No - as Mike F pointed out my original post has the correct information regarding the bow length on those two horns . I guess the 140xxx could be called medium instead of short, but the 89xxx was definitely long.Don't you mean the opposite on the bow?
Intonation - Basically, the short bows are sharp at the bottom, the long bows are flat, and the medium bows are the best in tune. People who aren't caught up in the serial number rubbish know that in some ways the later 6's were the best because after many years of development (which in those days meant trial and error) Selmer just about got it right!Thanks guys,
so are you saying that length of the bow makes a difference in intonation but not sound?
Being hand made could easily make one horn very different to another but is that a good thing? Most modern cheap Chinese saxophones have a large degree of "hand madedness", much more so than most modern saxophones, but this is rarely pointed out as something in their favour.It seems appropriate here to introduce a theory that I share with some pros and techs in my area. Simply stated, it is that "hand madeness" and subsequent inescapable variance in intonation that gives each horn its individual character.
I think the bigger point was not that it was handmade, but the inconsistancy and imperfections create a uniqueness that's not easily duplicated. I have some Asian pottery that is intentionally made with flaws - it's the flaws that make it beautiful, the imperfections are built-in - designing imperfection is part of that art culture. Not that Selmer intended design flaws - it just turned out that way for better or worse. I know my Yani plays mechanically better than my 6 and sounds great too, but there's something special the 6 has that the Yani doesn't.Being hand made could easily make one horn very different to another but is that a good thing? Most modern cheap Chinese saxophones have a large degree of "hand madedness", much more so than most modern saxophones, but this is rarely pointed out as something in their favour.
I also had a problem with the low B gurgling on two early, short bow horns. I had to have a metal plate soldered inside the bow to cure the gurgle.The biggest change I have found was around the mid 60s when the bow was lengthened. I find these horns to not be as free blowing compared to the earlier ones.
These are pics from usahornNot sure about that, but I don't think so. My 82xxx is definitely short by comparison to a late model and is the same length as one from '54 that a friend of mine owns. Also it doesn't make sense that Selmer would get it right with the medium bow after the short bow and then get it wrong again with the long bow. Not that any of them are 'wrong' as such and I think the can all be played in tune with some persuasion, but the short and long bow models both had intonation problems at the bottom. The medium bow proved to be the best compromise.
I agree. I think the same overall idea applies to a design process in general. Fighter jets are engineered to sacrifice stability for agility. Same goes for sports cars, comfort versus response. This is not good for a novice, of course, but will make a huge difference to an experienced pilot or driver. Imprecision, or instability, feels more natural to a human being, who ultimately becomes a part, and the brain, of the machine or the instrument.It seems appropriate here to introduce a theory that I share with some pros and techs in my area. Simply stated, it is that "hand madeness" and subsequent inescapable variance in intonation that gives each horn its individual character. With all respect to Yamaha for the fine instruments they make, I have found the Yamaha saxophones to be excellent in their intonation, precise and dependable. But, I also have found them to be the most soulless instruments I have ever held in my hands, totally devoid, in my opinion, of life and character. I have always assumed that it was their very precision that took their soul away where the inconsistency of a Big B, a 10M or the Mk VI are exactly what "temper" that horn and give it life and character.
Again, I do not want to disparage the Yamaha horns. I know a lot of people on this forum play Yamaha and for very good reason. They are wonderfully made and if you finger a G, that's exactly what you get. Perhaps, too exactly?