Selmer Mark VI soprano cost
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I see them sell on ebay in the $2,000-3,000 range. They don't command the prices the other VIs do as they are not considered as good as other sopranos. I have had 3 and none were as good as a Yana or even a vintage horn. Do a WTB in the marketplace section here at SOTW and maybe someone is considering selling theirs.
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I have A Yani/vito stencil MarkVi copy that I would be willing to sell.
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I just sold one for $3500 on ebay a couple weeks ago. I think they are the best, the modern horns sound fake to me. They hold their value better than a new horn also. I have played many different sopranos and my 225XXX is better than any others that I've played. The one I sold had a new overhaul on it, if it needed an overhaul I would have sold it for $3000. Good luck on the search.
thanks for the replies.
I have 3 objectives for playing a sop sax:
1) for relaxation - a release for emotions
2) play for girls i'm interested in
3) play with my church's lite-rock band
I've been playing clarinet for a dozen years, and I find it very relaxing after a day's work on a finance trading floor. However, I'd like to play an instrument with a crisper sound. Therefore, I'm interested in playing sop sax.
I don't intend to play any difficult jazz on the sop sax. On the clarinet I play Acker Bilk type music, and through it, I am able to achieve my 3 aforementioned objectives. I intend to play the same type of music on sop sax, but with a bit more improv. I think objective #2 is more easily achieved on the sop sax since it has, what i consider, a sexier sound.
Bruce: after reading the backlog of this forum, it does seem that Yana's have a better rep. However, I cannot imagine a Selmer Mark VI to be much inferior when compared with a Yana. Since I'm gonna play, shall we say, easy-listening music, then a Selmer Mark VI will suffice without too much compromise. The compromise is compensated, in my mind, by the cool factor of having a "Mark VI". I think I read somewhere that some Mark VIs were made with metal left over from the bullet shells of WWII. I'm gonna leverage this story when talking to a chic about my sax.
Again, thanks for the input Bruce. Much appreciated.
Sonny: thanks for the offer, but I plan to buy one sop sax, and use it for the rest of my life. Playing on a copy just wouldn't give me as much joy as playing on a real Mark VI. I would always be thinking that a real Mark VI would sound better.
Landrusax: I concur with you point of value retention. Was the 225XXX the one you sold on ebay? Or did you sell another Mark VI sop? If possible, could you please post your ebay listing?
All: I should mention that I've never played on a sax before. Since I have to buy one to start playing, then I figure I might as well get one of the best (getting one the best will prevent me from blaming any bad music on the horn).
I have 3 objectives for playing a sop sax:
1) for relaxation - a release for emotions
2) play for girls i'm interested in
3) play with my church's lite-rock band
I've been playing clarinet for a dozen years, and I find it very relaxing after a day's work on a finance trading floor. However, I'd like to play an instrument with a crisper sound. Therefore, I'm interested in playing sop sax.
I don't intend to play any difficult jazz on the sop sax. On the clarinet I play Acker Bilk type music, and through it, I am able to achieve my 3 aforementioned objectives. I intend to play the same type of music on sop sax, but with a bit more improv. I think objective #2 is more easily achieved on the sop sax since it has, what i consider, a sexier sound.
Bruce: after reading the backlog of this forum, it does seem that Yana's have a better rep. However, I cannot imagine a Selmer Mark VI to be much inferior when compared with a Yana. Since I'm gonna play, shall we say, easy-listening music, then a Selmer Mark VI will suffice without too much compromise. The compromise is compensated, in my mind, by the cool factor of having a "Mark VI". I think I read somewhere that some Mark VIs were made with metal left over from the bullet shells of WWII. I'm gonna leverage this story when talking to a chic about my sax.
Again, thanks for the input Bruce. Much appreciated.
Sonny: thanks for the offer, but I plan to buy one sop sax, and use it for the rest of my life. Playing on a copy just wouldn't give me as much joy as playing on a real Mark VI. I would always be thinking that a real Mark VI would sound better.
Landrusax: I concur with you point of value retention. Was the 225XXX the one you sold on ebay? Or did you sell another Mark VI sop? If possible, could you please post your ebay listing?
All: I should mention that I've never played on a sax before. Since I have to buy one to start playing, then I figure I might as well get one of the best (getting one the best will prevent me from blaming any bad music on the horn).
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Would you be needing a tin opener for those worms?
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Levzil: Acker Bilk is a lofty goal - his tone was/is wonderful. And his music is admired by many, even those who are unfamiliar with it - until they hear it.
But for soprano, it ain't the same - obviously. Opinions vary about MKVI sopranos - the only reason I'd have one would be to re-sell it - and that's what I did with the one I had several years ago. I know, I know, some love their VI sops, but not me.
I love my Yanagisawas and my old Buescher TrueTones. I think you can achieve your goals with something OTHER than a MKVI soprano - and save money while doing it. DAVE
But for soprano, it ain't the same - obviously. Opinions vary about MKVI sopranos - the only reason I'd have one would be to re-sell it - and that's what I did with the one I had several years ago. I know, I know, some love their VI sops, but not me.
I love my Yanagisawas and my old Buescher TrueTones. I think you can achieve your goals with something OTHER than a MKVI soprano - and save money while doing it. DAVE
Doleson: it is interesting, as well as refreshing, that you hold Acker Bilk's tone with such high esteem. My classical music background has always taught me to treat Bilk's tone with disdain due to its omnipresent vibrato. However, I enjoy using vibrato because it adds more life to the music, and because (as you may guess) the chics dig it.
Perhaps the naivety of youth (although I'm not that young, perhaps more so young at heart) allows me to pursue lofty goals, but doing so keeps my life interesting, and sometimes I hit my lofty goals.
As finance professional, the prospect of trading will probably interest me more than the average Joe.
Your comments about Yana & Buescher have been well received by me. I think about them more tomorrow.
Thank you kindly for your thoughts
Wright: if it means I'll be able to bait those worms on my hook, then put me down for two tin openers
Perhaps the naivety of youth (although I'm not that young, perhaps more so young at heart) allows me to pursue lofty goals, but doing so keeps my life interesting, and sometimes I hit my lofty goals.
As finance professional, the prospect of trading will probably interest me more than the average Joe.
Your comments about Yana & Buescher have been well received by me. I think about them more tomorrow.
Thank you kindly for your thoughts
Wright: if it means I'll be able to bait those worms on my hook, then put me down for two tin openers
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One horn not to overlook is the Vito which was made by Yanagisawa. Really good horns in the $600-900 range.
Everytime this subject comes up I hear this mentioned. I don't think that you can name more than one or two recording jazz players that play something other than a MarkVI. Maybe Yanagisawa, but those old Conns and Bueschers, highly unlikely. This one would be a good deal if it doesn't go too high. http://cgi.ebay.com/Vintage-H-Couf-...ryZ16203QQssPageNameZWDVWQQrdZ1QQcmdZViewItembruce bailey said:
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lezvil,
One thing you really want to be aware of is the challenges with intonation in playing all saxes, but particularly with the soprano sax: I expect the intonation will be more difficult with the soprano sax, that it is with your clarinet. You wrote that you want to "play with my church's lite-rock band" - you will want good intonation to be able to play along with others.
Many people have found that the modern soprano saxes (Yani, Yamaha, modern Selmers, etc) have better intonation than older horns, including the Selmer Mark VI. I am not a good enough soprano player to tell you for sure which is best, but I urge you to go try several different soprano saxes someplace (hopefully there is a store nearby where you can do this), and be sure to bring an electric tuning meter to watch, as you try these out. Do not take for granted that any famous brand of soprano sax will play in tune for you.
One thing you really want to be aware of is the challenges with intonation in playing all saxes, but particularly with the soprano sax: I expect the intonation will be more difficult with the soprano sax, that it is with your clarinet. You wrote that you want to "play with my church's lite-rock band" - you will want good intonation to be able to play along with others.
Many people have found that the modern soprano saxes (Yani, Yamaha, modern Selmers, etc) have better intonation than older horns, including the Selmer Mark VI. I am not a good enough soprano player to tell you for sure which is best, but I urge you to go try several different soprano saxes someplace (hopefully there is a store nearby where you can do this), and be sure to bring an electric tuning meter to watch, as you try these out. Do not take for granted that any famous brand of soprano sax will play in tune for you.
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Acker Bilk may not appeal to a lot of players who are into either classical OR modern music. But those of us who know and enjoy old jazz (the original jazz of the 1920's and others who emulate that style) FULLY understand Acker Bilk and appreciate what he does. There were many original jazz clarinetists who had similar tone and they invented jazz. Some still play today.
However, you seem more focused on scoring with the ladies than with playing good music. Oh, you have an admirable goal, but worry more about technique and style - the other may come to you after you put it all together. DAVE
However, you seem more focused on scoring with the ladies than with playing good music. Oh, you have an admirable goal, but worry more about technique and style - the other may come to you after you put it all together. DAVE
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Won't you feel stupid when said "chic" tells you that she reads Sax on the Web and has heard from more knowledgeable sources that the "some Mark VIs were made with metal left over from the bullet shells of WWII" line is a load of manure?levzil said:
Buy a Mk VI. You are the person that needs one the most.
Enjoy!
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now you've done it levsil ...
Thank you all for the continued feedback.
Harmonizer: are there any places in NYC that you would recommend for trying out horns? Also, will I have to have my own mouthpiece to try them? I currently don't own a sop sax mouthpiece, but I used a Vandoren B45 for my clarinet. Do you recommend any sop mouthpieces?
Dolson: I'm glad to have found a community where Bilk's sound is revered. Your observation is correct. On my priority scale, chasing ladies ranks higher than playing good music. Playing music for ladies serves as a booster to my game plan, and so having pristine style and technique is not essential when playing for them. I expect them to focus more on the thought and the effort rather than the quality of the music. (Also, poor music shows vulnerability, which chics sometimes like). However, I do intend to improve my playing as much as my talent allows throughout my course of my life.
Dr G: I generally go after tame princess, and I wouldn't expect them to follow up on anecdote. On the statistical outlier that they do, there are two options:
1) if they say it in a disparaging way, then it’s good-bye, and move onto the next prospect
2) if they say it nicely, then suggest a continued conversation over dinner. Of course, during dinner you should be focused on shooting for drinks at a lounge or club later, and not talking about sax history.
Finally, never allow a chic to make you feel bad, let alone like “manure.”
Betelsax: I wonder if Bilk’s sound is enhanced through some electronic amplification technique. Since many do not encourage emulation of Bilk’s tone, that may be why it has not been duplicated.
Harmonizer: are there any places in NYC that you would recommend for trying out horns? Also, will I have to have my own mouthpiece to try them? I currently don't own a sop sax mouthpiece, but I used a Vandoren B45 for my clarinet. Do you recommend any sop mouthpieces?
Dolson: I'm glad to have found a community where Bilk's sound is revered. Your observation is correct. On my priority scale, chasing ladies ranks higher than playing good music. Playing music for ladies serves as a booster to my game plan, and so having pristine style and technique is not essential when playing for them. I expect them to focus more on the thought and the effort rather than the quality of the music. (Also, poor music shows vulnerability, which chics sometimes like). However, I do intend to improve my playing as much as my talent allows throughout my course of my life.
Dr G: I generally go after tame princess, and I wouldn't expect them to follow up on anecdote. On the statistical outlier that they do, there are two options:
1) if they say it in a disparaging way, then it’s good-bye, and move onto the next prospect
2) if they say it nicely, then suggest a continued conversation over dinner. Of course, during dinner you should be focused on shooting for drinks at a lounge or club later, and not talking about sax history.
Finally, never allow a chic to make you feel bad, let alone like “manure.”
Betelsax: I wonder if Bilk’s sound is enhanced through some electronic amplification technique. Since many do not encourage emulation of Bilk’s tone, that may be why it has not been duplicated.
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I'm sorry to see that you actually seem to take yourself seriously. To have such a formula for "chasing chics" is pitiful.
Just buy a Mk VI. Why do you need to try them out? If you cannot play, what do you hope to learn from a trial? None of them will make you sound good.
Is that harsh? Maybe. Is it true? Yes.
Just buy a Mk VI. Why do you need to try them out? If you cannot play, what do you hope to learn from a trial? None of them will make you sound good.
Is that harsh? Maybe. Is it true? Yes.
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levzil - having spent many, many hours in my teens (in the 60's) watching and listening to Acker playing West Country jazz clubs and theatres, I can confirm that his sound was/is all his own - no enhancements, except maybe a little subtle tweaking in the studio.levzil said:
Possibly his tone is down to being completely self taught, copious smoking and cider-drinking, missing two front teeth and half a finger, and needing to be heard acoustically in the early days.... Not much in the way of amplification for 60's UK trad bands.
Born in '29, he was still touring Denmark with his Paramount Jazz Band at the start of this month, and I'm sure he'd be bemused to know that his sound is such an essential part of your proclaimed technique to "pull" the Fairer Sex. Sad, isn't personality enough ?
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