Please help..got a serie 3, don't know it is legit or counterfeit
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Original, but someone had an arts and crafts session with felt.
Sorry sir, what do you mean someone had an arts and crafts session with felt?
Thanks!
I see, plan to remove them though. Anyway, any Idea which year it was made sir?
thank you
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this is a very “ modern” horn and it is so new that its serial number falls outside of the charts which show SN until 1992!
So it is quite a bit newer than that!
How did you come by this? The person whom had done or has had this done with the felt discs may have had troubles with his/her fingers because the only reason why anyone would cover the pearl with felt (but they are just glued I think) is if the hand would have problems to hold a “ grip” and the fingertips were slipping (never seen anything like this).
This doesn’t look like a fake saxophone, and the engraving is the real thing. It is a very valuable saxophone.
So it is quite a bit newer than that!
How did you come by this? The person whom had done or has had this done with the felt discs may have had troubles with his/her fingers because the only reason why anyone would cover the pearl with felt (but they are just glued I think) is if the hand would have problems to hold a “ grip” and the fingertips were slipping (never seen anything like this).
This doesn’t look like a fake saxophone, and the engraving is the real thing. It is a very valuable saxophone.
The key to the felts is what kind of glue did they use? Start trying to gently pull one of them off and see if it will mostly separate from the pearl. They may have used a household glue that won't damage the pearl. Don't use any kind of tool to try to pry or scrape them off. Hopefully they did not use one of the more powerful glues/epoxies for which you would need to find out which solvent dissolves it but without harming the pearl or lacquer on the sax. The best case would probably be regular office 'rubber cement' or maybe 'RTV' silicone rubber that can be just rolled off with your finger.
Whatever, this has the potential to be a lot more involved than it would seem to be.
The retail price for this horn is $10,000, and they typically sell for about $6000. A used one with weird features like you have, making it sort of a gamble, would probably bring $3000. So you can see that it would be worth the fee to have it corrected by professionals at an instrument repair location if you cannot handle the job without damaging the sax.
Whatever, this has the potential to be a lot more involved than it would seem to be.
The retail price for this horn is $10,000, and they typically sell for about $6000. A used one with weird features like you have, making it sort of a gamble, would probably bring $3000. So you can see that it would be worth the fee to have it corrected by professionals at an instrument repair location if you cannot handle the job without damaging the sax.
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LMAO Oy vey what a wacky mod... for delicate fingers?
Probably in the year 2001 or so.
This is the best available Selmer serial number chart; not everyone on SOTW is aware of it. https://www.saxophone.org/museum/saxophones/manufacturer/1
Also, be aware that you can always date a Series II or Series III horn as either Jubilee (starting around 2010) or pre-Jubilee, even without a serial number. Your Series III alto is pre-Jubilee, as indicated by the engraving.
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Excuse my ignorance but what does pre or post "Jubilee" mean and what are the characteristics of this? Were there design or manufacturing changes? I played a Ser III tenor (of a similar age or perhaps earlier than the OP's Alto) for 17yrs or so but haven't played any later horns that were better.
edit; Although I am not a massive fan of the Ser III Alto.
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well, given the fact that it costed effort and money to have felt applied in the exact size (it looks a very clean job) we have to assume that the previous owner (OP says nothing about how he or she acquired the horn and why he wasn't made aware of this ) had a very good reason to do that.
There may have been an allergy or something which made the fingertips slippery or particularly painful, on thing is for sure, this wan't done on a whim.
as for differences, as usual the archives contain material
https://forum.saxontheweb.net/showt...-Jubilee-vs-Pre-Jubilee-What-s-the-difference
and then here
https://www.kesslermusic.com/SelmerLeblanc/jubilee/62j.htm
from kessler's site
" Are the Jubilee models better than the pervious models?
Yes and no... it depends on how old the previous model is that you are comparing. Currently, Selmer is physically manufacturing their horns to a higher level than they ever have in the past. The tone holes are manufactured better (and more level), firmer pads (Pisoni Pro) are now being used, the keywork has been modified to improve response, non-essential excess weight on the horn (which can hinder response and vibration) have been greatly diminished... all of which make the Jubilee models the best Selmer's yet!
Some of these changes went in to place shortly before the Jubilee switch in 2011 but when all of them are combined on to the Jubilee & the horn is properly setup and regulated like we do in our shop, the Series II becomes one of the absolutely most impressive saxophones on the face of the planet!!!
Also, the Jubilee models feature the most current neck design helping to improve their performance. Many people do not realize that the Serie III neck has had several revisions since its release. None of these changes were done to the physical tube itself, but rather to the weight of the neck through various braces, guides and plates that have either been slimmed down (like the brace on the underside of the neck & the physical octave key itself) or removed entirely (the octave key guide and the model badge on the back of the neck tube)...."
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Selmer always used the firmer pads Pisoni has/had available.
According to what Jerome Selmer declared, the toneholes has been enlenghtened a bit.
What Kessler tells in that statement is more the difference between Series II and Series III, rather than Pre-Jubilee and Jubilee horns.
Selmer almost avoid any kind of brazing on the body, the tube is welded now (now = since 2010/2011).
In terms of pure manufacturing engineering... it's quite a big change!
According to what Jerome Selmer declared, the toneholes has been enlenghtened a bit.
What Kessler tells in that statement is more the difference between Series II and Series III, rather than Pre-Jubilee and Jubilee horns.
Selmer almost avoid any kind of brazing on the body, the tube is welded now (now = since 2010/2011).
In terms of pure manufacturing engineering... it's quite a big change!
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If brazing is melting brass to flow on the base metal, and welding is melting the base metal (brass in this case), that is a very subtle change. Were they actually brazing, or was it soldering (melting and flowing a material other than brass)?
Are there three different operations in the Italian language, or are soldering and brazing considered the same thing?
Welding has changed considerably in the last couple decades - laser, stir friction, etc.
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We don't know whether there was a good reason either. This could have been bought for someone that knew nothing about saxophones, had a whim that was professionally accommodated, then sold the instrument when interest waned. It wouldn't be the first time that an indulgent rich person bought something for their child.
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