A brand new pro Conn saxophone. The end of Meyer and Otto Link as we know them. And probably the most exciting electronic wind instrument in years. If you want to know what's new in the saxophone world for 2026, this is your wrap-up.

I spent two days on the floor at NAMM - the music industry's annual mecca where every major instrument brand comes together to show off their latest products. My voice was basically gone by the end of it. But it was absolutely worth it. Here's everything that caught my attention.

Watch the full video below, then read on for the written breakdown.

The Conn Connfirmation: A Modern Horn With a Vintage Soul

This horn will play tricks with your mind. You glance at it and you're thinking - that's a vintage 6M. It's got the wiry keyguards, the raw brass, that unmistakable Conn DNA. Then you start noticing the high F# key, the updated octave mechanism, the heavy mass screw, the modern ergonomics - and you realise this is actually a brand new instrument.

It sells for around $7,000 USD and is assembled in the Elkhart, Indiana factory - the historic home of Conn. It's not made entirely in the USA (the parts come from elsewhere), but having it assembled there is a genuinely cool touch that feels meaningful rather than just marketing.

What makes it distinctly "American" in character? Two things mainly. First, it uses post-to-body construction rather than ribbed - less metal on the horn, quicker response, bigger sound. Selmer really popularised ribbed construction with the Mark VI, and practically every pro horn since has followed suit - so the Conn taking a different path is a statement in itself. Second, it has a wider bore than something like a Selmer, which is totally in line with the classic American school of saxophone design. It'll ask more of your air, and in return give you that big, warm, spread sound that vintage Conn players have always loved.

It also has rolled tone holes - a nod to tradition that not everyone loves, but you've got to respect the consistency. When I got to play it on the floor, the response was impressively quick and I felt like I could push hard without it topping out - exactly what I'd expect from a horn in this lineage.

Here's the kicker: it's limited to 150 units, individually numbered, to celebrate 150 years of Conn. If you want one, I wouldn't hang around.

The End of Meyer and Otto Link As We Know Them

This was one of the biggest stories out of NAMM this year, and it's been a long time coming.

JJ Babbitt - the company behind both Otto Link and Meyer mouthpieces, two of the most revered names in saxophone history - has merged with Theo Wanne. If you ask any pro sax player who's been around for a while, they'll tell you the same thing: the quality of Links and Meyers fell off a cliff about 20 years ago. The irony is that decline is actually what created the space for boutique makers like Theo Wanne and Jody Jazz to rise and fill the gap.

From what I gathered speaking to the reps at the show, every piece JJ Babbitt produces is now being sent to Theo Wanne - the company, not the man - to be hand finished. Some models are going to be made entirely by Theo Wanne.

What really got me was the JJ Babbitt website. Right there on the homepage is this remarkable admission - they actually refer to the old Meyer and Otto Link "lottery," saying it was common to have to "try out ten just to find one." Think about that for a moment. When was the last time you heard a company speak that openly about the quality of their own products? A year or two ago they were talking up their precision manufacturing processes. This is a pretty extraordinary u-turn - and honestly, a refreshing one.

I didn't get to play the new pieces myself, but I picked them up and had a close look. The finish and quality have improved dramatically. The foundation is there. I'm genuinely optimistic about what these names could become under this new arrangement.

Ashun Sound Machines Diosynth: The EWI That Might Change Everything

I've already published a full review of the Diosynth - you can read that here on the blog - but I did want to mention it in the context of NAMM because it was one of the genuine standout moments of the show for me.

I sat down with Glen Darcey, the CEO of ASM and the designer of the Diosynth. He's a sax player himself, and his history with the EWI goes deep - he worked directly with Nyle Steiner, the legendary inventor of the instrument, contributed to the first AKAI EWI, and worked alongside Michael Brecker, Steve Tavaglione and Bob Mintzer. This is not someone who stumbled into the wind synth world. This is someone who helped build it.

On the floor, I got to play the Diosynth myself. Ergonomically it felt very similar to the Yamaha YDS-120 - and that's a good thing, because it means sax players can pick it up and feel at home almost immediately. The response - the time between blowing air and the instrument reacting - was about as close to instantaneous as I've felt on any EWI. That alone makes it a serious instrument.

But where it really sets itself apart is the sound library. Most EWIs force you to compromise - decent ergonomics with a bland sound library, or incredible sounds with awkward key layouts. The Diosynth manages both. Being a boutique synth company, the sounds are genuinely extraordinary, and there's dedicated software to get completely granular with them without needing any third-party libraries.

It comes in at around $1,100 USD - more expensive than the YDS-120 or YDS-150, or the Travelsax 2. But it's also aimed at a different kind of player: the digital performer or composer who wants to use their sax skills as the launchpad for something entirely new. In that sense, it's absolutely in the tradition of the great EWI pioneers.

Trevor James EVO Soprano: A Hidden Gem

I had a great chat with the team from Trevor James - a Canadian brand with some beautiful saxophones in their lineup. But the thing that genuinely surprised me was the EVO soprano, starting from just $1,500 USD.

Every single one of these instruments is set up by Sandro Massullo in Vancouver. The first thing I noticed when I picked it up was how silky smooth the spring tension was. It played beautifully, with a warm, centred tone. I was a bit flat because I didn't want to push the mouthpiece on too far and flatten the cork, but even so - if you're looking to add a soprano to your setup and want that silky, responsive feel, check these out. Genuinely a hidden gem.

Rol-Bec: A Flute, But Not As You Know It

This one caught me completely off guard. Justin and Garrett from Rol-Bec have created something pretty wild - a flute concept that rethinks the instrument almost entirely. I know I'm not here to cover flute content, but the potential for sax players to add something like this to their arsenal was too interesting to ignore. Worth checking out if you're curious about expanding your woodwind world.

Jody Jazz Quasar

True to form, Jody Espina from Jody Jazz came to NAMM with something new to show. The Quasar is his latest mouthpiece, and Jody does the talking best himself - keep an eye out for his demo in the video.

Ranger Modular Mouthpieces: One Mouthpiece, Infinite Sounds

Are you a one-mouthpiece player who still wants the flexibility to switch sounds on the fly? A German company called Ranger might have something for you. Their modular mouthpiece system lets you swap out the internal inlay - what they call the "trunk" - in seconds, connecting it to the "root" (what we'd call the shank). One kit gives you setups for rock, jazz, chamber music - whatever you need.

It won't be for everyone, and I can already hear the purists sharpening their pitchforks. But in terms of pure ingenuity, it's one of the most interesting ideas I saw at the whole show.

Cannonball Big Bell Stone Series 30th Anniversary Edition

Cannonball always has one of the busiest booths at NAMM - so busy this year they had to put up crowd control signs. Their 30th Anniversary Edition alto and tenor feature a Sodalite semi-precious stone and what they're calling a "black sapphire" finish, along with stunning "grand galaxy" engraving. It is genuinely eye-catching - and yes, before I knew what the stone was, I did think it looked a little like a tide pod. I'll own that.

Sound-wise, it delivers the big, powerful tone you'd expect from the Big Bell series. It also comes with two necks - a standard neck and the "FAT" neck with an underslung octave mechanism. If that particular shade of blue isn't your thing, there's also a striking matte black version.

And yes - Cannonball hold the only patent for putting stones on saxophones. Who knew.

Cloudvocal EverSync SP-10: The Gigging Sax Player's Best Friend

Some of you might remember my review of the Cloudvocal iSolo Prime - a compact wireless mic and receiver that attaches straight to the bell of your horn. I loved it for sax-and-DJ gigs, but I had some reservations about the tone of the mic itself in more intimate settings.

The new EverSync SP-10 Wireless Stomp Pedal solves that problem entirely. Here's the concept: you use your own clip-on mic - whatever you already know and love - connect it to a small transmitter via one of their many built-in adapters, and that sends the signal to a stompbox you control with your foot. The stompbox plugs into a PA, mixer, DJ desk, whatever you're running. It's got a full set of EQ and effects, plus a backlit display that's actually usable in low-light environments.

Cloudvocal have a real knack for reading the mind of the working musician, and this is another example of that. If you're gigging regularly and want a simple, reliable wireless solution that works with gear you already own, this is worth a serious look.

Selmer Paris: The End of an Era

I'll be honest - this one was a little bittersweet for me personally.

The Selmer Signature and Supreme saxophones are still getting a lot of attention, and rightly so. But something I found out directly from the Selmer rep at the show is worth sharing for anyone who cares about the Super Action 80 lineage.

The Signature Alto is a direct evolution of the Super Action 80 Series II - updated keywork, refined engraving and finish, improved intonation, but carrying that same internal geometry that so many jazz players have loved. The Signature Tenor, meanwhile, is an evolution of the Series III - that cleaner, more focused sound that leaned toward classical players.

Here's what that reshuffle means in practice. You can still buy a Series II alto for now. But the Series III alto has been officially discontinued - and it hasn't been carried forward into any of the new models. On the tenor side, both the Series II and Series III Super Action 80s are gone - the Signature Tenor is carrying the torch of the Series III lineage only.

I have a Series III alto. My parents bought it for me to replace the rented Yamaha I learnt on, and it's a horn I could never part with. Hearing it's been discontinued was a bit of a gut punch, even though I knew the new models existed. I wouldn't be surprised if the Series II alto follows in the next year or two.

So if you've always wanted a new Series II alto, now might genuinely be your last chance. As for the Series III - well, it's a vintage horn now. Pour one out.

Which Product Excites You Most?

That was NAMM 2026 - there was a lot to take in. I'd love to know which of these products has you the most excited, so drop a comment on the YouTube video and let me know.

And if all this gear talk has you itching to actually play the saxophone better, check out the courses over at saxtuition.com. There's something for every level - from total beginners through to intermediate players who are ready to break through to the next level.