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The RIs are apparently hit and miss with respect to intonation on the low notes. Sure, crescents can moderate the problem but it is hardly a perfect fix. I am not sure I get why they suffered from this problem. Would be curious to know why. They must have noticed at Selmer when playtesting the horns.
 

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Maybe not, given the typical mouthpiece design in 1934 vs. today. It's also become common to open up pad heights for more volume.

BTW, Radio-Improved really meant microphone-tested. The engineers made tests over a closed circuit in a studio, in addition to live up-close playing. The idea was apparently to make the best possible saxophone and clarinet for broadcasting work.

However, strobe tuning wasn't part of the tests. It was a few years before Conn invented the Stroboconn.
 

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I have three SSS super tenors, a 17 XXX, an 18 XXX & a 19 XXX they are all great!!!!!! I love the big sound. They have great intonation except the low b & Bb on the bell are sharp. The pearl G# once you get used to it is very good.......
 

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I have one 13,9XX. I guess this makes it a new lagebore, but it plays great. The intonation is quite good except below low D. Big sound, and I don't mind the keywork. I have a Conn transitional for the same year (1930), and the keywork on the Selmer is far superior.
 

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Discussion Starter · #25 ·
I am currently awaiting the arrival of a 16 XXX Tenor I have recently purchased.
My main tenor at the moment is an early 50s King Zephyr.
The only sax I have that may have comparable keywork is an early forties SML alto. Although the keywork on this is different to modern styled saxes,
it still seems quite comfortable. And Intonation is almost spot on.
Does anybody have any suggestions for the type of mouthpiece that works well with these horns?(Selmer Supers).
I currently use a Morgan 7L rubber and a 60s 95/1 metal Berg Larsen.(Along with some Saxscape prototypes including Fatcat, Extra Dark and SL Models.)
The Morgan is the piece I am most comfortable with and hope it works just as well on the Super.
 

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People say the large chamber pieces work better. I usually use a Morgan 6c on my Super, but an RPC .115b, which has a baffle, works great on my Super. The intonation is fine, except that with the RPC it is harder to lip down the tuning on the low notes.
 

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Discussion Starter · #30 ·
Super has arrived and I couldn't be happier.
Morgan works well, but I'm really liking my Berg Larsen 95/1 offset M metal piece on it as well.
Never been a fan of metals before. But you know what they say about berg metals on tenor.
This is such an easy blow, especially down low.
Have an old woodwind co hard rubber lying around somewhere, look forward to trying this one out too.
 

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I have one 13,9XX. I guess this makes it a new lagebore, but it plays great. The intonation is quite good except below low D. Big sound, and I don't mind the keywork. I have a Conn transitional for the same year (1930), and the keywork on the Selmer is far superior.
Any chance your horn is silver plated, No. 13936 ? If I remember correctly(been a long time), that would be a horn I used to own. Traded it in to the WW&BW back around 1980 for a new Series I horn. Wish I'da kept it, but that's the way it goes sometimes...
 

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Any chance your horn is silver plated, No. 13936 ? If I remember correctly(been a long time), that would be a horn I used to own. Traded it in to the WW&BW back around 1980 for a new Series I horn. Wish I'da kept it, but that's the way it goes sometimes...
Not the same horn, but close in serial number! I think I was wrong about the date of my Conn Transitional. It is from 1933 or 1934 I believe. Even though it is a few years older the Selmer has much better keywork.
 
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