Saxophones What's wrong with a Selmer Mk7

[Bobby G]

Why is it that the Mk7 is considered inferior to the Mk6? Were Selmer trying to cut corners, using inferior materials, were the intonation or ergonomics bad? Was the sound appreciably different?

The only Mk7 I ever heard was a tenor, so I can't speak for the alto, but it looked and sounded excellent.

Has anyone owned or played a Mk7?

Cheers, Bob

 

[saxismyaxe]

These can be fantastic horns, and like their MKVI predecessor, vary in build, sound and intonation from one horn to the next. Although they are often thought to be a bit brighter overall than the MKVI model, I have played many that were in fact darker. Play testing during selection is a must.

The main bug-a-boo voiced against these horns is the ergonomics. Many with smaller hands complain that the reach is a bit more of a stretch than the MKVI, and since it doesn't feel exactly the same, it was not as popular.

I find them to be more than comfortable, and would say that these are great value for money for those who dig the Selmer, French sound but don't want to mortgage the family house to buy a vintage Selmer.

 

[oliver_bentley]

I've got a selmer mk vii - its my tenor. Its a great horn, and I'm glad to see Saxismyaxe sing its praises. (was worried i was going to read this to find out people thought they were shoddy horns)

As Sax says, it is made for big hands, but as mine are v large, then its a perfect fit - Was one of the reasons I was told to try one. Its quite bright, but there was a brighter one in the shop (woodwind exchange) Also tried it against two serise 2's, which didnt have as good a sound. Intonation is fine (much better than my yammah 62! see cresents post)

Its got a few problems, but nothing you would expect of a horn built in 1977 - skicking pads, rattling action on one rod, a few screws loose etc

Also tried it against some mkvi's in the shop - and while the vi's were better overall horns, and one was VERY nice, it wasnt worth well over double the pirce (mk vii was ?1400 for any one nosey, plus ?200 for a second hand metal vandoren v16)

All in all - great horn, good value.

Oli

 

[Linky Lee]

Does it really matter what the general consensus on a horn is? If you really like them and they suit you well, it can't be beaten.

I never used to like modern Yanagisawas, then I tried the T902 and it was the best tenor I'd ever played. Many people mock the build material and finish of horns to have no affect, and there are many people that hate modern horns and don't like Yanagisawas, but it suited me perfectly and I'm saving my money for one. Doesn't matter to me whether it's regarded as a good horn or not. The Hanson doesn't have a 'big' reputation but I really like that alto.

 

[oliver_bentley]

Linky_Lee wrote:
Does it really matter what the general consensus on a horn is? If you really like them and they suit you well, it can't be beaten.

I never used to like modern Yanagisawas, then I tried the T902 and it was the best tenor I'd ever played. Many people mock the build material and finish of horns to have no affect, and there are many people that hate modern horns and don't like Yanagisawas, but it suited me perfectly and I'm saving my money for one. Doesn't matter to me whether it's regarded as a good horn or not. The Hanson doesn't have a 'big' reputation but I really like that alto.

Wasnt so much the reputation (I couldn't give two hoots, or even one, to if its a reputable horn or not, as you say if you like it, who cares) it was just whether I'd shelled out that much money on something I was going to have trouble selling when the time came because it was badly built or whatever that worried me.

Oli

 

[Bobby G]

It wasn't the reputation particularly that I was asking about, it was why Selmer changed what was a winning formula on the Mk6 when they came up with the 7. Obviously changes improvements and developments are always going to happen, but it seems like Selmer just plain got it wrong for the majority of players, even though they clearly have a following (I think Simon Spillett uses one); I'd guess the 'mistake' is in the ergonomics rather than the sound.

Cheers, Bob

 

[mfox]

i had a mk 7.. and can honestly say its just about the same as my mk6 is now..i would have stayed with it, but for it getting damaged and after many repairs never really felt or sounded the same.. If i was head of development at selmer i would never have brought out the mk7 it never really had the run of the mk6.. im sure it could have been developed into a legend had it had the manufacturing run the mk6 had.. if you get a chance to buy one i would jump at the chance if the price is good..im sure the price will increase as the mk6 whohaa simmers down..

 

[Dylan]

I'm not sure where I remember this from, but I think that Simon Spillett plays a Mk7.

Apologies if this isnt the case - but perhaps Simon can give us some first hand experiences if he is around

D

 

[Bobby G]

Dylan wrote:
I'm not sure where I remember this from, but I think that Simon Spillett plays a Mk7.

Apologies if this isnt the case - but perhaps Simon can give us some first hand experiences if he is around

D

I'll ask him on Wednesday if he doesn't reply here

Cheers, Bob

 

[simonspill]

Yes, I play a Mk VII, and have done now for ten years (this week, I think!)

I too had read horror stories about the 7; "Selmer's Greatest Failure" (a horn ideal for me then!).

Johnny Griffin was apparently involved in the early design stages of the project but pulled out because he didn't agree with the way things were going (the comments about size and key spacing might be crucial here; Griff is a little guy with little hands).
Apparently Ronnie Scott also said some disparaging things at the "official" Selmer launch in London.

I originally settled on the 7 because I just couldn't find a 6 at the right price, however I have subsequently found it to be an excellent horn with a full-throated sound and easy action, and wouldn't want to change it for anything now!

The slightly bigger bore suits the sound I want to get but I can see why players who've used the 6 would find the 7 odd, certainly from a key size point of view; the low C and the low C#/B/Bb cluster is much bigger than on the 6.

I'm pleased to say that among the great players who used the 7 was the late Clifford Jordan - a man with a wonderful sound. He even released an album titled "Night Of The Mark VII"!

Again, it's down to what you prefer. I've since tried some pretty duff Mk 6's (really stuffy sound) and some very unresponsive new Selmers. The best new saxes I've tried have been Yanagisawa tenors - big sound, beautiful action, very comfortable to play.

The 7 is a great horn, so please don't be put off by the dismissive press it often gets.

 

[Dylan]

Thanks for posting up your review Simon - very useful. Also, the anecdotes...

SimonSpill wrote:
Apparently Ronnie Scott also said some disparaging things at the "official" Selmer launch in London.

...that's my boy !!

D

 

[Bobby G]

Having heard Simon play it a few times now (last time being Wednesday last) I can testify as to it's power and fat sound, as well as it sounding beautiful at lower volumes. Maybe it's the way it is being played, but even at very fast tempo's (tempi?) the note-runs are distinct rather than blurring into a flurry.

I wonder if the alto is as good?

Cheers, Bob