What are the differences between a Early Mark Vi and a Late Mark Vi, in sound, intonation, ergos, action etc..
Right, and opinions vary regarding the best serial number range for tenors and/or altos; and generally such benchmarks rest right around the number of some famous pro's horn. I'm sure there are subtle differences that can be generalized by those most familiar with them, and yes, they were modified throughout the run. However, the only true constant seems to be the economic factor.I've found good and bad ones, with different characteristics in all eras of Mark VI.
But of course there is an economic difference based on serial number to some extent. The '5-digit' models tend to demand a higher price, all other things (like condition and cosmetics) being equal.However, the only true constant seems to be the economic factor.
Assuming there really is some useful info on this, it would help if you'd specify alto, tenor, bari...... Otherwise we'll be mixing 'apples & oranges.'What are the differences between a Early Mark Vi and a Late Mark Vi, in sound, intonation, ergos, action etc..
Yes, and now what folks need to do is remember this same principle applies to all vintage horns, whether you're talking 1930s Conns or 1950s Kings. Not all of them are "born equal" due to the variations brought on by the handmade process. In other words, some of them just came out better than others. You can try to equalize some of this by having a top pro set up your inferior example, but this will only go so far. From my experience, even on old pads the stellar example will still outplay the average (or below average) one.This might be the most useful thing I've heard on this topic, and we've heard plenty.