That answers my question. This post wasn't directed just to you, it was meant to better understand where all of these "historical facts" come from. I mentioned you as an example because you recently made an hour long video where you talked about the history behind every vintage of Mark VI. You're not the only one that shares ideas on what might have happened at the Selmer factory, so don't take it that way. As for your observations on how each vintage of VI plays and sounds, it's been consistent with my experience playing those horns so I agree with your points made in the video.
I don't know if you're thinking of any of my posts, but I have often speculated (and clearly marked it as speculation). After a lifetime of working in factories, designing products for mass production and bringing them to mass production, I have some knowledge about how things are made, and saxophones aren't particularly difficult or complex things to make.
So when someone says something that implies Selmer had a brass foundry and rolling mill, instead of buying sheet brass in standard alloys from local metals distributors, I call BS. No, I don't know FOR SURE that Selmer never had a brass foundry and rolling mill, melting and re-refining old artillery shells and making their own super-special alloys; but it's a damn sight less likely than the alternative. When someone suggests that "only the best horns had such and such an engraving" implying that the thing was completely assembled and tested, then stripped completely down and engraved, then completely re-assembled and re-tested; my knowledge of plant managers tells me that anyone who suggested that to the plant managers I've known would have gotten a tongue lashing like only an experienced plant manager or a drill instructor can deliver. And so on.
The Selmer offices in Paris have some repair facilities and can sell you nice souvenirs (I have a Selmer bench apron). The actual factory is out towards Mantes and doesn't allow visitors, although I was told that tours could be arranged for groups.
Ralph Morgan (founder of the Morgan Mouthpiece Company) started working for Selmer Elkhart after WWII and worked there until he retired in 1980 as Chief Woodwind Designer. There were several craftsmen (Erik Greiffenhagen, John MacQueen and Brian Powell) who made mouthpieces with Ralph every day and heard the stories repeated many times as Ralph talked to customers on the phone. Ralph had tons of stories from his Selmer days. He started on the clarinet bench, moved into sales / regional manager, and back into design and production. Unfortunately, Ralph passed away in 2007 and many of the stories were never recorded. He did have a large archive of historical information and we do have lots of notes and photos from his days at Selmer.
I can tell you that a lot of the hard to believe stories on the internet are not true...horns made from melted German shells, church bells, etc. However, models do evolve over time. On the Morgan Company Website is a blog about the resonator change on the Mark VI in the early 1960s. Also, there are some photos from the Selmer Paris Factory. We have lots more photos to post sometime and lots more stories and information to share as we have the time.
I do usually lots of vintage Selmer´s at my bench and you can see various changes in design.i do own myself a 86xxx mkvi soprano with has a rudimentary compensation C# key, and that wasn't introduces until late 100xxx-110xxx
So yeah im sure they were experimenting to improve
People know a lot about Selmer because of this thing known as the internet. One can look up and research various things on it, one being musical instruments. The point being made by the OP of course is what is the validity of all this info. Well, first you need to some research on your researchers. Here's one that I believe to be reasonably accurate. The late great Ralph Morgan had a lot of input on this.
Yeah, kind of like when people refer to it as "experimenting with drugs." Anything after the first time or two wasn't an experiment! It was a practice.
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