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TENOR, soprano, alto, baritone
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The III neck is in the late MK VI pattern so its good on those. It also has many fans for use on the II. The II neck, like the MK 7, is the 'high-arch' design.
I got the feeling that you were starting to dig the III neck as it went on. I know this - trying a neck is like trying a mouthpiece; unless its totally good or bad for you right off the bat, it will take some time to adjust to it along with at least one live performance (if you do that).
 

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Distinguished Member, Forum Contributor 2008-2017
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I use a Series III neck on my Series II Alto. But, hearing you, IMHO, your sound with the Series II neck on your Series II horn is amazing. You sound amazing too with the Series III neck, but I hear more body, a fuller sound with the Series II neck.

Regards,

JI
 

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By the way, thank you for doing the video. It will help many in finding their voice with neck changes.

Hi everyone! I play a Selmer SAII, and a few of my colleagues have recommended trying my saxophone with the neck from Selmer III. Here's a small test recording of me trying both necks. What do you think?

 

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I think the original sounds fuller. The iii is a little more open sounding. I guess it’s all about feel. I’ve been thinking about trying one and wondered how they sounded thanks for the video!
 

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Here something recorded as poorly as possible with my iPhone.... It is my Series II with the Sterling Silver Series III neck. Immediately the phone "protects" and the sound goes off.... but there it goes.

It didn't work..... jajajaj let me see... ok... let's see if it works now.
 

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I much prefer your sound with the SII neck...but that sound is also more to my personal taste. The SIII neck still sounded good (and the sound was more spread) but I love the grunt and focus of the SII neck. It seemed like altissimo was much easier with the SII neck but that could also just be that you're more familiar/experienced with that neck and its nuances.

I play a SIII tenor and much preferred it to the SII when I was trialling horns but if I had produced your sound with the SII, I'd have bought the SII!
 

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I have to say, on these comparisons, listening on Dell laptop speakers, I usually hear no difference. On this one I hear a little more fire or brightness in the Serie II neck. The Serie III sounds just a little bit less firey, less flash or brightness. At least, it's the first time I can say I heard a discernable difference. Maybe if I were listening on a system with great headphones I'd hear more. Or maybe if I hadn't worked underneath fighter jets idling on the tarmac a few feet from my ears, with **** poor ear protection, when I was a young marine.
 

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On this one I hear a little more fire or brightness in the Serie II neck. The Serie III sounds just a little bit less firey, less flash or brightness.
Absolutely.
 

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I just bought a Series III neck for my SA80I tenor. The shop had sent me a brandnew SA II neck and a III neck. The II neck was no different from my I. The III sounded a bit more clean and even, while my I neck would get more rough, gritty and - how shall I say? - dirty when pushed. Soundwise I´d go for the I/II neck, but the difference did not feel so great. But, what is much important for me is that the III neck has a much nicer curve. With the I neck, the MPC would come horizontal towards my mouth, while the III gives me the MPC in an upward angle. That for me make a huge difference, playing is much easier and natural on the III. Indeed, I never played another tenor where the MPC would feel so strange as with the SA I/II neck, probably designed for players who sit rather than stand. Best would be the SA I/II sound with a III curve. Maybe Henri is reading here?
 

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I still wonder, interested very much in your opinions of course, why Selmer has not produced a Series II with a kind of a Series III neck. Many players go for that combination. And as far as I know, it is not only that many search for the II instead of the III because it is less expensive. And if you buy a II and a III neck then you are almost even. Both horns are awesome. But the II seems (IMHO and in the opinion of some of the experts I know) more palatable. The III is a magnificent horn. No doubt. But the II with the III neck seems to deserve a kind of its own status, I believe. It is way different than the III with a II neck or even with its own III neck. Even the Reference might be not as much of the liking of many of us than a Series II with a III neck. Then, it is just an opinion.
 

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Distinguished SOTW Member, Forum Contributor 2014
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I just bought a Series III neck for my SA80I tenor. The shop had sent me a brandnew SA II neck and a III neck. The II neck was no different from my I. The III sounded a bit more clean and even, while my I neck would get more rough, gritty and - how shall I say? - dirty when pushed. Soundwise I´d go for the I/II neck, but the difference did not feel so great. But, what is much important for me is that the III neck has a much nicer curve. With the I neck, the MPC would come horizontal towards my mouth, while the III gives me the MPC in an upward angle. That for me make a huge difference, playing is much easier and natural on the III. Indeed, I never played another tenor where the MPC would feel so strange as with the SA I/II neck, probably designed for players who sit rather than stand. Best would be the SA I/II sound with a III curve. Maybe Henri is reading here?
That's a very accurate description. The SA80 and Serie II are nearly identical. There are a few keywork changes, but the bore design is virtually identical from what I've been able to gather. The III goes back to a more vintage Selmer philosophy. Kinda free blowing, and untamed, while adhering to that staple Selmer mid-range sound. I'm also using the SA80 with a III neck, and have been using that setup for longer than I care to admit.

Now, even though the III is closer to vintage Selmers, I'll still say that there's a pretty profound difference. BA - late VI horns were kinda untamed. Some would argue that the intonation isn't as good, but I'd argue that the horns allow one to be a bit more expressive with their voicing. It's kinda like driving a standard transmission vs. an automatic. This largely boils down to the neck. I'd say that BA, Super Action, and VI necks are high powered sports cars with a stick shift. Very efficient if you know how to drive them. Very annoying if you don't. The VII, SA80, and II necks are like automatic transmissions in a luxury sedan. Very locked in, and expressive, but one is limited to what the equipment can do. The III tries to emulate the sports cars of past, but does it in a modern coup with an efficient automatic transmission and trigger shifters manner. Meaning that the III neck is very fun and free blowing in a very conservative manner. Leaving the car metaphors, and going back to horns, I almost feel as if Selmer was trying to adhere to their past, while attempting to catch a little bit of that Yamaha vibe. Just my thoughts on the topic, having played the setup for about 15 years straight. Still having a blast with it.
 

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Distinguished SOTW Member, Forum Contributor 2014
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I still wonder, interested very much in your opinions of course, why Selmer has not produced a Series II with a kind of a Series III neck. Many players go for that combination. And as far as I know, it is not only that many search for the II instead of the III because it is less expensive. And if you buy a II and a III neck then you are almost even. Both horns are awesome. But the II seems (IMHO and in the opinion of some of the experts I know) more palatable. The III is a magnificent horn. No doubt. But the II with the III neck seems to deserve a kind of its own status, I believe. It is way different than the III with a II neck or even with its own III neck. Even the Reference might be not as much of the liking of many of us than a Series II with a III neck. Then, it is just an opinion.
Why offer a package, when you can get the consumer to buy your stock product, and aftermarket neck? Though, I imagine that Selmer would have done this 40 years ago, French labor has become considerably more expensive since.
 

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Why offer a package, when you can get the consumer to buy your stock product, and aftermarket neck? Though, I imagine that Selmer would have done this 40 years ago, French labor has become considerably more expensive since.
Good point.

I forgot to mention that when I asked Selmer directly if a Series III neck would fit a Reference, though confirmed it will fit correctly, they advised me to try more Reference necks until I would find the one I like instead of mixing models. So commercially speaking, at least when I asked, they do not see a different model neck on a saxophone they produce.
 

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Good point.

I forgot to mention that when I asked Selmer directly if a Series III neck would fit a Reference, though confirmed it will fit correctly, they advised me to try more Reference necks until I would find the one I like instead of mixing models. So commercially speaking, at least when I asked, they do not see a different model neck on a saxophone they produce.
Interesting. The old school line of thinking is that the neck designed for the horn is the best for the horn. Though, technically correct, an after market neck can open up areas of the horn more important to you. The trade-off being that other areas in tone or intonation may suffer. So, that boils down to personal preference. Selmer tries to stick to their heritage moreso than most companies these days, so I shouldn't be too surprised by their response, but I still kind of am.
 

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Distinguished SOTW Member, Forum Contributor 2015-
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It is difficult to know when you are talking about altos or tenors - especially in the context of this post and thread.

Regards,

George

Good point.

I forgot to mention that when I asked Selmer directly if a Series III neck would fit a Reference, though confirmed it will fit correctly, they advised me to try more Reference necks until I would find the one I like instead of mixing models. So commercially speaking, at least when I asked, they do not see a different model neck on a saxophone they produce.
 
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