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Discussion Starter #1
I've been playing a Yamaha YTS-62 since high school (over ten years now). My tech had a couple horns for sale on commission, a King and an SML Gold Medal. I was mostly curious about the King but tried them both and ended up buying the SML. $2.5k Canadian.
It sounds darker and dirtier than the Yamaha, at least that's how I describe it. Altissimo works reasonably well, though I'm fairly new at playing in that range. I got it today and I played a gig with it tonight.

Since I got it from my tech I know everything is good with it, and he did a couple setup things on the bench in front of me. I got a new neck cork. I had him add a new strap hook so it would hang balanced on the strap. I had him leave the original one and just add another one instead of moving it.

The serial number chart puts it at 1973. It is the two tone finish, brass with nickel plated keys.

I've always wanted a Selmer Paris but I don't think I'll be able to justify the cost any time soon and it seems some people prefer the SML anyway.
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I love my Selmer but just because of the name they are not the end all in horns.

Once you hit a certain level of quality in a horn the rest is personal preference.

Looks to me like you are set. Congrats!

Be happy and dont look back.
 

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What a beautiful horn.

I have always been fascinated by these.

Congratulations!
 

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what model was the king. if it was a marigaux, that would have been interesting to play the two side by side
 

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Congratulations for the new horn, it has anice patina and looks beautiful. Enjoy it, play it and preserv it for the years to come and the many gigs. Cheers
 

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Discussion Starter #10
I just told a local pro I know I got this horn and he says he used to own this horn, someone else had it between us. He describes it as a cross between an Conn and a Selmer.
It seems no matter what I do I end up with gear this guy had something to do with!
 

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Discussion Starter #12
The bell on this thing is enormous! I noticed that last night when I tried to put it in the stand!

Also, I'm using a Warbuton LA 7* mouthpiece. I have a thread on that piece if anyone is curious about the story. I like the way it is working with this horn.
 

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I love my SML
I’ve tried my friends Mk 6s and have no desire to switch
The altissimo requires some unusual fingerings to play in tune... they all play flat.
I found a thread on here that pointed the way for me
Let me know how you get on and I can let you know my fingerings if you need them...
 

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Love this discussion!!! I also have an all gold SML (Strasser-Marigaux-Lemaire) tenor. I have owned since 1981 and is in beautiful condition. Love the sound and had such a great run with it. I am going to have to sell it. The altissimo key is such a luxury!!! Truly an awesome sound. If anybody is interested please text me at (202) 549-3054. I will send pics. This site is awesome and have always referred people here for great tidbits of info. Thanks for everything
 

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I have bid on a couple SMLs on eBay recently, figuring in the cost of a complete overhaul. So far the prices have been quite a lot more than I 'm willing to spend on a horn knowing I'm going to have to sink another $1000 into to make it play like new. I like the sound and the mechanical aspects of them. I'll keep trying. Congrats on finding YOUR horn.
 

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Discussion Starter #16
I've gone back to playing my Yamaha '62 tenor, since it works best with my current mouthpiece. There's two things I really miss about the SML. The neck join, and the pinky cluster. The SML neck join holds the neck way better, the '62 neck shifts easily when I play if I don't really tighten it down. The low Bb is a lot easier on the SML too, especially on one song I do with one of my bands where I go from the Bb to the B a lot.
 

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the '62 neck shifts easily when I play if I don't really tighten it down.
I just purchased a new 62 tenor and it had this same problem. I just ask my horn tech to adjust the tenon so I only have to slightly tighten the neck screw. Works great now. I'm not sure why it wouldn't have come this way from Yamaha.
 

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I've gone back to playing my Yamaha '62 tenor, since it works best with my current mouthpiece. There's two things I really miss about the SML. The neck join, and the pinky cluster. The SML neck join holds the neck way better, the '62 neck shifts easily when I play if I don't really tighten it down. The low Bb is a lot easier on the SML too, especially on one song I do with one of my bands where I go from the Bb to the B a lot.
the sml branded mpc's seem to go for relatively low amounts. i think they were a riffault blank. wonder if you'd like an sml mpc more than the mpc you're using with it. did you ask to see what others are playing on the gm2 / king marigaux.
 

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Discussion Starter #19
the sml branded mpc's seem to go for relatively low amounts. i think they were a riffault blank. wonder if you'd like an sml mpc more than the mpc you're using with it. did you ask to see what others are playing on the gm2 / king marigaux.
I was referring to the ease of fingering as opposed to the ease of playing. Though the low notes are a bit harder than on some setups. I've got an E1 neck on the way which felt better for the low notes.
I've got an SML clarinet piece around here that I was told is a riffault blank.

I just purchased a new 62 tenor and it had this same problem. I just ask my horn tech to adjust the tenon so I only have to slightly tighten the neck screw. Works great now. I'm not sure why it wouldn't have come this way from Yamaha.
The E1 neck that is in the mail fit a bit looser too. I could have my tech adjust the tenon, shouldn't be a big deal. The SML neck join is a great design though. A local pro I know (who is a former owner of this horn) said all neck joins should be like this.
 

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Discussion Starter #20
I've gone back to playing my Yamaha '62 tenor, since it works best with my current mouthpiece. There's two things I really miss about the SML. The neck join, and the pinky cluster. The SML neck join holds the neck way better, the '62 neck shifts easily when I play if I don't really tighten it down. The low Bb is a lot easier on the SML too, especially on one song I do with one of my bands where I go from the Bb to the B a lot.
I ended up with another new mouthpiece unexpectedly. The SML feels like it might work better with this piece. It is a Lebayle LRII. It sounded a bit thin with the link but maybe about right with this piece. Mouthpieces change everything...
 
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