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How would this be possible? Did they find a bunch of lost Mk 6 body tubes or something?
 

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Are you talking sop, alto, tenor or bari ?

I know that the MkVI sop and bari carried on through the MkVII period, with serial numbers in line with MkVII. Some were even marked as MkVII - I've seen a bari marked as MkVII, even though it was obviously a VI.

SA80 came a bit later, after the short run of MkVII.

Rhys
 

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Well, as I know it, the SA80 bari (serie I) was in fact a Mark VI with an added high F# key. Its very obvious to the eye, and even more so when it is in your hands. The Alto's and Tenors were very different horns. Also, I have seen and played the SA80 serie I Soprano prototype that Selmer made (a friend owns it), and it is not very Mk VI-ish to me....

Steve P
 

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Steve P said:
Well, as I know it, the SA80 bari (serie I) was in fact a Mark VI with an added high F# key. Its very obvious to the eye, and even more so when it is in your hands. The Alto's and Tenors were very different horns. Also, I have seen and played the SA80 serie I Soprano prototype that Selmer made (a friend owns it), and it is not very Mk VI-ish to me....

Steve P
I own a early super 80 series I(334xxx) bari and I reads on sax pics they are VI body tubes w/ super 80 keywork. It is a awesome bari!!!!My favorite sax!!!!
 

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keep in mind Selmer was trying to get back to that VI style keywork as everyone holds that as the defacto standard for keywork. Just because it looks the same doesn't mean it is the same.

sound-wise i read on saxpics about it being VIish like. But then there are opponents that say the body design really hasn't changed much over the years, whereas with intonation fixes, etc some toneholes will be enlarged, slightly moved, etc

but has the bore changed at all ?? We also know that the neck has alot of impact on the horn - alot of the basic tonal qualites (centered v spread & resistance) related to the neck opening size itself too.
 

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Upawholestep said:
I can't remember where I read this, I think it was in college and a teacher told me that the early SA-80s were late MK-VIs. Anyone else hear this?
This is rumour and I think, and pure nonsense, unless you are speaking of the Baritone, which I can't speak to, and may indeed be the same body tube as the VI...I just don't have enough info here.

The SA 80's ( and I don't care which iteration...the I, II or III) feel nothing like a VI in keywork or sound ( to my ears anyway). I have it on good authority that the "urban legend crap" that the M prefixed mark VII tenors and altos are the same body tube as the the VI's is pure hooey...so, how could (or why would), Selmer, a company seemingly obsessed with NOT trying to remake the Mark VI since it stopped making the Mark VI, do an about face and make a horn that was a Mark VI, but call it a Super Action 80?

Ouch. Rereading that last sentence makes my head hurt.

Steve
 

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Saxplayer67 said:
I couldn't care less if the first SA-whatnots were really VIs, VIIs, MXCMIIVs or whatever. :shock:
Tell us how you really feel!!!!LOL:) I think my Super 80 series I: baritone is kick ***** whether it has VI atributes or not!!!!!It is fun discussing how the selmers evolved!!!:D
 

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Saxplayer67 said:
I couldn't care less if the first SA-whatnots were really VIs, VIIs, MXCMIIVs or whatever. :shock:
No, you could care less. You cared enough to post in this thread. ;)
 

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I'm 100% with qwerty on this one-I tried and liked the SA 80 when they first came out but it is not a VI or even a VII it felt truely like a machine manufactured instrument as do all the incarnations of it. Yes I do realize the VII was also mostly machine manufactured but it seems to me that they paid a bit more attention with the VII.
 

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Thomas said:
I'm 100% with qwerty on this one-I tried and liked the SA 80 when they first came out but it is not a VI or even a VII it felt truely like a machine manufactured instrument as do all the incarnations of it. Yes I do realize the VII was also mostly machine manufactured but it seems to me that they paid a bit more attention with the VII.
I agree. Since the VI Selmer started looking at all the little things to cut costs too - ie, shorter springs which make a snappier and not as VI smooth action.

You're not going to get the VI feel until they use all the little things that they have changed since then. They may put the pearls in the same place, have spring loaded slugs (SA80 stuff), etc but the feel is definitely different. You can adjust the spring tension but the longer springs are still nicer (and costlier if even by a few pennies)

plus I don't like all the extra keywork .. I prefer the simplier keywork from the SBA and SA days
 

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The story I got (from a Selmer rep) was that the AS-100 (US) was the old VI. This was when they first brought out the VII. At that time the VII was about $2,500 and the AS-100 was around $1,500. My take on all this is just play a Selmer and if it is good keep it. I have played some VIIs that are better than VIs, etc.
 

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I can understand the 162 being the old VI but the AS-100? From what I gather that's where the reputation of Selmer USA's started going downhill.
 

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I love the S80 series I (hence my name), and it does share some similarities to the VI. However, I do not believe it to be a Mark VI. As previously stated the S80 appears more machined than its predecessors. Corners WERE cut, but I think that the keywork is closer to the VI than the VII. Selmer also had a problem with the lacquer. Many S80's (my tenor included) suffer from spots of acid bleed. To me it isn't a big deal since the remaining 20+ year old lacquer has darkened to a deeper honey color that looks really cool. I don't think that anyone is going to really pay attention to a few dark spots. Tonally, mine is very similiar to a VI. In fact I've been asked if it was a VI by several saxophonists who liked the sound. When you compare a stock S80 to a VI, the VI clearly wins in overall projection. When you change the neck of the S80 (I chose a series III brass neck) you really even the playing field between the two horns. As far as intonation goes, I would put my horn up there with the best of the VI's. The S80's are different than a VI, but at a fraction of the cost they are very good horns. A few other points of interest from saxpics.com;

-The series I horns were OK. Unfortunately, Yamaha's Custom models and Yanagisawas offerings were much better copies of the Mark VI than Selmer's S80's -- and they were cheaper, too.

-(Regarding the rumor Selmer stopped producing the VI because the tooling wore out) The Mark VI tooling just plain wore out. Doubtful for several reasons: first, remember that the 7 was only avaiable as an alto and tenor. Second, Selmer tweaked the VI design so often, it's virtually certian that they had multiple sets of tooling. Third, there's a long-standing rumor that Selmer sold the VI tooling to Yamaha or Yanagisawa. I doubt either would buy worn-out tooling.

So I guess the bottom line is, play an S80 and see what you think.
 

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Tooling wears out much faster than for the complete run. I don't know about sax tooling bu a flute body setup will only last for maybe 3,000 units and is constantly being replaced.
 

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i agree with bruce-i played a as100 back in the mid 70.s and it was exactly like a mk6 at a bargin price
 
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