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Discussion Starter · #1 ·
Hi All

I spent the weekend in Melbourne seeing my family, and taking the opportunity to visit Melbourne Brass and Woodwind in Ormond. Let me say that it is an incredible store with plenty of inventory and great staff. I spent almost 2 and half hours there trying several different soprano pieces (by choice) and several ligatures (by suggestion) and they will provide for two separate posts.

Whilst in the booth, the sales person put his head in, commented on my playing and left a Selmer Paris Mark VI Soprano in my room and asked me to try it and give him my thoughts. Upon inspection the horn had original lacquer, the pads were in great condition, and the body had no noticeable dents. The action was surprisingly comfortable, and responsive which I rally enjoyed, however the palm keys were an issue, which I suspect most mark VI owners would have their own thoughts on.

I put my trusted 7C Yamaha with a standard two screw ligature and rico jazz select 3S unfiled reeds on it. Let me say it responded extremely well all over the register and the palm keys when I could find them! As far as the tambre was concerned, it proved to be a good sound, but for me, in isolation it had some elements that made it sound unrefined. Like certain harmonics were over pronounced that shouldn’t have been there.

So I put the same set up on my Barone and my thoughts proved true. For me, the Barone had a much more REFINED sound. There is no other way to put. It was a much more centred, truer and pure sound than the Mark VI. It was like night and day, and let me say I was pleasantly reassured but not surprised. I have played Selmers before, and I knew the Barone was in a league of its own.

The sales person put his head in, and asked me what I thought. I asked him to come in, and do a blindfold listening test and for him to tell me what he thought. He picked the BARONE hands down as his preference. Its was great to have this opportunity and an interesting exercise to say the least.
 

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Interesting Evan. I owned a MkVI tenor for a long time many years ago. I was happier with the YTS-62 that replaced it and now I'm even happier with the Barone Classic that replaced the 62.
 

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Hi Evan. Thanks for that. Brass and Woodwind Ormond are just around the corner from me.
I'm glad that the staff are now 'great' as my experience with them in the past has been less than zero.
Did you clock some of the price tags on the P. Mauriats whilst you were there?
How much did they want for the IV?
cheers Mark.
 

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The soprano isn't the greatest pride of the MkVI family, for good reasons. I'm not that surprised, though it is a new compliment for the Barone horns.
 

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I've not had the opportunity to have a Barone soprano in my hands, so I cannot speak on it- but, I can say that the MK VI soprano I played on for a couple months (a 1972-3, I believe) was truely no fun to play. The sound was stuffy, the ergos sucked, and the horn was extremely difficult to keep in tune from top to bottom. I have a YSS-675 that, with the exception of the upper register, plays as I want it to! I would, however, love to try the Barones!
 

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I haven't tried a modern soprano yet that I'd trade my VI soprano for; though I keep trying the new ones every year. Haven't tried a Barone yet, but I don't like the Taiwan Mauriat sopranos at all. Hopefully, they're not like them.
 

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Hi, evan
Glad to know you get another great axe to equip.
BTW, do u remember it was an early or late Mark6 sop? Just out of curiosity.
 

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The soprano isn't the greatest pride of the MkVI family, for good reasons. I'm not that surprised, though it is a new compliment for the Barone horns.
Actually I've said it here before, but confirmation is always welcome.
 

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Discussion Starter · #9 ·
Hi, evan
Glad to know you get another great axe to equip.
BTW, do u remember it was an early or late Mark6 sop? Just out of curiosity.
Hey Sop - You know the serial number started with a #33 and i was thinking i should write this down but i didnt. WIll that give you an indiciation ?
 

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Discussion Starter · #10 ·
Hi Evan. Thanks for that. Brass and Woodwind Ormond are just around the corner from me.
I'm glad that the staff are now 'great' as my experience with them in the past has been less than zero.
Did you clock some of the price tags on the P. Mauriats whilst you were there?
How much did they want for the IV?
cheers Mark.
I didnt clock the price tags on the Mauriats but we had an interesting conversation about them, probably more appropriate if you pm me and i will tell you in confidence. I know they are priced way above the barones though
 

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Hey Sop - You know the serial number started with a #33 and i was thinking i should write this down but i didnt. WIll that give you an indiciation ?
Thank you! I believe it is a late Mark6. I've tried my previous friend's so called 5-digit Mark6 sop.....The intonation was much worser than my notorious Series2. So I appreciate your comparision with Barone.
 

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Hi,

I own both a Barone tipped bell in black nickel and a 7xxx Mark VI . Soundwise the Mark Vi is in another league IMHO. Others hearing both horns agree on that, too. Ergonomics are not bad at all on the VI and as said in another thread by someone else - any decent saxplayer should be able to play a Mark VI in tune. Besides, mine tunes very well. That said, the Barone is A VERY GOOD SOPRANO but for me there's a HUGE DIFFERENCE.

Carl
 

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Hi,

I own both a Barone tipped bell in black nickel and a 7xxx Mark VI . Soundwise the Mark Vi is in another league IMHO. Others hearing both horns agree on that, too. Ergonomics are not bad at all on the VI and as said in another thread by someone else - any decent saxplayer should be able to play a Mark VI in tune. Besides, mine tunes very well. That said, the Barone is A VERY GOOD SOPRANO but for me there's a HUGE DIFFERENCE.

Carl
Maybe that was me (Mark VI and tuning). I agree that the Mark VI soprano has a sound that is so interesting, complex, compact and sweet ... ... I never heard that in another sopi. And ergos are better for me than on most modern horns. By the way - there is no Mark VI with the serial 7xxx.
 

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Maybe that was me (Mark VI and tuning). I agree that the Mark VI soprano has a sound that is so interesting, complex, compact and sweet ... ... I never heard that in another sopi. And ergos are better for me than on most modern horns. By the way - there is no Mark VI with the serial 7xxx.
Sorry, it should be 72 645, - anyways it is from 1957

Carl
 

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Discussion Starter · #16 ·
Thank you! I believe it is a late Mark6. I've tried my previous friend's so called 5-digit Mark6 sop.....The intonation was much worser than my notorious Series2. So I appreciate your comparision with Barone.
WOW ! My Serie II was also a piece of crap. You had the same experience ?
 

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.... any decent saxplayer should be able to play a Mark VI in tune....
Yep,
My 238,xxx plays in tune, it has it's quirks that I'm well aware of, but nothing that can't be handled.

There's a lot of exaggeration of the supposed bad intonation of Mark VI sopranos.
 

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Selmer sops were just inconsistent for awhile there. I have Series II that is outstanding. When I purchased it, back in 1992, I tried to play everyone I could play as well as the new yamahas (and I was coming from a YSS-62). When I finally purchased mine at WWBW, I played several side by side. The SA80II's that I played side-by-side, were like night and day. Obviously I took the best one...
 

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Discussion Starter · #19 ·
Selmer sops were just inconsistent for awhile there. I have Series II that is outstanding. When I purchased it, back in 1992, I tried to play everyone I could play as well as the new yamahas (and I was coming from a YSS-62). When I finally purchased mine at WWBW, I played several side by side. The SA80II's that I played side-by-side, were like night and day. Obviously I took the best one...
There you go. There is always two sides to a story.
 

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Discussion Starter · #20 ·
Yep,
My 238,xxx plays in tune, it has it's quirks that I'm well aware of, but nothing that can't be handled.

There's a lot of exaggeration of the supposed bad intonation of Mark VI sopranos.
Well the one I played certainly had excellent intonation, no doubt.
 
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