![]() Selmer Reference 5. Origin. France (www. ![]() Jim Check of Sax.co.uk does a direct comparison between the Series II & Series III Alto saxophones. New Bridgecraft USA Black Nickel & Gold ALTO SAX with Selmer USA mouthpiece list price $1,925. 00 with Selmer USA mouthpiece: New Bridgecraft USA Black Nickel & Gold. Selmer Paris Series II Super Action 80 Alto Saxophone Jubilee Edition The Selmer Paris Series II alto saxophone is the most popular Selmer Paris saxophone in history. ![]() Guide price: ? It really. The odd thing is that it's not a uniform finish. Looking closely at the. It's quite a curious effect, and if I had to suppose how. I would say that it looks for all the. If it's intentional then it's quite. I'm in two minds about whether I like it or not, it smacks a bit of a. It's probably largely academic anyway, the horn is impressively engraved. Again, they probably meant to do that. I don't mind admitting that quite a lot of the things I have a beef about. This isn't necessarily a good thing, as many of the problems. I point up will have a bearing on a horn's reliability and playability. The problem with this horn was a wobbly crook. Seriously - it actually wobbled, and no amount of tightening up. This is actually a very significant issue - a loose crook joint can completely.
It's fair enough on a horn that's seen a good few years hard labour - . I don't think. so somehow. I think I was even a bit cross about it.. I'm still miffed I'd. Pop one on anyway, heaven. Thank you. Otherwise. No wobbly tone holes (hooray!). The bell stay is slightly different from the original. It's rounded on. one side, flat on the other. At first glance you might suppose that it. MKVI bell stay was made. I'm knocking points off for a dodgy soldering job on the bell flare. B tone hole. I strongly suspect (or at least. The blurb that surrounds this horn makes much of its ergonomic design. I went for a top F using the front key. My finger rolled up. No note, no. key. Gave me quite a shock! I've noticed that there are three distinct styles of playing the front. F; some players, like me, will simply roll their forefinger up to. F key. All methods are viable, though the latter might. The point is, the F key should be designed so that any and all methods. Here are a couple of shots - the first is the Ref 5. Yamaha YAS6. 2. Note the position of the F touchpiece in relation to the. See how high it is on the Selmer. With some bending and tweaking. I made it more of a workable mechanism, but it still wasn't good. If that's. ergonomic then I'm Charlie Parker's aunt. I was a little concerned about the octave key mechanism. Whilst. there's some merit in hearkening back to a bygone era, I think you. Although the Selmer octave. Whilst the mechanism on this horn. I still feel that an opportunity was missed. Picky, I know, but these horns aren't bought to be stashed in display. The action, as factory set, was rather high - and very stiff. It was. simple enough to shim the key feet to knock the key heights down just. The reason for this is the length of the springs on the right hand key. If you compare them to those on the MKVI you'll see that they're. This has implications for the feel of the action. You can demonstrate how this works by taking a wooden ruler and placing. Give it. a twang (the ruler goes 'boooing'). Now move the ruler so that only four. It's a very different feel. This is essentially what's going on with these shorter springs. You can. bend them and tweak them to some degree, but nothing will replace that. I was rather disappointed about this - a killer horn should have a killer. I. note too that the curious sprung rod screw has been used for the. C/Eb key. I've had to 'fix' a few of these since they first appeared on the market. It's a simple fix, the sprung rod is removed and tossed. Even without evidence of any grating. A quick note about the use of rubber buffers on the right stack rear. Rubber is a fantastically useful material, with superb properties for. Two reasons: You can't sand the stuff down to make subtle but crucial. Oh, only a small amount, but it's. It really shows. on the F and E keys. Press either or both down and you're fine - but press. E down (as in fingering an F#) then the F and you'll notice the lack. F pad hits home - and when I say 'press'. I don't mean hammer the key home; press it like you'd press it when you're. They tried this stuff on those ubiquitous East German student horns back. Given all those slightly negative points, the action sits nicely under. F notwithstanding). I didn't notice anything overly out. Plus points awarded for the use of a rounded Bis Bb key pearl - but these. I had to take a second look at the pads - I initially thought they might. But no, they're leather. It might be a one- off, or it might not. I had to degrease the pads time and again - and they were still. I'm sure it will ease. I've seen a new horn with pads this sticky. There's a choice of case with this horn; a shaped case or a flight case. Nice and stylish, quite well padded. I really don't like zips on cases - when they go. A nice touch was a shiny top and a roughened bottom. I get the impression. It does too - but if you're left- handed. Time to blow the horn. I'd heard great things about the Ref 5. Here. and there on the web are dotted comments such as 'the best alto ever made'. I came to blow the horn I was more than a little. Let me explain it thus: If there was one quality you could assign to the MKVI it was that it sang. It was even more so the case for the preceding. Super Balanced Action and the Balanced Action. Some may have. not liked its rounded tone, others might not have liked the variable tone. This was what I was looking for, hoping for, and didn't find. What I did find was quite a contemporary sound tonewise, tinged with. Very even right across the range. I kinda liked it in a way. Yamaha YAS6. 2 and compare. The Ref. I get the feeling that what made the MKVI. Maybe the price you had. To be sure, it's a good horn; it sounds good, looks good - but if I were. Yamaha Z alto and the Yanagisawa 9. I think it would be tough to call it. If I dropped the Yanagisawa 9. Ref. 5. 4 though - and with Keilwerth hopefully having resolved the tone hole. SX9. 0R alto more than squares up to the Selmer. I think this horn gives Selmer a retrospective step back towards the. MKVI, and comes as a welcome and interesting break. S8. 0 series has followed - but in the time they've taken. Selmer devotees will probably love it (unless they already own cracking. MKVI's), other players might find it a harder choice. Selmer Super Action 8. Series II & Series III Comparison. Jim Check of Sax. Series II & Series III Alto saxophones. Jim is using a SR Technologies Pro Metal Mouthpiece with Rico Jazz Select Reeds. Saxophones - Band Instruments - Conn- Selmer, Inc. Step- Up Model Instruments. Step- up or intermediate instruments provide additional keys and features that vary by instrument type. These added features take the one- time beginning musician to the next musical level.
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