Just Picked Up a Selmer Series III Brushed Finish Tenor. Oh My!!

[Saxplayer1]

Guys, I've gotta tell you and can't hold back any longer. Many of you know I'd been playing a Ref. 36 for some time while my Mk VI's sit in their cases in my closet and yet I keep them for sentimental reasons. Okay, here goes:

I recently picked up a new Series III Brushed Finished with the Polished Keywork and all I can say is "Unbelievable Instrument." It was not my intent to play the darn thing when I brought my Ref. 36 in for a small adjustment, but I tried it and this horn left me speechless. Effortless to play with unbelievable warmth, resonance, depth and clarity w/exceptional power. The tone was absolutely beautiful and FAT, and the intonation is spot on. The thing just vibrates in your hands. And then I added the Selmer copper neck and geez. In fact, the brushed finish had more depth than the three standard lacquered finished horns I ended up comparing it to along side two Ref. 54's and my Ref. 36. Perhaps this is due to each Selmer horn having a slightly different personality. Anyway, it's the best tenor I've ever played in 30 years of playing. I've not played a Reference Tenor that can touch this thing. If you're looking for a Ref. tenor, Give the Series III Brushed finish a try. It may mess you up like it did me, unless I simply found a rare jewel.

[Tryptykon]

I might have to try the Brushed III tenor-- I tried an alto a few years ago
that sounded nice.

There are so many options, today; vintage and new, that it's staggering.

The Ser III tenors, in general, don't get much praise, compared to the Refs.
and .....MK VIs,etc.-- at least on internet forums(FWTW..).

[Canadiain]

I'll give you $50 each for your mark VIs:lol: :p Sounds like you will need the closet space for the 36!

[tjontheroad]

Congrats! My SIII tenor (silver) is my main squeeze. I can't understand why they're not more sought after.

[Saxplayer1]

I agree. To me, it is a good Mk VI reincarnate but with perfect intonation and incredible sweetness with just a whisper, yet powerful if needed. No stuffy notes, wonderfully centered, fat and effortless to play. My wife and fellow musicians immediately noticed a difference. I'm still dumbfounded.

Don't get me wrong. for alto, I play a Ref. 54 and can honestly say the Series III alto does not compare. But for tenor, it's a whole other story. This is an awesome horn.

[Tonehole]

I have been playing my Series III for 6 years and have not come up with a better horn, and I have tried quite a few.
It is a French Model I snagged off ebay from a store in Switzerland so it is clear lacquer with no engraving apparently the way the French like their horns. $2,400.00 US
This can be an advantage at times, adjudicators have asked what is it I am playing after hearing me perform .... they think it is a USA Selmer but doesn't sound like one. Never seen another un-engraved III. Takes players by surprise when I show at a jam and they scope out my horn and think it is a student model and then I unload.
I have tried the Red copper neck for a while but now use a 60's French Selmer solid silver VI neck which warms up and colours the tone nicely. Key work has been adjusted, lightly modified for me over time, spring tension has been adjusted and softened with time to the point that the keys flow seamlessly when I churn them. I use a Forsa thumb rest as well.
I can shred on this horn.
I have heard that Horns are graded at Selmer Paris A rank for the Continent, A- for Japan and whats left is for North America. Apparently Japan is Selmers largest market!

[Dentarthurdent]

Congrats - enjoy your new baby. The Serie III didn't work for me but I gotta admit the brushed finish version is to die for!

[Dr G]

I played a III for several years and sold it in favor of my Ref 36. Yep, ya gotta try 'em - they are certainly different from one another. I found the III much more focussed and bright than my 36. I prefer the Ref 36 for its sound, ergos, and looks.

Have you tried Barone Hollywood or Lawton B on that horn? If ripping and shredding is what you're after, those will get you there. I wasn't yet aware of Lamberson mouthpieces at the time but would certainly try one of those on the III as well. Tim Price uses an acetal DD on his III (with a wooden neck).

[Saxplayer1]

Hi Dr G. I'm, currently using a Jody Jazz DV 7* recently hand picked from 5 tried, a SR Tech Fusion and a 1969 Otto Link for that Joshua Redman sound, which are all excellent with the horn. The DV is really incredible & versitile. I'm not really into a bright sound, but rather prefer a full bodied centered sound with excellent depth & warmth, and yet with clarity and a nice slight edge. I'm not sure this Series III is brighter than the Ref. 36, but it does speak more clearly and is more centered in sound. I'm mostly playing contemporary jazz these days. Certainly, there's a lot of players these days whose sound is bright and piercing and lacks depth. I personally can't stand that sort of sound. This brushed finished Series III sounds close to my 65 Mk VI, however, has better intonation and is a bit more powerful. You know, they're all great horns, but every now & then one comes around that leaves you speechless, and because of the cost, we rationalize why we're fine with what we have. This time, I wasn't letting this one pass me by. Yes, I must be nuts!

[Dr G]

I'm with you on the "can't stand bright, piercing and lacks depth" issue. It could well be that the difference in our experiences with the Ref 36 vs the III is that I tend to play on the bright end of things and thus compensate with a darker horn and mouthpiece to get the same goal.

BTW, I do not consider the mouthpieces that I suggested as being anything near trashy sounding. I have played a SR Fusion and Pro and consider the Barones, Lawton, and Lamberson as all sounding more full and complex than the Fusion.

Great to hear that you've found YOUR HORN. Not everyone is so lucky.

Enjoy.

[tjontheroad]

My set up is with a Lamberson gold plate 7. Focused and centered with a nice bit of warmth is my best discription with the SIII. It's a easy player up and down the range. Plenty of projection to boot.

I've only ever tried one Ref tenor before. IMO, it wasn't nearly as nice. I don't think it was set up well. The intonation was off. I would like to check out another though.

[Tonehole]

By shredding I am referring to a Chris Potter style of play. I have tried brighter/edgy pieces .... even have a G/studio piece.
Not a fan of shrill but spend a lot of time in altisimo { Potter thing again). But not big on the ballads either.
As stated the silver VI neck warms it up and spreads the sound. I have a few pieces I enjoy playing but they are considered warm and require a bit of air support and sustain.
Use a 7* Slant link, 7* STM massaged by JVW or a 7* wood LeBayle depending on the mood I am in and what seems to be working.
Lately I have got hooked on a vintage Metal Link NY that Doc Tenney opened to a 7* for me takes a ton of air.
I have a Lawton P in 7* and 8* both in brass not big on them, found the B just a touch bright to my ears, but these terms all very from player to player.
Have a 9* rubber Babbit on it's way that sucker should take a lot of air! 8-)

[elguapo]

Guys, I've gotta tell you and can't hold back any longer. Many of you know I'd been playing a Ref. 36 for some time while my Mk VI's sit in their cases in my closet and yet I keep them for sentimental reasons. Okay, here goes:

I recently picked up a new Series III Brushed Finished with the Polished Keywork and all I can say is "Unbelievable Instrument." It was not my intent to play the darn thing when I brought my Ref. 36 in for a small adjustment, but I tried it and this horn left me speechless. Effortless to play with unbelievable warmth, resonance, depth and clarity w/exceptional power. The tone was absolutely beautiful and FAT, and the intonation is spot on. The thing just vibrates in your hands. And then I added the Selmer copper neck and geez. In fact, the brushed finish had more depth than the three standard lacquered finished horns I ended up comparing it to along side two Ref. 54's and my Ref. 36. Perhaps this is due to each Selmer horn having a slightly different personality. Anyway, it's the best tenor I've ever played in 30 years of playing. I've not played a Reference Tenor that can touch this thing. If you're looking for a Ref. tenor, Give the Series III Brushed finish a try. It may mess you up like it did me, unless I simply found a rare jewel.

My experience is much the same. I just bought a Series III in the brushed finish after trying a few Ref 54s and 36s. This horn is very fat/full and didn't find it to be bright at all. For each person, there is a "perfect horn", for me it is the Series III.

[SplitTony]

Love my SIII. I played a SII but wanted to get rid of it for ergo reasons (big hands). The III fits perfectly and the sound is huge. I bought it as my classical tenor but it started getting used for everything. I bought the Sterling neck for it find it better for classical. The stock neck is a little better for Jazz, Funk, whatever. One of my students is waiting to get his new brushed III back from getting overhauled.

[Nobby Keys]

I too play a Series III Tenor, and have done so since I bought it new about 6 years ago. I use a Barone Hollywood 8 mpc. It would appear that some of you are using different necks with this horn.

I've always thought that a neck would not make that much difference, so the question is does it? If it does what necks could anyone recomend. Hopefully without having to doctor the sax.

[Mactenor]

Saxplayer 1 Have you tried the new Ref 36 setup by a pro? I have a 1 year old Ref 36 Tenor setup by Randy Jones....Awesome. As to different necks, I use a Phil Barone copper neck, bigger, more open sound than the 36 neck. The tenon must be modified as it is a larger diameter than the 36.
Best Regards Mactenor

[Grumps]

You'd think with one of the highest end tenors on the market today, you wouldn't have to go neck shopping to make it play. But perhaps my suspicions are true... and that the 36, the 54 and the III are all the same horn, but with different necks. That might explain it.

[Randall]

Years ago, I nearly had a brush with trading my Vi for a brushed finish Series II....the sound was great.

I have also played the Series II bari in this finish and fell very in love.

:)

[goodsax]

You'd think with one of the highest end tenors on the market today, you wouldn't have to go neck shopping to make it play. But perhaps my suspicions are true... and that the 36, the 54 and the III are all the same horn, but with different necks. That might explain it.
I can relate, somewhat. After getting my Serie I SA80 tenor, I thought I'd be like so many others and buy a third-party neck, so I got a Barone gold-plated beauty and, after using it a couple of weeks, decided to stay with the original. To me, the sound difference wasn't worth the extra money, nor giving up the distinctive Selmer logo on the octave key mechanism. I waited too long for that.

[Al Stevens]

You'd think with one of the highest end tenors on the market today, you wouldn't have to go neck shopping to make it play. But perhaps my suspicions are true... and that the 36, the 54 and the III are all the same horn, but with different necks. That might explain it.

When I bought a gold-plated Barone neck for my VI, Phil told me I wouldn't need to use it on my Ref 54—the 54's neck is just fine in his opinion. It does, however, give the VI a different, more pleasing (to me) tone. The 54 neck in the VI has a similar effect, but it doesn't quite fit; it's too loose, Lautrec.

[Saxplayer1]

Hello Mactenor. You were asking if I tried a Ref. 36 set up by a pro? I owned a Ref. 36 for a year and purchased it from Horn Improvement here in So. Cal. The horn was wonderfully set-up by Jeff Peterson who owns the shop. He's perhaps one of the finest tech's here in So. Cal. and a great player himself. He's the tech for a whole slew of great players such as Eric Marianthal, etc. (see his website). And I played a few Ref. 36's and 54's before choosing this particular one. Since then I sold it following the purchase of the Brushed Series III. For me, the Series III has better clarity and presence in it's sound. Of course this is just my opinion and opinons are subjective. The Ref. 36 was resonant with a wonderful spread sound, but didn't seem to speak with the same clarity as the Brushed Series III, even with the sterling III neck I bought as an option for the Ref. horn. You know, they're all great horns, but the Series III for me made me go WOW and it still does since I bought it in May. I even like it over my Mk VI, which is a good one. It hasn't needed one adjustment since then and I play it everyday. Also, please note this Series III was chosen after playing several.

Also Grumps posed the thought the the Ref. & III horns may be the same, but with different necks. I initially had the same view, however, the bell & bow diameter is slightly larger on the Ref. horns, particularly w/the Ref. 36 and the Series III uses metal resonators vs. plastic on the Ref. horns. From my observation, the Ref. 54 & Series III seemed similar, but I could be wrong. Also, the necks do play a role in the sound, however, the Series III neck on the Ref. horns make the bottom a bit more difficult. For the Series III, I noted the Gold Brass (Copper) neck does add additional warmth, depth & resonance. You can hear the difference. The standard neck is brighter.

Selmer makes wonderful tenors and great players are playing them all and they all sound awesome. Find the that makes you go WOW and stick to it.

Now on the altos, I strongly prefer the Ref. to the III, but that's another discussion. Best regards.

[Tryptykon]

Love my SIII. I played a SII but wanted to get rid of it for ergo reasons (big hands). The III fits perfectly and the sound is huge. I bought it as my classical tenor but it started getting used for everything. I bought the Sterling neck for it find it better for classical. The stock neck is a little better for Jazz, Funk, whatever. One of my students is waiting to get his new brushed III back from getting overhauled.

Hey Tony, I don't know if you still have your Ser III or not, but seeing as how
you just traded a SBA for a VI, I was wondering if you'd care to compare the
VI to your III ?

PM me, if you'd rather, thanks.

[SplitTony]

Tryptykon,

I am waiting for the VI to come in. Ken has it and is setting it up for me. I may have it tommorow or next Wed (shipping reasons). It is funny that you asked this question, I wanted to give a quasi review of the SBA, VI, and III after I spend a little time with the VI.

[Tryptykon]

Looking forward to reading it.. just don't take too long, eh ?;) :D

[1saxman]

'I have heard that Horns are graded at Selmer Paris A rank for the Continent, A- for Japan and whats left is for North America. Apparently Japan is Selmers largest market!'
Selmer USA used to grade the Selmer Paris saxes like this; first quality went to Selmer Artists. Second went to the most influential markets (New York, etc.). Third went everywhere else. I'm sure Selmer Paris has a similar system. Don't ever forget - each horn is an individual, and this was even more true before the end of the Mk VI. The gradings were based on many factors, such as appearance, color, scale and tone. Necks were swapped around and some horns went back to final assembly for some corrections. Some horns had to be put aside for spare parts. I've played some that should have been. The #186xxx I now have I think must be at least a two, if not a one. Sure would like to know who had that one for it's first 25 years.

[Giganova]

Four years ago when I wanted to step up from a Selmer student horn to a "pro" horn I test played a bunch of horns. The Selmer III was too bright for my taste and the upper register out of tune. Pretty much the only thing I liked about it was the ergonomics and key layout. I opted for a Keilwerth and still love it (after trading my SX90 for a SX90R nickel/silver). I still haven't found a tenor that sounds and plays better than the Keilwerth SX90R nickel/silver, but I am tempted to check out the Selmer Ref horns.

[Saxplayer1]

For those of you who have Series III tenors, may I strongly suggest you try a Series III Gold Brass (Copper) Neck. It's a big difference over the stock neck. The added richness & warmth will blow you away. The sound is fat, free-blowing & huge. You won't go back to the stock neck.