and this is where things started
to go a bit wrong for the 045V.
For starters I noted the action was set very low indeed. To be fair this
horn may well have been adjusted post-purchase, but as far as I and the
owner are aware it's never been serviced. Such a low action can be a wonderful
thing - but the horn has to be built to take it...and I know of very few
horns that could tolerate an action this low and not complain by throwing
away the tone and the tuning (the Conn 6M is one such horn).
No big deal though - a quick turn of the adjusting screws will sort this...but
it does mean that someone's been struggling to play a stuffy horn all
But of much more concern were the tone holes.
These should be level. I always make allowances depending on the price
of the horn, but there are some faults that are bad at any price. If a
tone hole is warped it will lead to problems. It might show up two minutes
after it leaves the factory, or two months later...or even two years later
- but it will show up.
you can see here is the top D tone hole, and it's not even close to being
level. In fairness this is unlikely to cause any immediate problems -
the key is sprung closed reasonably firmly and this, in combination with
a softish pad, will disguise the problem...until such time as the pad
hardens and is no longer able to take up the gaps.
This will lead to a leak, and as the tone hole is near the top of the
instrument it means it will have an effect on almost the entire instrument.
Which is exactly why it came in for a service.
The other palm key tone holes were better, but still not quite level -
but were at least good enough not to cause any leaks before the pad itself
had worn out.
The low B tone hole, on the other hand, was almost as poor as the top
A tone hole like this will have an effect right from the off - the bell
key pads are closed with relatively little pressure and the sheer surface
area of the pad makes it a lot less likely that it will take up any discrepancies
in the accuracy of the tone hole. About the only time such a setup will
work is just after the shipping corks are removed (which will have forced
the pad to conform to the warp in the tone hole). Once that compression
has been released the pad will relax, fill out slightly and lose its ability
to disguise the problem. The low B will become weak and the low Bb will
warble - if the player can manage to get it at all.
were the worst two examples by far, with another half a dozen that looked
a bit 'iffy. It's worth bearing in mind that the horn's finish can sometimes
throw up 'optical illusions', particularly two-tone finishes. You can
see it in action on the low B shot - those brighter patches to the rear
left and right of the tone hole look like warps...but only one of them
is. Have a guess at which it is. Placing a flat standard in the tone hole
will soon show up any real problems.
I think it has to be said that it's a disappointment to find such problems
on a horn in this price bracket these days, given that there are number
of sub £300 horns out there that have level tone holes. It's even
more worrying because of the competition the JP045V is up against at the
I would make the point, again, that this is a two year old horn (though
I should be quite clear that the problems with the tone holes are not
a result of any visible damage), and that the build quality may well have
improved in the meantime. However, that remains to be seen.
Under the fingers the horn felt quite good once the action had been raised.
Before, there was a distinct difference between the action on the main
stacks and that on the surrounding keys - which acted as a bit of a stumbling
block. Once the stacks had been opened out it brought the whole action
together - and it really wasn't bad at all. I particularly liked the way
the pearls felt - very comfortable, very slick.
The issues with the slight wobbles on the lower stack weren't very noticeable,
and while a dose of grease had quietened down the point screw action I
knew it wouldn't be long before the rattles would return.
Given that the key layout is based on a Yanagisawa I found that everything
was where it ought to be, and felt quite comfortable in the hands.
Tonewise it's quite a laid-back horn. There's a lot of 'body' to it,
which would be tempting to describe as 'full' - but this implies a broad
range of tones, and something this horn lacked was a bit of fizz at the
top end and a bit of crackle down the bottom. I guess a more accurate
description would be 'rounded'.
To some extent this can be modified by the choice of mouthpiece, but it
can only do so much.
It's certainly true to say that the tone opened out with the raised action
and made the horn feel rather less resistant, but it still didn't like
being pushed. I've noted this kind of rounded response from other Chinese
horns, however I've always been able to hear and feel an underlying edge
which adds a bit of sparkle into the mix.
That said, there's a certain pleasure to be had from such a relaxed horn
- it's a bit like driving a luxury car as opposed to something a bit sportier.
It won't go round the corners at breakneck speed, but then it won't crush
your spine every time you run over a stone in the road.
My gut feeling is that this particular horn is just a touch on the warm
side, and that other examples may well have a bit more zip and zing.
It's, sadly, a moot point though. This may well be a horn with some tonal
promise, but the technical issues completely overshadow it. The fact is
that I'd be quibbling about the price if it was half as much as it is
- and with horns from Bauhaus Walstein and Windcraft setting the standard
in this price bracket (and the new Academy Jericho at £200 less)
it's, realistically, not even in the running. I hope to get another look
at a more recent model in due course, as this is potentially a fine horn
that just needs a bit of a leg-up on the quality control ladder.
And the warp in the low B? It was on the right hand side.