Selmer Paris Series III Model 53 Soprano
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Antipodes: Welcome to SOTW. I was not aware that Selmer had issued a NEW version of the Serie III soprano (not that I am all knowing, just that I keep up with this kind of thing and have not heard of it).
What is different? DAVE
What is different? DAVE
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To my knowledge there _are_ two versions. The differences I've seen (and read about) is that the engraving of the model name (Series III) on the body/bell is different, and that the earlier ones did not come with the booster necks. If this qualifies to call it two different versions, I don't know.
However these "changes" were made years ago, and I think you can read about them in other threads here on SOTW.
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If you mean the fact that it says "Model 53" is nothing new. That is, I think, only something used on the American market. All Selmer Paris saxes have a model number, but elsewhere they are usually only referred to as Super Action II/III or Reference 36/54.
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However these "changes" were made years ago, and I think you can read about them in other threads here on SOTW.
<EDIT>
If you mean the fact that it says "Model 53" is nothing new. That is, I think, only something used on the American market. All Selmer Paris saxes have a model number, but elsewhere they are usually only referred to as Super Action II/III or Reference 36/54.
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The 'model' you're referring to is part of a series of catalog numbers that Selmer/Elkhart uses that has nothing to do with Selmer/Paris.
For example, for years the US catalogs have listed the alto as a model 52. 1960's-70's had a '52', '52F'(extra high F# option), '52A'(low 'A' version) and the '52AF'(low A, high F#).
Gets confusing now that Selmer/Paris has issued Ref 36, Ref 54, etc., but they both have nothing to do with each other.
For example, for years the US catalogs have listed the alto as a model 52. 1960's-70's had a '52', '52F'(extra high F# option), '52A'(low 'A' version) and the '52AF'(low A, high F#).
Gets confusing now that Selmer/Paris has issued Ref 36, Ref 54, etc., but they both have nothing to do with each other.
My understanding was that this instrument is modelled on some of the characteristics of the MkVI soprano.
http://www.selmer.com/content/sax_soprano_chart.php
Seems like the comparisons ( eg 30% ligher ribs) are actually with the earlier Series II model 51 and this is not a new version of the Series III. Sorry for the confusion and thanks for all the replies.
http://www.selmer.com/content/sax_soprano_chart.php
Seems like the comparisons ( eg 30% ligher ribs) are actually with the earlier Series II model 51 and this is not a new version of the Series III. Sorry for the confusion and thanks for all the replies.
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I agree with Dr G. I've owned a MKVI and a Serie III and they were totally different even though they both sounded like . . . . . . SOPRANOS!
We all make way too much about these things, I fear.
Plus, after reviewing the link provided by Antipodes, I will re-issue my common warning - beware of marketing hype. Reading those comparisons between the Serie II and the III, I had to laugh. The authentic differences are in the necks - one removable, one fixed, and the presence of absence of a hi-G. Big deal.
After that, all the blather about ribbing, etc., etc., is only mildly interesting to me. I'll bet that few if any readers here could play both side-by-side (or listen to any of us play them side-by-side) and tell any difference except within the normal variances experienced among all saxophones. And definitely, few if any would HEAR any difference.
Selmer isn't the only manufacturer who does this . . . read any manufacturer's material and you'd walk away thinking their horn has ALL the whizbang features to set them apart from the others.
The LAST thing I'd do before buying a new saxophone would be to read the manufacturer's drivel. You should play horns yourself, then choose one to buy. DAVE
We all make way too much about these things, I fear.
Plus, after reviewing the link provided by Antipodes, I will re-issue my common warning - beware of marketing hype. Reading those comparisons between the Serie II and the III, I had to laugh. The authentic differences are in the necks - one removable, one fixed, and the presence of absence of a hi-G. Big deal.
After that, all the blather about ribbing, etc., etc., is only mildly interesting to me. I'll bet that few if any readers here could play both side-by-side (or listen to any of us play them side-by-side) and tell any difference except within the normal variances experienced among all saxophones. And definitely, few if any would HEAR any difference.
Selmer isn't the only manufacturer who does this . . . read any manufacturer's material and you'd walk away thinking their horn has ALL the whizbang features to set them apart from the others.
The LAST thing I'd do before buying a new saxophone would be to read the manufacturer's drivel. You should play horns yourself, then choose one to buy. DAVE
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I'm very pleased with my III Sop.. It's a work of art in Silver..The thing plays perfect and the G is a freakin' blast.(wish my Tenor had one)..I bought my horn almost 5 yrs ago from ww/bw after A/B'n it with a Sterling Yamigasawa for 8 hrs.. the III was the clear winner.. Somehow it hasn't fallen apart..for all the Selmer rants mine is a flawless example..It needed no mystical "set-up"..It's a real Selmer that will last longer than I will..I sometimes wish mine was a one piece horn but I wanted that useless high G...I played a new VI Sop for several yrs back in the day and I played a lacquered II Sop (stolen) before getting my current Sop...Both were great horns.. My series II Bari has proved to be a real workhorse this past yr as well..100's of shows it never blinked..it has a massive tone.. The Bari came from USA horn and played super out of the box.
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i would like my seres 3 better if it were one peice also
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Yeah, having a VI soprano myself, when I tried out a III, it didn't last long. There was nothing about it I liked. My biggest gripe is probably the detachable neck. Here you have a soprano, which is small enough to be easily handled and stored in one piece, yet to market the horns they had to go ahead and create a potential problematic concern which had been alleviated long ago. They should just make them with or without the curved neck; all in one piece.
I have played a new Series III and also the Keilwerth (having owned a used Yamaha sop a few years back). I was misled by some references on dealer sites which seemed to imply that this model 53 was a new model arriving last month sometime. Seems it is the same model I have played - perhaps they were simply out of stock for a while.
I agree that the separate necks seem a little flimsy compared with the one piece instrument and the torque required to adjust the mouthpiece on the cork seemed to twist the neck around (although there is a slot mechanism there to fix its position). I preferred the sound of the bent neck but both were pretty agreeable to my ears.
What do people think of the various finishes - I have seen the black lacquer finish and I quite liked it but I wondered if it would tend to show wear and scratches more than clear lacquer.
I agree that the separate necks seem a little flimsy compared with the one piece instrument and the torque required to adjust the mouthpiece on the cork seemed to twist the neck around (although there is a slot mechanism there to fix its position). I preferred the sound of the bent neck but both were pretty agreeable to my ears.
What do people think of the various finishes - I have seen the black lacquer finish and I quite liked it but I wondered if it would tend to show wear and scratches more than clear lacquer.
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My VI is black lacquered, and since I tend to use it for dixieland when we don't have a clarinet player, it's often mistaken for a clarinet by the non-player (and I don't even correct them anymore when they compliment my clarinet playing). As for showing scratches... well, that can be fixed with a Sharpie.Antipodes said:
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Silverplate is good long term.. way more hassle..but, you get a mirror finish and can easily buff out small scuffs and scratches..lacquer no way, you're stuck..black is pretty but same wth lac, no chance to burnish out a blemish..I have all silverplates and have spent many fun hrs keeping my horns like new ones..the payoff..a rack of polished silverplates is a sight to behold..:twisted: ..silver develops a lot of character over time..I think probably selmer used a good blank for silver horns too..My VI Tenor is actually brighter looking than my newer silver horns..the new II & III have stayed so nice I haven't done much polishing on either one yet..
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