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.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?
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.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.
Commit to the horn for a while - it blows differently than the Z.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?
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.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?