Selmer Series III v Yamaha 82Z
1 - 20 of 25 Posts
I've owned both, and kept the III. The intonation on the Z was troublesome for me. Yamaha sent me different necks to try but it still was off. The III has great modern ergos and sound. The resistance is less than a Series II but can vary with necks. My III has a tad more resistance than my VI but is still very free. The top end and altissimo really sings on the III's. IMO the III is best modern Tenor available, I like them much better than the Reference models.
Joined
·
5,584 Posts
Had 4 Z's and a silver plated Serie III,I sold my 1st borgani jubilee for the III,WOW i soon had huge regret.The Z's are FOR ME better,nicer sounding,better ergonomics well just better.I liked the III alot but soon found it to have just 1 sound,bright and not very flexible.I missed the borg big time hence i have a new 1.I adore z's and again for me there much more flexible,bigger bottom end and they sing and are so easy a blower.I still think the III is selmers best modern tenor they make.I tested a black III years ago and that was great.I dont like the ref 54's i blew but have blew a few great ref 36's.Which is closer to a MK6,for me the Z and yes there loud and i like that:twisted:
Thanks for the replies guy. I've been a bit devious, as I have both horns at the moment. I just wanted to see other people's opinions. I have been playing a Yamaha 82Z for eight years now and really like it. But I've just got hold of an eleven year old Selmer III and I have to say I really like a lot about it. It has this sort of ring to the tone, the bottom is really fat. It gives me that Breckerish fat bottom, that I just can't achieve on the Yamaha, I thought it was just me, or my mouthpiece/reed combination. I prefer the palm keys on the Yamaha, the rest of the keywork feels pretty similar. The one thing I am having a problem with is the Selmers action, it feels really heavy. I can't play as fast on it. Are all Selmers like this? Is it something I just need to get used to?
Joined
·
3,403 Posts
If the 111series had followed the MKV1--the whole 'MkV1 thing' would never have happened! back in 1973/74 a horn like the SA 'serie 111' would have blown everything away--trouble is the MK V11 really was the worst thing that could have happened to Selmer---- not saying the 7's are bad horns but-----------------!
Joined
·
38,828 Posts
The Serie III incorporated several "improvements" in the mechanism - some of which, I think, were not so great. The spring loaded rods in some of the keys, for instance, likely create more friction and thus require more spring tension. That said, most horns are sprung on the heavy side and can be lightened considerably when the horn is disassembled and properly set up. I went through my Serie III, making sure to get all the rods moving freely, cleaned and lubed (removing the old lube from the tubes with solvent and pipe cleaners), and then reset the spring tension. It makes a world of difference.
Joined
·
247 Posts
I've tried both, and found them to be almost the same in every way, except that the tone on the III seemed less harsh and more refined. I went with it. Both were vey recent models. The thing I like best about both these horns is the response.
Joined
·
27,454 Posts
I replaced my 82 Z UL (no F# key) with a Serie III. The Serie III was the best tenor I've ever played, period.
That's not to say it's the one I've preferred the most (my present JK is because of its sound), but the Serie III was absolutely wonderful. The Z I replaced was also a superb horn. The only real difference to me was in the sound. To me, the Selmer had a shade more depth and body to the sound but it was enough that I could hear and enough to pay the difference for.
That's not to say it's the one I've preferred the most (my present JK is because of its sound), but the Serie III was absolutely wonderful. The Z I replaced was also a superb horn. The only real difference to me was in the sound. To me, the Selmer had a shade more depth and body to the sound but it was enough that I could hear and enough to pay the difference for.
Joined
·
580 Posts
I use a Serie III about 11 yrs old too...it's great, not too bright, big sound.
As Dr G says the action can be lightened...it will probably always feel a bit bigger in your hands than the Yammy but you will get used to it pretty quickly
As Dr G says the action can be lightened...it will probably always feel a bit bigger in your hands than the Yammy but you will get used to it pretty quickly
Joined
·
1,205 Posts
I actually prefer the Z to the III. They are both bright-ish horns with modern ergos and intonation, but I find the LH pinky table on modern Selmers to be cumbersome, and I find the tone of the III to be kind of... inflexible. It just doesn't have that much subtlety for me, whereas once you get to know the Z I think the tone is a bit more lively and dynamic.
I have to say, I'm slowly falling in love with this Selmer. It seems to be getting lighter/faster, whether that's me getting used to it, or the sax just needs to be played a bit, I'm not sure. It has a resistance that you can lean against, then push against, then you can push past the resistance and really scream. I don't like the palm D and have added one of those rubber risers, which has sorted that out. I actualy prefer the LH pinky table on the Selmer, they seem to move really fast. I'm actually in turmoil, I really didn't expect to like this Selmer more than my 82Z. I haven't played it on a gig yet, so things might change.
Joined
·
612 Posts
I know this is a selmer vs. yamaha thread, but this clip of Roger Manins comparing the Mauriat Horns with the Selmer Series III is interesting, I think the Series III sounds fantastic - if I ever need a back up for my VI that's where I'll be looking... The Series III starts around 2:20.
Interesting. I tried a Mauriat recently, I don't think I'd ever get used to those convex pearls and the palm keys are ridiculously placed.
One issue I'm having with the series III is, sluring octaves seems a little more difficult, than on my 82Z. Especially middle C to high C, I need to tighten my embochure slightly for the high C to speak. Anybody else have this issue with a series III? Any solutions?
Joined
·
38,828 Posts
Commit to the horn for a while - it blows differently than the Z.
Regarding the octaves - commit to spending a lil' time to voicing overtones, playing scales and bugling without using the octave key. It shouldn't be the embouchure as much as voicing in the throat that leads to your success.
Joined
·
3,403 Posts
Might be the "old lower octave pip problem" --on the Series111 alto's the octave pip(vent tube)--lower was/is too small in diameter-- 2mm-- should around 2.5mm. Selmer know about this but whether it's been rectified I don't know.
I drilled my alto pip to 2.5mm and octaves G-G, G#-G# dont 'crack up' anymore
Regarding the octaves - commit to spending a lil' time to voicing overtones, playing scales and bugling without using the octave key. It shouldn't be the embouchure as much as voicing in the throat that leads to your success.
Thanks Dr. G, but that's not the issue.
Thanks Dr. G, but that's not the issue.
Joined
·
3,664 Posts
I did owned the tenor Z,and soon after I bought it,got tired of it fast!
I got my Serie III after I sold the Z and never looked back.To me there is no comparaison,the III bottom line has a better core,richness and is nt bright at all,to what some will say.
Reeds,mpcs and that will make any horn sound bright,not the III Selmers.
I still love my III after about four years now.Fantastic horn.
Regards
Saxobari
I got my Serie III after I sold the Z and never looked back.To me there is no comparaison,the III bottom line has a better core,richness and is nt bright at all,to what some will say.
Reeds,mpcs and that will make any horn sound bright,not the III Selmers.
I still love my III after about four years now.Fantastic horn.
Regards
Saxobari
1 - 20 of 25 Posts
