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Hello again...

So, we got into the SBA's and how they became it's evolution from the Balanced to the Super Balanced.

Now, let's get to the course... The Mark VI Selmer Paris, are loved and hated, or under valued, but... we need to admit that there's nothing like a good playing VI. What's your favorite serial range and why. To the well experienced players and Tech, which are the best Mark Vi's Serial Number Range... 54XXX - 68XXX - 84XXX -94XXX? Chime in everyone of you Guy's and Doll's.

As you read in the SBA Thread, I loving my 47XXX Silver Plated SBA Tenor, set up with a 1940 NY Otto Link - about a 7 opening I picked up on E Bay at a very good sale. And I'm Playing a 51XXX SBA Deep Honey Gold Lacquer Alto, set up with a Florida Otto Link - with a 7 opening.

My main baby is my, Selmer Paris - 114659 - 1964 - Mark VI Non-Engraved. Originally Gold Lacquer, but was plated in 1990 with Solid Silver Thick Plate, and it looks as good as the day it was plated. As per my notation on the SBA Thread;

My 1964, 114XXX non-engraved, which is my main horn and a Mark VI is the baby of the stable. This one was originally gold lacquer, and plated with a nice thick plate of real silver plate in 1990, and this lacquer still looks as good as when it was first done, gold accented keys. This is my first horn which my teacher Benny Bonachio picked out for me at Saul Fromskin Shop on 48th and 7th Avenue NYC in 1969. In 2016, I made a big mistake of letting a tech that I knew for over 40 yrs, hey since I started playing the sax, completely devalued my horn when attempting its restoration, and it cost me even more to get her back to where she is now, and looking to have her restored again to remove the small dings. dents, and ripples put there by the tech. Just like the rattle snakes on his hat, is how he turned on me, by not respecting such a beautiful horn which I have cared for all these years, so make sure you know who you are dealing with when it comes to restorations...

Got a story, how you obtained yours and when. Would like to hear.

Phil Mas'
 

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I'll try to stay on topic here, but will most likely stray off topic as well..... Sounds like you have some very nice horns! Sorry to hear about your mishap(s) with your main horn. You're right......always seek out someone who really knows what they're doing (and knows what their limitations are) when working on a more valuable horn.
As for serial # ranges, I honestly don't believe in it one bit. Over the years, I've played on many VI's. Some in the "desired" 5 digit range up to real late 200k series. In many instances, I felt the later horns solidly outplayed the 5 digit horns I played. There are just too many variables to make a generalization that one set of serial # horns are better than others. I will say that I just did an overhaul on a 60k Mk VI tenor that turned out great and the horn plays VERY nice. However, personally I prefer the older Super Series horns. I own three of them (2 altos and 1 tenor) and every one I've ever played put any VI to shame. Again, this is just my opinion and preference. Many people can't handle the "old style" keywork of the Super Series horns, but I've been playing on them since the early 90's and can confidently say that I can get around on them better than a "modern style" keywork horn, such as a VI, Super Action 80, Ref. 36/54, Yamaha's, etc. It's all about what you get used to and what personal preferences each of us has. One of my favorite sayings: "Your mileage may vary". ;-)

John
 

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I agree with John ^^^ regarding serial # ranges. I believe there are good, bad and ugly horns in all ranges of Mark VI production. There are way too many variables in one player compared to another (not to mention one horn compared to another) to make any kind of generalization about "best" ranges.

For me, the best VI alto I ever played was a 1964 model that I got in the spring of that year. It was, for me, the Holy Grail of altos. I have played a couple in the 180,000 range that were somewhat close to it and one 78,000 owned by a former teacher and world class player that was extremely close to it. The best VI tenor I ever played belonged to a friend in Phoenix. It is an 83,000 series that is just pure in every way. I've got a Ref 54 that is close to it but his is not to be beaten.

Just my experience.
 
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