[rsclosson]

https://www.junkdude.com/ProductDetail.aspx?id_product=898

Got this on trial and, thus far, I am pretty blown away! While I will never get a Mark VI and really don't deserve one, this horn is very impressive. I have never had the opportunity to try a Series II with the original neck, but this one with the Referece '36 really sounds great! Easy blowing and just the right resistance. Lots of core and fat all the way up and down. Thus far, everybody who has heard it says it is the best I have ever sounded.
If it turnes out to be "the one," I am going to whittle down my Tenor collection to just this and my Omega as a backup.
Any body else have good experiences with Series II? (and yes, I did do a search here and already read alot. just interested in any additional feedback.)

 

[Augman]

I have a series 2 with a ref 54 neck, I really like it. It was a little tight , I had the keys raised and and the action loosened, I think its a contendor. The neck made a big diference. I like to experiment with mouthpieces, but nothing has knocked out my hollywood 8 so far. Much cheaper than a 6

 

[gsaxman100]

Last month I tried a Series II tenor that was for sale on Craigs List, and promptly sold my Cannonball tenor and bought it, huge improvement. It's a great sounding and playing horn. Today Fed Ex arrived with a Series III neck that I ordered last week from WWBW, and it's gotten even better. Really fattened up the tone in all registers. I've never tried a VI or any of the Reference horns, but it's hard to imagine anything better. Need to try some just to compare some time, but I'm finally happy with my sound.

 

[rispoli]

Thus far, everybody who has heard it says it is the best I have ever sounded.
If it turnes out to be "the one," I am going to whittle down my Tenor collection to just this and my Omega as a backup.

I'd be curious to know how would you rate the Omega (a TS100, correct?) vs. the SA-II.
I've always wondered if those early Selmer USA may compare well vs. the less regarded Selmer Paris lines.
I see you are planning to keep the Omega as backup so I believe your ranking is done already.

 

[rsclosson]

I'd be curious to know how would you rate the Omega (a TS100, correct?) vs. the SA-II.
I've always wondered if those early Selmer USA may compare well vs. the less regarded Selmer Paris lines.
I see you are planning to keep the Omega as backup so I believe your ranking is done already.

I hate to admit it, but I have yet to play them side by side. I have been so into the Serie II, I haven't been able to put it down. I have really loved my USA model, though. (I guess it is a TS-100. The Serial Number is 823xxx.) I placed it above my Aristocrat as well as my Bundy Special. (Doubtless, there are some here who will disagree with me; especially on the Buescher, but my preference is what feels right for me. It may be totally different with others.)

The great thing is that they feel similar, both as to ergos and resistance. My memory is that the Serie is more complex and richer sounding with a more solid core. I will compare and report, but I am willing to bet that my memory is correct.

 

[Kini]

Series II tenors are great horns. I'm surpirsed how many people seem to think they're "less" than the other Selmer models. However, I think the II's have changed since the production of the III's. When I was shopping for a II alto, I played 13 or so horns, and the new ones, SN 600000+ were very bright.

When searching for a tenor, I was shopping for a legit horn first, and I think the II is great for that - I think the II is the way to go, because you gan get into the horn cheaper than the other Selmers, and you can still mess around with necks (see my signature).

 

[dagnabbit]

I have a late-80s Series II tenor with the original neck (although the octave pip has been opened to good effect). You guys are giving me serious GAS pains with all this neck talk.

I keep going back to Heath's post from a couple months ago, which concluded that, with his horns anyway, he was best off with the neck Selmer designed for it. I'm getting the feeling that Heath's conclusion might not apply as much to the Series II horns though.

 

[rsclosson]

Well everybody, after the obligitory time with family and friends, I was able to pull both my USA Selmer and the Serie II for some extensive side by side comparison. I even had folks at home (non-musicians) listen for a "blind" comparison. I played from another room and simply identified them as Horn A and Horn B. In all cases, the USA won hands down. I heard descriptive adjectives like "louder" "clearer" and "richer" sounding.

I also did the same thing today with the musicians I play with on a regular basis. Once again it was the USA by a wide margin. Descriptions from the musicians included "more powerful" "better overtones" and "all around better sound.: (Please don't mind me if I use the misnamed title "Omega" henceforth. I know the difference but Omega is so much easier to use. ) Another sax player was there and he play tested both while I had a chance to listen. He preferred the feel of the Omega and I liked the sound better.

As I played them both, I found I liked the Omega better myself. More open and free-blowing. I was kind of surprised because I was really digging the Serie II alot when playing it alone. It wasn't till I did the side by side that I reealized that I personally liked the Omega better.

I am not sure if I just got a fluke or if all the USAs are that consistantly good. I have an Omega alto and it also is outstanding. I guess I will have to find another Omega tenor to find out for sure.

 

[rispoli]

Well everybody, after the obligitory time with family and friends, I was able to pull both my USA Selmer and the Serie II for some extensive side by side comparison. I even had folks at home (non-musicians) listen for a "blind" comparison. I played from another room and simply identified them as Horn A and Horn B. In all cases, the USA won hands down. I heard descriptive adjectives like "louder" "clearer" and "richer" sounding.

I also did the same thing today with the musicians I play with on a regular basis. Once again it was the USA by a wide margin. Descriptions from the musicians included "more powerful" "better overtones" and "all around better sound.: (Please don't mind me if I use the misnamed title "Omega" henceforth. I know the difference but Omega is so much easier to use. ) Another sax player was there and he play tested both while I had a chance to listen. He preferred the feel of the Omega and I liked the sound better.

As I played them both, I found I liked the Omega better myself. More open and free-blowing. I was kind of surprised because I was really digging the Serie II alot when playing it alone. It wasn't till I did the side by side that I reealized that I personally liked the Omega better.

I am not sure if I just got a fluke or if all the USAs are that consistantly good. I have an Omega alto and it also is outstanding. I guess I will have to find another Omega tenor to find out for sure.

Thanks for reporting this.
That's what I somehow supposed but never had the chance to do the comparison myself.

 

[Dr G]

I have a late-80s Series II tenor with the original neck (although the octave pip has been opened to good effect). You guys are giving me serious GAS pains with all this neck talk.

I keep going back to Heath's post from a couple months ago, which concluded that, with his horns anyway, he was best off with the neck Selmer designed for it. I'm getting the feeling that Heath's conclusion might not apply as much to the Series II horns though.

I'm hoping that this may be the last time that I am compelled to say it... Be very careful when mixing Serie II and III/36/54 necks and bodies. The intonation tends to be so far off as to be unplayable. Whip out your tuners when swapping necks to see for yourself (although for me, the intonation was so bad with a II neck on a III tenor that I did not need a tuner to tell me).

 

[mattsax]

A word of caution is always wise. On the other hand, making the necessary adjustments with a new neck can add new life to a horn. I really like my
Serie II tenor better with the Serie III red brass neck, and intonation is not affected (at least not made any worse).

There isn't always improvement, though. I prefer the stock neck on my Serie III matte finish alto.

 

[Flyguy]

Like Mattsax, i replaced the neck of my tenor II with the goldbrass III purely because I could not get used the neck angle of the II. I couldn't find a stock III neck without the weird booster threads so I went with the goldbrass. Intonation was unaffected and the sound was louder and a bit brighter. It fits the neck tenon very well, although not quite as snugly as the stock, so my guess is that nearly imperceptible decreases in neck diameter can give noticeable increases in brightness. Also, the III neck is much lighter in weight, and appears to have thinner walls. Low notes are suddenly much easier to play now, even though I didn't think I was having much trouble before. anyway I forgot the topic of this thread but I needed an excuse to rave about my neck swapping experience.