Saxophones Selmer Signature

[Ivan]

Here's a video of him playing a Borgani silver pearl tenor with what looks like the "Super Power" neck (unique for its side ribs).

View: https://youtu.be/8MAYhR6aw58?si=afEF7M-e7kCWbXl1

One's focus could be the joyful marimba

 

[adamianash]

I would predict that there are essentially zero high-dollar saxophones being bought by working musicians who are making their living that way.

At these levels what we're seeing is Daddy money, Spouse money, and day-job money.

Quite honestly Selmer don't appear to have come up with anything actually new since the Mark 7 (it was a market failure, but it was something new). Everything since then has basically been "back to the Mark 6 but with a few tweaks here and there" and special finishes and engraving. The Super Action 80 was basically an answer to "why don't they just make the Mark 6 again instead of this dreadful Mark 7?". I was there at the time and it was very very clear to everyone that that was Selmer's intention. Everything since then has just been more of the same.

Maybe this is the way musical instrument design goes. Pretty much all flutes made today are just copies of the Haynes handmade with better scales; pianos are all copies of the Steinway of about 1930; violins are all just copies of the re-cut Strads from the middle 1800s. Maybe the saxophone market has decided in that way things like this happen, that the Selmer Mark 6 with improved intonation is "the saxophone" and everything from now on is just going to be variations on that theme.

I better go buy up some Conns and Martins and Bueschers.

I just bought a Selmer Supreme, and it is by far the best saxophone I have ever played. It eclipsed the previous best saxophone I had ever played which was a mint fully overhauled super balanced action. Is what it is. It's pretty subjective though considering the reed can change the nature of the sound within a few seconds based off of environmental factors. I do think it is unfortunate how expensive this horn is. I played on a Mark VI and a Martin for 30 years and now I feel that I actually have a functioning horn. Maybe I got lucky or maybe Selmer has actually done some improvements on the horns. I know the main body of a Selmer has been the same since the balanced action. But, who cares if its the same? A new horn is a new horn.

 

[Pete Effamy]

Maybe I got lucky or maybe Selmer has actually done some improvements on the horns.

...or unlucky on the older horns you had. The biggest names on most instruments do not play current models. Players keep whatever they feel comfortable on - if it's airtight and speaks ok there isn't a lot else to go wrong. Players initially pick a good horn and then stay with it. They are frequently given new models to try but people don't switch.

Intonation, unless wild in places, isn't much of a problem - you learn where the notes are on your horn and play.

 

[adamianash]

I was probably somewhere in the middle of the bell curve with luck as far as saxes are concerned. Also, trying a new horn is silly if you blow into for less than a few days. It's not like your body is perfectly adjusted to what the air flow is required to make that new horn sing. I test them out by playing a low Bb in different ways, and then do all the overtones on the low notes Bb -C#. If I can full tone and sub tone from nothing, then it s a decent horn. IF it gets that insane low Bb vibration that I have only heard come out of my Martin and a few other vintage horns, then I am sold. The Supreme had all of it as well as those overtones I desire from a sax. The overtone series on the supreme was definitely more even, in tune, and easier to manipulate then other saxes. I haven't played every sax in the world, but I know a good one when I get my chops on it.
Ergonomically it is superior to the Mark 6 and Martin I had. I have yet to try the Yanagisawa or Custom Yamahas, which I am sure are great, I just love that classic blue note sound, that the Supreme gives me without the inconsistency and antiquated key layout of the Mark VI.

 

[ghostler]

I was probably somewhere in the middle of the bell curve with luck as far as saxes are concerned. Also, trying a new horn is silly if you blow into for less than a few days. .... IF it gets that insane low Bb vibration that I have only heard come out of my Martin and a few other vintage horns, then I am sold.

I know what you mean. I get that low Bb vibe from my humble 30+ year old Le Blanc Vito 7133T Tenor (by KHS Jupiter, best match a JTS-689) of all things. (Lacks altissimo F# but easily made up for with an altissimo fingering.) Being a pensioner since 2012, it's a ramen eater's delight. Recently overhauled, it's my fave over my other tenor.

 

[adamianash]

Apparently my Martin RMC is an intermediate horn. I spent most of my professional career playing on it. I always thought it sounded better than most horns.

 

[Pete Effamy]

Apparently my Martin RMC is an intermediate horn. I spent most of my professional career playing on it. I always thought it sounded better than most horns.

One regret I have is not having the opportunity to play a vintage Martin or Conn early on. Not interested now, I might like them!

 

[Grumps]

They'll have the two new Selmer models in both alto and tenor at January's Symposium if anyone wants to give them a go. Tell you the truth, I didn't like holding a ten grand horn in my hands in a crowded showroom... with Martysax right next to me.

 

[turf3]

Apparently my Martin RMC is an intermediate horn. I spent most of my professional career playing on it. I always thought it sounded better than most horns.

What do you mean by "intermediate"? If it says "The Martin" then it was the top line instrument, built to the highest standards. Frankly, from build quality standpoint, the Martins are better than Conns. They're like fine machinery, whereas Conns are always a bit "string and sealing wax".

If you have a Martin Indiana, yes, that was positioned as a student or second line instrument; but a couple times I've tried one out and they don't give up much to the top line Martins.

 

[ghostler]

If you have a Martin Indiana, yes, that was positioned as a student or second line instrument; but a couple times I've tried one out and they don't give up much to the top line Martins.

This is understandable. I have the book, The Leak Light Talks. The author explains that overall, the student model saxes made prior to 1967 overall were of at least intermediate grade.

My 1952 model 37 Beaugnier Vito alto (same was made into the 1960's) testifies to that, as well as my Beaugnier Vito low Bb bari. I was fortunate to happen upon an alto that was in extremely well kept clean condition. It only cost me $210 to have it serviced by Tarpley Music, Lubbock, TX. (They replaced 5 pads plus a couple other tweaks.) Wider bore (used a replacement tenor sax receiver plug, bell rim is the size of a modern tenor sax), it is very free blowing, has a beautiful tone and excellent intonation.

And I still can't get over that beautiful subtone in the bottom end that my Jupiter made Le Blanc 7133T Vito tenor puts out. During last night's community band rehearsal, we finally had a full band with closer to 50 total. 2 other tenors joined me, one playing a more modern Selmer professional, the other didn't get the model. I could get right down there with a soft pianissimo low C subtoned. (Other 2 were a bit brighter.)

In one portion of Deck the Halls, the tenors have the bass line with the upper woodwinds soli on the melody. I could easily hit that low Bb with a quick pop to the 5th above it (F) and come under them without overdoing it.

This 30 plus year old tenor is a keeper.

 

[DesertRoads]

Apparently my Martin RMC is an intermediate horn. I spent most of my professional career playing on it. I always thought it sounded better than most horns.

I too have a Martin RMC Alto. I think it sounds pretty good.