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Since we were talking about finishes and durability a minute ago, how's the satin lacquer finish hold up, and how is it made?
I don't really care about finish, but if I was to buy a new horn, a sexy finish wouldn't hurt!

And I've heard that the old conns (and thus the vintage) had the bigger bell as well.
 

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Since I see that Phil is participating in this thread . . . are there any construction differences between the Classic and Vintage? The specs seem like the Vintage is a higher-end horn: detachable bell/bow, fancier pads, blued steel springs, etc. but I don't know if these are actual differences or just what's been put on the web page, or if real, whether they are a "difference that makes a difference".
Oh they're for real. The Vintage model has a larger bore so the sound is broader, a little darker and warmer. But of course these things can be offset with different mouthpieces. The Vintage model also has double arms on some of the low notes so they don't require as much pressure to close. It also has a larger bell and extra engraving just inside the bell. The sound is more like the classic Conn 10M but without the drawbacks of the terrible keyboard that the 10M had. It's a gorgeous horn and is more popular than the Classic.

The Classic doesn't have the double arms or the extra engraving inside the bell and it has a little smaller bore so the sound is not as broad and is brighter. The sound is more reminiscent of the old Selmer Mark VI's only it has more overtones. In fact if I didn't know what I was playing I would have sworn it was a Mark VI it was that similar in sound. At least that's what I thought when I played it for the first time.

Phil Barone
 

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While you wait for an official response I think I may be able to shed a little light on this. The classic has a larger bell and projects a little louder (more like a Mark VI) while the vintage is setup more like an old Conn. I am quoting someone here but I don't remember where I saw this.
It's the Vintage with the larger bell. Phil
 

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Discussion Starter · #28 ·
Are they both "ribbed" construction? (I think that is what it is called)
 

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I have only ever seen photos of Mark VIs. (...). It may pay to read the various threads on Mark VIs.
Be ready to devote entirely your next 6 months to this task.

J
 

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Oh they're for real. The Vintage model has a larger bore so the sound is broader, a little darker and warmer. But of course these things can be offset with different mouthpieces. The Vintage model also has double arms on some of the low notes so they don't require as much pressure to close. It also has a larger bell and extra engraving just inside the bell. The sound is more like the classic Conn 10M but without the drawbacks of the terrible keyboard that the 10M had. It's a gorgeous horn and is more popular than the Classic.

The Classic doesn't have the double arms or the extra engraving inside the bell and it has a little smaller bore so the sound is not as broad and is brighter. The sound is more reminiscent of the old Selmer Mark VI's only it has more overtones. In fact if I didn't know what I was playing I would have sworn it was a Mark VI it was that similar in sound. At least that's what I thought when I played it for the first time.

Phil Barone
I feel like I'm one of the hand full of people who have had the chance to play both of Phil's tenor offerings. I was coming from a larger bore horn with a Cannonball Big Bell Global so I gravitated to the Vintage. The Cannonball has a big spread sound and it's a little on the bright side. It doesn't have a core as much as it has an edge in the middle of the sound. The Vintage was a darker version of the Cannonball but it had a thicker core to it, not edgy like the Cball. Once I got a taste of that core I needed more so I went with the Classic in the end. I have been playing in a sound dead room for a while now and it has taught me how to really make my classic scream with a fat sound.

There is real sax learning you can do about tone production when you stick with one proven mouthpiece and play it for a couple years. I thought I had mine all figured out and I loved it and then it blows my mind again.
 

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Since we were talking about finishes and durability a minute ago, how's the satin lacquer finish hold up, and how is it made?
I don't really care about finish, but if I was to buy a new horn, a sexy finish wouldn't hurt!

And I've heard that the old conns (and thus the vintage) had the bigger bell as well.
I have a satin laquer classic tenor and its an incredible finish. Id say it would hold up fine, I have an older vintage laquer that looks as new.
 

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It's probably time to comment on my recent Barone purchase(s). The original question in this thread was, Barone or save up for the Mark VI? I was lucky. In the (ahem) old days, I never played anything but a Mark VI. My very first sax was a Mark VI. I owned two altos, a tenor, and a soprano. Loved them. Sold them for ridiculous 1970's prices. Now I'm getting back into saxophone -- nerve damage makes it too hard to hold a flute steady any more -- and was VERY concerned about buying lesser equipment that would just make me frustrated. I mean, if you're playing flute, and you have a really good professional model, like a Quantz Coda or Muramatsu, most Gemeinhardts are downright painful to play.

I had the opportunity to buy some different Selmers, at Selmer prices, but after poring over the threads here I decided to try the Vintage Tenor. I'm happy to say I don't miss my Mark VI at all. Oh, mind you, I think the key action on a VI might have been a tad more responsive, just a bit, and the tone is maybe a little different. But what matters is what you can DO with the horn. The worst thing in the world is a sax that can only play in one narrow way, which was why I didn't jump on the King Super 20 bandwagon when they first came out. I found them less flexible than the Mark VI. Now I have the Vintage Tenor with the Barone mouthpiece and can get a wonderfully mellow classical sound using V16 reeds. Strangely enough, the Telemann Fantasies for flute sound just great on tenor saxophone, although they contain a couple of finger-busters that are much easier to play on flute. But if I take in more reed and push it, or switch to my Alexander Superials, I can get a pretty impressive, raucous modern sound out of it just as easily. How much brighter could I get if I actually went to a brighter, more aggressive mouthpiece? Probably enough to strip paint off the walls. And I'm not noticing that the key action or silghtly (slightleeeee) different placement is holding me back, either; took a few days to get used to it and now I'm just as happy as I was 30 years ago.

So, do you NEED a Mark VI? Frankly, no. You might want it, for the glamor and the gratification of being a MARK VI OWNER, with all the privileges that attach thereto. I understand that waiters must bow and scrape before any registered Mark VI owner, which Phil Barone has not yet arranged. But in terms of playability, I don't think you're missing a thing if you go for the Barone. While you're at it, get both a Classic and a Vintage, a couple of different mouthpieces, and a bunch of reeds, and experiment. I believe you will be very happy you did. And you'll still end up about $5,000 ahead.
 

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Welcome to the Barone Club. My main tenors over 45 years have been MkVI, MkVII, YTS-62 and now PB Classic. No matter what you read on SOTW, it's pretty much all opinion. In my opinion my current Classic is the best saxophone I've owned. I'm still playing it with my Lakey until Phil finishes tweaking my Hollywood (hint hint).
 

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Get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone get the barone
Sorry Phil I am not sure what you mean ?
 
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