After introducing Superial, Tom Alexander wanted to add another model to his lineup which he thought might meet the needs of players who were looking for a different style cut and tonal response.

Using the same cane, he made exhaustive tests and alterations to fabricate a reed with somewhat changed response characteristics from the original Superial, and thus the new Superial “DC” (or “Double Cut) was created.

This reed has a slightly harder tip and more wood in the heart and sides than Superial and therefore produces a more solid tonal core, enhanced projection and power, and a little darker harmonic timbre than Superial, but still one with the kind of “edge” and authority needed in soloing or lead work.

For “DC” Tom was thinking in terms of a tonal concept reminiscent of the saxophonists he had admired and been influenced by from the 1950’s to the “Blue Note”, “Miles” and “Trane”, and “Wayne” eras.

Tom also had in mind a reed of increased power that would be particularly suitable for big band, stage band or marching reed players, as well. So in a sense, Tom worked on “DC” with an idea of making a reed that fit closest to the tonal palate of his own musical influences and this became the reed he used on Tenor most of the time.

Since its introduction in 1995, “DC” seems to be especially favored by professionals who need a lot of power and want to push the reed to the limits of its dynamic capabilities, while still retaining an even balance from top to bottom.