[racer]

Hi. Does anyone one here own and play a Selmer C** soprano Soloist? Racer.

 

[Dave Dolson]

I have a C* scroll-shank soprano piece, but not the C**. I correspond off-site with a fellow SOTW member who has a C** scroll-shank with the scroll removed, probably to shorten the overall length for certain saxophones that have outside thingies that prevent mouthpieces from shoving on far enough.

Neither his nor mine have SOLOIST marked on the piece. Some claim they are Airflow models. They are for sure Soloist-STYLE. DAVE

 

[racer]

Hey Dave. Its me John, we have been in touch. John.

 

[J.Max]

I have a C* scroll-shank soprano piece, but not the C**. I correspond off-site with a fellow SOTW member who has a C** scroll-shank with the scroll removed, probably to shorten the overall length for certain saxophones that have outside thingies that prevent mouthpieces from shoving on far enough.

Neither his nor mine have SOLOIST marked on the piece. Some claim they are Airflow models. They are for sure Soloist-STYLE. DAVE

OK...so here's deal with these. They all have the same chamber design. The Soloist has a slightly longer shank and the facing on top, but otherwise they are the same. The ones with the facing on the table were made at the same time as the small chamber Airflows on alto and tenor. NONE of the soprano pieces are marked "Airflow" because they didn't change the chamber.

The alto and tenor pieces are marked "Airflow" because they were out at the same time as the short shank Soloists. They look very similar externally. Theo Wanne's website is wrong about the timeline.

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[J.Max]

Hi. Does anyone one here own and play a Selmer C** soprano Soloist? Racer.

I have one and have played it as my main piece at one point.

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[Dave Dolson]

Hey John! Sorry, I didn’t completely associate your screen name with your REAL name. Anyway, thanks J. Max for the clarification.

FWIW, I was 17 when I bought my scroll-shank C* in 1957, and I didn’t know any of the excrutiating detail that permeates SOTW now. And, at that time, it didn’t matter and I didn’t care as long as what I had played for me.

At that time, I was using what I think was a Conn Eagle C-soprano. That came with my first soprano (yes, a C-Conn). The C* scroll -shank was a huge improvement on my Bb Conn. I still have that C* Selmer mouthpiece. DAVE

 

[racer]

Hi J.Max. I own a C** and a D both have the oval on the table that is parallel on the mouthpiece. What interests me is the diameter of the hole exiting the chamber of the mouth piece. My C** seems to have been opened up compared with the D piece. I am referring to the diameter of the hole after the entry at the neck cork end. I am not interested in finding things just to talk about. But I wonder why the pieces are different. The C** measures 0.420 or 10.7 mm. The D piece measures 0.312 or 7.95mm. Maybe the C** is an earlier piece. J. Max perhaps you would measure your mouthpiece if you have time. I think the C** is a better player than the D. But of cause that is down to my thoughts. racer

 

[Dave Dolson]

I assume that at least one and probably many more out there in SOTW-land own a Selmer C** Soloist-style soprano mouthpiece. If you do, all John (racer) wants to know is the diameter of the chamber opening into the neck-socket. It would be nice if someone could answer his question. DAVE

 

[racer]

Thanks for the heads up Dave. Well I am beginning to see the picture evolving. This is not about being a mouthpiece geek. I would like to understand how they produced Selmer Soprano m/p across the range. Dave says his C* is about 3/8 ths ins dia. My C** is .402 dia the D m/p is .3412 we have E, F, G and maybe more I don't know.But is reducing this diameter all Selmer did at the time?

 

[J.Max]

Thanks for the heads up Dave. Well I am beginning to see the picture evolving. This is not about being a mouthpiece geek. I would like to understand how they produced Selmer Soprano m/p across the range. Dave says his C* is about 3/8 ths ins dia. My C** is .402 dia the D m/p is .3412 we have E, F, G and maybe more I don't know.But is reducing this diameter all Selmer did at the time?

Weird. There are a lot of oddities with the shanks on these. My C** has actually had a lot of the shank cut off, so that won't be helpful.

I've seen a bunch of Soloists/Airflows on soprano with altered or cracked shanks. I think that it was a big problem with these pieces and might account for some of the differences you're seeing. My Airflows on alto and tenor also have very large insert openings, to the point where I have had to have my neck cork altered to accommodate them.

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[racer]

J Max. My C** has also been shortened supposedly to allow the piece to be further onto the cork, for tuning you would think. It's the diameter to the chamber I am trying to ask you to measure, it's not the same as the part where the cork fits. I can send you pictures.

 

[J.Max]

J Max. My C** has also been shortened supposedly to allow the piece to be further onto the cork, for tuning you would think. It's the diameter to the chamber I am trying to ask you to measure, it's not the same as the part where the cork fits. I can send you pictures.

I can do that. Here's what mine looks like BTW...it has been REALLY shortened.

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[racer]

Hello I think I am talking about a different piece. The C** that I have and also the D mouthpieces have the these sizes in an oval on the lay. May I thank you for showing the interest

 

[J.Max]

Hello I think I am talking about a different piece. The C** that I have and also the D mouthpieces have the these sizes in an oval on the lay. May I thank you for showing the interest

My D is like that. They are the same piece (I think I talked about it above) but this one has had the shank cut off above the scroll.

There isn't any difference in the internals between the Soloist (this one is a Soloist, even though it has been cut) and the oval table ones.

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[racer]

I have read through all the posts could it be that I am talking about a pre Soloist. Was the one in J Max picture made at the same time as my mouthpieces. I am interested in mouthpieces with an oval lengthwise on the table. racer. Thank you all for your help. racer.

 

[racer]

J Max. Thanks for the pics, could I message you about this.

 

[J.Max]

J Max. Thanks for the pics, could I message you about this.

Sure!

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[J.Max]

Selmer soprano pieces have very large chambers prior to these. The soprano, in general, did not go through many evolutions with Selmer. If you look at the various pre-SA80 soprano (horns) from Selmer, you’ll notice that there is very little difference between the large bore up through the Mark VI.

It’s the same with the mouthpieces. There isn’t really a distinction between pre-Soloist and Soloist in the way that there is on the alto, tenor, and bari.


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[racer]

All points taken. But I gather from the lack of replies, that there isn't a Soprano piece out there with C** in an oval ON THE TABLE I have one so I am lucky. It is internally nothing like a D piece. On the C* pieces I have seen the oval is across the table.racer. I may sell it.

 

[J.Max]

All points taken. But I gather from the lack of replies, that there isn't a Soprano piece out there with C** in an oval ON THE TABLE I have one so I am lucky. It is internally nothing like a D piece. On the C* pieces I have seen the oval is across the table.racer. I may sell it.

It's a very rare piece that you have. A large chamber piece with the current logo on it.

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