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The alto neck has the correct logo. It probably is a replacement from a few years later than the sax after Selmer USA had changed to the 'clear' lacquer (as you figured). As for the tenor, you will never know what it can really do until you put a MK VI-style neck on it. The best source is the Selmer Paris Series III neck. I'm sure you would have no trouble selling it if it didn't work out, but I honestly cannot imagine how it wouldn't. I have one now that I'm using on my USA and MK VI.
On my USA alto neck, I colored-in the 'diamond' area around the 'S' with blue crazing glass paint many years ago. Kind of stupid, but I do these things. Here are the 164 and 162 together - literally. :)
 

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What you have discovered is that necks and saxes (and players) are all individuals, and you can't just make a blanket statement (as I did) that one neck WILL WORK with a certain sax. As far as the USA neck, I don't use mine, but the great Boots Randolph played a USA for about the last 15 years of his career, with original neck, and could have played any sax in the world he wanted or that H. Selmer could have made for him. I sat 15' in front of him and watched him play it one night. He was playing this horn exclusively, not only for road shows. He was using it on his late recordings as well as TV appearances. He was playing a Dukoff D9 during that period. I liked his sound better on the Brilhart 'Velvet Tone' he played during the fantastic early years, including 'Hip Boots', but he just wore that piece out. Since only a few of them were made, he just started using Dukoffs, which he ordered by the dozen, picking out one or two at a time. As you know, Dukoffs made of 'Silverite' (lead-free pewter) can be great, but the metal is soft and the piece is not very durable.
 

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In years of playing with a MK VI neck, I have not noticed any such tendency. In fact, the VI neck gives a much better altissimo. A3 is a little flat, but this sax has some key height issues in the upper stack I have yet to address.
On my 'Omega' alto, I did in fact cut the tip reinforcement off the neck (about 1/4" removed) and to this day still push the mouthpiece almost all the way down. I also played a Selmer Paris MK VI replacement neck on it for several years, but eventually returned to the short original neck. Yep, whipped out a small hacksaw and whacked the end of the neck off.
 
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