- SELMER BUNDY II ALTO SAXOPHONE PRICE UPDATE
- SELMER BUNDY II ALTO SAXOPHONE PRICE PRO
- SELMER BUNDY II ALTO SAXOPHONE PRICE SERIES
SELMER BUNDY II ALTO SAXOPHONE PRICE SERIES
In fact, there are many individual Mark VIIs, and Series I, II, and III that sound better than individual Mark VIs (even some of the coveted “5-digit” horns). Let me just say this: Every Selmer Paris saxophone made since the Balanced Action was the best model of saxophone you could buy anywhere from anybody that year (at least until Yanagisawa really got up to speed in the last several years, then you could say “was arguably the best model. The Reference 54 reincorporates some of the Mark VI characteristics that people whined about losing when the Mark VII came out, and hopefully will steal back some of Selmer’s market share from companies that have been making better copies of the Mark VI than Selmer has.
Neither were its successors, the 80 Series I, II, and III. Folks with small hands or used to Mark VI placement complained that it was harder to reach certain keys.įrankly, compared to any other saxophone ever made, the Mark VII was still a very well-designed, playable horn, with all of the musical qualities and possibilities as the Mark VI. The most measurable changes related to key placement. Though they complain loudly about tone differences, there are just as many differences in tone between on Mark VI and another as there are between the Mark VI as a class and the Mark VII as a class - and even those are usually the kind of thing you could “fix” with a change of mouthpiece or even embouchure. Note About Mark VII Haters: Folks who thought the Mark VI was the best possible saxophone ever were appalled when the Mark VII came out.
That’s one reason intonation on a 50-year-old Selmer top-of-the-line sax is often as good as new. The extra support helps keep the posts from being jarred out of line. For example, most of the posts are not mounted to the body directly - they’re mounted to brass plates (“ribs”) that are then mounted to the horn.
Other features made the instrument more sturdy. This, in turn made the left pinky keys easier to push. One of the most obvious updates is that the low B and Bb pads were moved to the right side of the bell (from the player’s perspective).
SELMER BUNDY II ALTO SAXOPHONE PRICE UPDATE
The Mark VII was an update from the Mark VI, which was an upgrade from the Balanced Action (BA) and Super Blanced Action (SBA), earlier Selmer attempts to redesign the sax for easier play, more consistent tone, and better durability. Getting a great tone that makes strong men weep is like slicing butter with a hot knife. That said, I will also attest that everything you’ve heard about Selmer Paris saxophones is true. (Yes that still rules out a lot of horns.)
SELMER BUNDY II ALTO SAXOPHONE PRICE PRO
But I did think it was worth explaining to critics that, while I know what a difference a pro horn can make to your sound, I also know that you can learn to play, and play well on any well-made, playable horn with decent intonation. In fact I “cut my (improvisational) teeth” on an intermediate horn - a Buescher-designed Selmer Signet tenor that still sounds great and meets most of my gigging needs. Was I a better sax player when I played it? Of course not. Or who list the horns they own as a kind of “credential” to validate their playing, as though spending the value of a good used car on a horn automatically makes you a better player.ĭid I sound better on this horn the few times I played it? Of course. Most of the other horns I’ve listed are student model or intermediate horns, and there are certain folks who judge your value as a sax player based entirely on the brand of horn you brought to your most recent gig. I’m not going to say much about this one, except that one belonged to me at one time.
Horns in my Life: 1970s Selmer Mark VII Alto
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