That’s no problem, but we’re now seeing vintage Selmer’s either go for silly money, or (and this is more usual) starting to show their age. I know there will be those of you out there reading this who remain firmly in the “you can’t play jazz without a Selmer MKVI” camp. Out of nowhere, these Saxes suddenly had a zest about them that we’d been dying to hear for years, talking of which… The ‘Vintage’ Elephant In The Room They also removed some of the plates running down the tube that the pillars were previously soldered onto. However, they lost various bits of unnecessary weight from around the bell/bow and bow/body bands. They kept the special blend of brass that has been one of the key ingredients for years which helps produce ‘the’ Selmer sound. I mentioned in the video that essentially Selmer took their Saxophones on a crash diet. However, from the depths of despair, they made a raft of subtle changes, didn’t really tell anyone (communication is not their strong point!) and suddenly we noticed Selmer’s coming through that played absolutely beautifully. There had been quality issues (and admittedly there’s still only one winner in French vs Japanese manufacturing but they have improved greatly), strikes within the workforce, the threat of closure and more.
In fact, until they made the changes in about 2014 across the range, you could argue that modern Selmers were stodgy and not much fun to own or play. I’ve sat with Simon many times in our videos and he sounds great on everything, BUT, I’ll always remember this video we shot and how that Selmer sound was just was so rich, fat and luxurious and filled the room immediately.īut why? Modern Selmer’s haven’t always received critical acclaim from players, and from me either.
Within 5 seconds I could tell you blindfolded that this is a Selmer Ref 54. So, now I’ve nailed my colours firmly to the mast, let’s try and get into the pertinent question of why? For me, it’s all about tone, just check out the sound Simon makes on this Tenor in the video demo above at 01:14. But, as someone who’s been doing this for nearly 20 years and played hundreds, if not thousands of Saxophones, here’s my admission: When push came to shove, and I had to put my own hand in my pocket to buy a new Tenor in 2015, I bought the Selmer – and am delighted I did! Why Selmer? We’d all have our own favourites in this list, and there’s a host of amazing options above. In this instance, if you’re looking for a premium level new Saxophone I’d suggest this would be a worthy list to consider: Whether we’re talking musical instruments, sports players, cars or whatever it may be. When you buy this mouthpiece on our website, you will receive a ligature and cap as a gift.When we seek to measure the ‘greatness’ of something it’s always relevant to its competition.
“Spirit”, the ultimate must for Jazz mouthpiece ! An easy blowing mouthpiece with an excellent articulation (detached notes). A well-balanced tuning and easy control provide a rarely reached playing comfort on a Jazz mouthpiece. Remarkable enough, the global tone colour remains in its entirety on all registers, specially for the medium register which usually has a trend to loose texture in that kind of mouthpiece conception, a noticeable advantage for recording.
SAX SOPRANO SELMER REFERENCE 54 FULL
A great sound: a full spectrum, very rich in low harmonics though keeping a real “cutting through” power. Machined from a high quality hard rubber bar, an exclusive Selmer Paris process. Designed together with Pierrick Pedron, one of the most prominent French Jazz players, the new Selmer Paris Alto saxophone Jazz mouthpiece offers outstanding musical qualities.
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