[ptung]

Cautionary tale confession: I just committed to relocating an SML I sold 18 years ago, in the hopes that someone here, in this discussion area, has it and wants to sell it.

But I shouldn't have sold that SML, given that I'm hoping I can relocate and buy it back, now.

It was a very cosmetically tarnished, lacquer-bereft tenor, serial #8xxx or #9xxx, I can't remember which, right now.

This probably belongs in the marketplace area, other than that it's topical in terms of the idiosyncratic qualities of SMLs, which to me are increasingly outside the conventional "canon" of what's being made, now that there are even more Selmer-descended offerings in the marketplace.

I'm not hard to reach. If you have that SML, I want to try to barter for it and to get it back. If you have it, see this, and don't want to sell it, I totally understand and shall say no more. Unless asked or trolled lol.

 

[turf3]

Palo, how would you describe the difference between an SML and the Selmers and Selmer copies? I've never played one.

 

[ptung]

Palo, how would you describe the difference between an SML and the Selmers and Selmer copies? I've never played one.

I'm not sure I'm understanding your question, but I just had a very interesting experience that may be an answer: http://instagr.am/p/CGdSEVygUJG/
I think I made a post on Pete's site about it, too, but not here.

Edit: ah wait, I definitely did post about it here. Will edit with the link in a sec.

Shazayam: Heimer horns

I have been offered the counterfeit "Reference" horns (not sure if that was a question of yours) but have never seen or bought one. Because that is criminal and wrong.

But I can also add this: my current Crescent II looks like a Yanagisawa but plays and sounds very much like a Mark VI, except a little less fine, and despite looking like a Yana it is compatible with Selmer necks (the C1 was not). They have construction flaws (that I address, but I may miss some if they aren't causing problems when I'm playing -- I really do play each one at least 3 hours, usually more like 10, but even more on some) but not that will affect performance. The main difference between CII and MKVI that I hear on recordings is a slightly less fine release of notes. I have a client locally who collects and has superior MKVII and MKVI altos, who has kindly allowed me to borrow them at times (I don't keep an incarnation of either for myself) when I was interested to compare them to different horns and experiment with necks. I was shocked to discover that, recorded the original Crescent altos were really close to the MKVII, recorded (again with the less fine note release), because they are compatible with Yanagisawa necks, and Selmer/Yana are really not interchangeable (funky intonation).

 

[turf3]

...the idiosyncratic qualities of SMLs, which to me are increasingly outside the conventional "canon" of what's being made,...

That was what I was referring to.

 

[ptung]

Ah, OK. To me this is obvious, but I have (mainly when on web) had interactions with owners who did not agree:

SML tenor (range from, minimum, vintage I'm seeking through Gold Medal, but I have a straight tonehole Gold Medal tenor here of which some of this is less exaggeratedly true):

• uniquely warm, wide, resonant, "yuge" low notes
• exceptionally accurate intonation (more locked in pitch center), especially on D2 -- freaky accurate/even D2 not really equalled by any tenor til Reference 54's emergence
• unique balance of scale: wide, full, powerful lower notes, i.e. lower octave right hand; increasingly weaker notes lower octave RH through G#2; mediocre (compared to Buescher, Conn, Martin) palm key and high notes that may seem fuller because the middle range is weaker

That last is the biggest difference to me. Selmer gets stronger through the middle, and is much weaker than SML in the low notes, so that the Selmer balance of scale kind of has a C shape: moderate in the bottom, full/punchy/open/powerful through the middle, mediocre in the high notes (again, compared to vintage B,C, M).

Hard for me to say much right now because I haven't been playing SML -- though I have that tenor I mention, I have hardly played it over 5+ years.

 

[ptung]

Taiwan factories are trying to make the bottom end fuller (with some success), and to make the high notes more like vintage American, IMO with not too much success (yet). Some of my prototypes from Taiwan factory have GIGANTIC palm key toneholes. IMO the return on the change doesn't show the results that I think were sought. I like the idea, it's just not quite doing what's desired, yet.

 

[Bkenes]

Palo.... I fully understand you!
I'm a huge SML fan and I've sold a tenor that I later regret selling.
I now play on a King Marigaux with high F# which is also for sale... Which I will also regret selling, once it is sold.
I also have an SML GM in near mint condition that I will overhaul when the Marigaux is sold... I will probably have to sell the GM as well, due to economic reasons. I will probably regret that too.
All SMLs are great. Still, one or two has been really special! I hope you'll find your old horn!

 

[ptung]

Palo.... I fully understand you!
I'm a huge SML fan and I've sold a tenor that I later regret selling.
I now play on a King Marigaux with high F# which is also for sale... Which I will also regret selling, once it is sold.
I also have an SML GM in near mint condition that I will overhaul when the Marigaux is sold... I will probably have to sell the GM as well, due to economic reasons. I will probably regret that too.
All SMLs are great. Still, one or two has been really special! I hope you'll find your old horn!

Thank you, Bkenes