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Another new member here! Just got an '85 Baritone. I tried a few brand new horns (Mauriat, Conn-Selmer and a Yanny) all were good but didn't have the personality of a played in horn. Tried a couple of older Yannys- one was very very good indeed and I was going to go for it when this one came up. Went to see and it just had a little extra grunt - it was very close. The consistency of the Yanny was haunting me a bit so went mouthpiece shopping - found a Jody Jazz Jet and voila. Consistency (OK ease of playing ;) ) of the Yanny with the extra gruntiness and character of an older horn. It's ******** awesome. In tune all the way through the registers, responsive, nice action. Superb horn - very happy.
 

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I had my Super Action 80 Tenor stripped of lacquer and overhauled by Aaron Barnard of Cedar Rapids , Iowa . I recently added a Serie III neck , of which I had stripped as well , So does that make my set up a Serie II ? LMAO
 

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Guys I've been playing my SA 80 Alto for about 20 months now (ser 321xxx),it's my second time with a SA 80 Alto(had one in the 80s).
I came back to a SA80 as it's unfashonably cheap(a the moment) for a Selmer But more than anything else it has a Great TONE. this horn will follow me into the Grave.

My question is I would like to try a new neck to brighten up the tone a little,I play a Theo wanne durga 7 ,I get a versatile tone from a full warm tone to edgy ,but I have a natural dark tone that I produce myself,regardless of MP.


So I'm curious about trying a Mk 111 neck,and have read a lot of posts on this. Or other Necks people could recommend I try ?
also are there any intonation problems swapping to a Mk 111 neck ???

Overall I love the Horn and set up,but like every one I guess I'm still looking to refine things a little bit more,sound concept wise.
I could end up with the original Neck,but I wont know until I try
 

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Pent up Kid , necks on alto are not as critical as tenors . I have an alto with 99% lacquer and I have a tenor that I had stripped and I purchased a Serie III neck and had that stripped as well to match . The Serie III neck did wonders for my tenor . . . I would just learn to live with the sound of your original alto neck and maybe try mouthpieces/ligatures/reeds to get a match . Be aware , what we hear as players , is not what the audience hears . . . .don't search for things beyond your reach . Good luck
 

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I've been rationalising my saxophones and have just bought an SA80 alto. It looks as if it has never been seriously played. I can't find any scratches, just a few small bleed marks. It came in a slim, black Selmer hard case with combination locks. I have never seen a case like it before. Whoever originally bought it must have spent a lot of money on it. I have a friend who has an SA80 alto but with the normal brown Selmer hard case. It plays great and is a good match to my SA 80 II tenor.
 

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Guys I've been playing my SA 80 Alto for about 20 months now (ser 321xxx),it's my second time with a SA 80 Alto(had one in the 80s).
I came back to a SA80 as it's unfashonably cheap(a the moment) for a Selmer But more than anything else it has a Great TONE. this horn will follow me into the Grave.

My question is I would like to try a new neck to brighten up the tone a little,I play a Theo wanne durga 7 ,I get a versatile tone from a full warm tone to edgy ,but I have a natural dark tone that I produce myself,regardless of MP.

So I'm curious about trying a Mk 111 neck,and have read a lot of posts on this. Or other Necks people could recommend I try ?
also are there any intonation problems swapping to a Mk 111 neck ???

Overall I love the Horn and set up,but like every one I guess I'm still looking to refine things a little bit more,sound concept wise.
I could end up with the original Neck,but I wont know until I try
I have this same feel with my sa80I alto, its a fantastic horn, but a bit too dark. Last month I tried a Mark Vi Neck on it and WOW, what a huge tone. My sa80 became a completly different horn, with more power, projection and brightness. But... I couldnt afford a mark vi alto neck yet. I leave in brazil so they are really expensive for me now, ive just changed my mpc/reed setup. But if u could test and afford one, i would strongly recommend.
 

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I am now the proud owner of a 1982 mint condition SA80 Alto absolutely magic Great tone and tons of power when needed .I have had or played selmer MKV1 BA's Yanni's Conn 6m v111 and a Selmer USA 162 .The SA80 is for me the best so well put together and has Soul.
 

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Distinguished SOTW Member, Forum Contributor 2014
Super Action 80 Tenor, Buescher 156 Tenor, Yamaha Vito YAS-21 , Kessler Soprano, Superba II Bari
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Good Morning! I am a happy owner of a tenor SA 80 318xxx, I would like to know if anyone has tested other necks other than Series III. Thanks for any feedback that might help.
Well, I tried some Yamaha alto necks with some amusing results...

A good VI neck will carry its traits over to the SA80. Later VI necks work better as they don't need some pretty extensive tenon adjustments.
 

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Back to the club with an SA80 Series I alto. Great player (as expected from a Series I).
 

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"King In The Castle" & Distinguished SOTW Member
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Here is a clip of me playing my Serie I alto last week:


Let me know you think.
 

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Hi guys
My last Serie I is a Silver one,even bette then my first,but i just don t play it anymore..
I will sell my Serie 1 after the Hollidays.
Any Canadian fellows in the Montreal,Ottawa area interested,you can PM.
I will put an add soon in the Saxophone For Sale..
Since i don t have any more use for it,i will sell.
Thanks
Mario
 

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I've tried a couple of Ref 54 altos but walked away happy in the knowledge that I had a better, more soulful horn in my SA80 Alto 1981 .
Now using a Phil tone rift 0.81 MP sweet but gritty when I need it and the best intonation I've had on this horn....
Feeling smug in the knowledge that a good SA80 mk1 is the best value against the over inflated prices of many other Selmer's both New or Vintage.
And a dam fine horn.
I was told by the owner at Allegro music in Oxford that SA80 mk1s where the last of the hand beaten Bells before automation came in, can anyone shed any light on this fact .
 

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I'm late to this conversation but I'm another proud owner of two SA80s, alto and tenor. Had my alto since '94 in my final year of high school, and the tenor I picked up about 5 years ago - in AS NEW condition. It had seemingly been literally under someone's bed since the mid 80s! Not a scratch on it or any sign it had been blown. The action was really tight (factory setting?) so I got that softened up by my local tech. I agree, the tenor can seem a bit on the subdued side, although my recent acquisition of a Jody Jazz Custom Dark 6 combined with a powerring has given it a lot of swagger; I'm going to try a Series 3 neck asap.
As for my alto, I replaced the original neck with a Series 2 neck back in about 2000 - just today after reading all these comments I decided to get the old neck out again to see if the difference that I felt back then was still justified, considering I'm playing much better these days! Well, the original neck restored the sense of a dark, introverted horn, and gave it better intonation for the bell notes, but the loss in volume was considerable. About 30 - 40 % I'd say. Also, the Series 2 neck makes altissimo and the whole top range warmer and easier to produce. It's a MUCH more outgoing horn and still amazingly flexible tone wise - I have no problem going from dirty blues to refined classical just with a different set up and embouchure etc.
Having said this, I'm really keen to try a Series III Jubilee or even a Supreme neck on my alto to hopefully further improve intonation, tonal homogeneity and ease of production especially at the top and in altissimo.

What I don't like? The alto's tuning is a bit of a bastard.
The worst is the middle Bb is so amazingly flat; to get it anywhere near in tune I have to vent G# . Yes, it's that bad.
I'm kind of used to it now but all notes from that Bb chromatically through to E I use alternate fingerings on everything by the quickest scale runs. Does my head in at times but that's how it goes. Likewise, low D often needs a touch of C# key to pull up, and everything from G# above stave to the top needs to be brought down with RH keys to some degree, or certain palm keys omitted.

The tenor is much better tuning-wise. Mid Bb is still very flat but other notes not so band, and the top is incredibly in tune.

Hope to try the Supreme soon, because some relief from the tuning issues would be really nice. But if the tone doesn't come with the character of this horn then forget it. These Series 1 horns can sing, and have oodles of personality. You just need to unlock it's potential with a better neck and of course try different pieces to direct its inherent tonal complexity into the direction you desire.
 
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