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What should be embossed or etched on the front of the necks for the Selmer Super 80 series tenors?..For the Super 80..??..for the Super 80 Series II..and for the Super 80 Series III?
Is there anything supposed to be on the series III?...
 

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Alto: Couesnon and Bettersax (by Bundy); Tenor: YTS-61; Sop: Antigua Winds 4280; C-mel: Conn
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The only thing marked on my Series I neck is "80 Super Action," not counting the Selmer blue background logo on the top of the octave key mechanism.
 

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Alto: Couesnon and Bettersax (by Bundy); Tenor: YTS-61; Sop: Antigua Winds 4280; C-mel: Conn
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Here's a photo of mine:
 

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Hi Rob,
Interested to know your impressions of the SA80! How long have you been playing it?
 

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Alto: Couesnon and Bettersax (by Bundy); Tenor: YTS-61; Sop: Antigua Winds 4280; C-mel: Conn
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Randall said:
Hi Rob,
Interested to know your impressions of the SA80! How long have you been playing it?
I've been playing it since last Friday night after getting home from work and haven't stopped...well, maybe for a bite to eat. ;) Anyway, I love it. BION, it's lighter than my LA Sax tenor and the keywork is very fast and smooth. It took just a few minutes of playing the SA80 to know it was the keeper and the LA-850 was soon to become history. The tone is better, as you might imagine, but I'm hard-pressed to supply the appropriate adjectives for an accurate description of it. My wife said it's the best of all the horns I've owned and played, and that says a lot to me.

I'm just curious now, based on another thread on SA80's, whether a Series III, or other 3rd party, neck would make it sound even better, as the SOTW member claimed. I'm also back to determining which of the myriad tenor mpc's available would be best for my "new" horn. I'm currently alternating between a metal Berg 90/M-something, a Morgan 3C and a Svoboda-modified Runyon Custom HR piece that's shaped like a metal piece and does a pretty good job with an FL lig and Fibracell Medium reed. But, I'm way out there wondering if a Jody Jazz DV does everything most reviewers I've read say it does, or possibly one of the other high end pieces.

None of this neck/mpc speculation addresses the possibility of improving the sound by upgrading my skills, that would be too much like work. It's easier to buy things than to spend grueling hours in the shed working on the basics like - perish the term - long tones. :(
 

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Hi Rob,
Glad to hear it is working out so well for you.
I remember when I got my VII, it was the exact same experience~ it was so incredibly different from what I had been playing.

As for necks and the like, I would say that the Selmer sterling neck that is made for the Series I and II and MK VII horns would be a good place to start. I have never known of anyone who tried a III neck on a I.
Most everyone I know that has a Selmer is playing a VI, III, II or Ref, now.

I have been a Series I detractor for a long time, honestly, but I have played one that was a real paint peeler (belongs to a buddy) and he is absolutely the loudest tenor player I have ever heard in my life. I played the horn and loved it, much to my surprise.

The mp saga....you know what a quagmire that one is! Try a Runyon Quantum Spoiler in delrin with a fairly open facing.....you may be surprised.
I too have been hearing the siren call of the DV....if I can unload two of my bigger ticket horns I may go ahead and give it a go, although I am perfectly happy with my Quantum (well....obviously not perfectly:twisted: ).

See....the madness never ends....;)

Keep us updated on how it goes with the Series I. I am interested to know how it works for you....
 

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Randall said:
I have been a Series I detractor for a long time, honestly, but I have played one that was a real paint peeler (belongs to a buddy) and he is absolutely the loudest tenor player I have ever heard in my life. I played the horn and loved it, much to my surprise.....
Similarly, when I got my 151K Mark VI I expected everything but a loud tenor. And it turned out to be the loudest I have (I don't know if this happens because it "encourages" to put more air into it...:? ). Mind you, my others are not reputed to be quiet either.

I think the variability among even the same line of the Selmer horns is incredible and especially with this brand reinforces the "try-before-you-buy" principle.
 

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I have a "paint peeler" also. It's enteresting to know that it ain't just mine with the problem. BTW, there is absolutely nothing wrong with the sound. I can't really compare it to others because I've had it since I was a sophomore in high school (25 years). I've heard people talk about the different necks but I have not tried any yet (maybe my next case of GAS). I use a metal Berg (100/2/M) and I call it a "full" sound more than a "loud" sound.

Randall (or anyone else out there) is there any documentation on the internet about what the deal was on the laquer jobs on the Selmer SA80 I's?
 

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I have a Series I tenor that I use a Series III neck on and it works great -- I like it much better than the stock neck. If you like Mark VIs it puts the Series I much further into Mark VI territory.
 

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Alto: Couesnon and Bettersax (by Bundy); Tenor: YTS-61; Sop: Antigua Winds 4280; C-mel: Conn
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sessionsax said:
I have a Series I tenor that I use a Series III neck on and it works great -- I like it much better than the stock neck. If you like Mark VIs it puts the Series I much further into Mark VI territory.
I think I read this in another thread which is what got me to thinking about, and looking for, a Series III neck and how it might do the same for my Series I. The SOTW'er from whom I purchased this SA80 was also selling two other necks at the same time, but neither was a Series III. He had/has a 54 matte finish and a Barone engraved by DuMars, but I'm not sure how either of those might improve the SA80 sound.
 

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I had an S80-I for years and years as my main alto. The action was awesome, but tonally, mine was very dark with moderate projection. I sold it to a buddy who has matched it with a Millenium neck (not sure if its the same as the regular series III sterling) and its definitely more focused and has more projection. The tone is brighter overall and thinner, both being a positive improvement on this particular horn. The upper register gained that nice "singing" quality where it felt dark/dead previously.

I am currently trying to negotiate the return of the horn to its rightful owner!
 

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Series I laq

Delta, I know of no documentation....but I can tell you from observation that it must have been pretty bad/weak.
Virtually all the I's I have seen were awful looking inthe laq dept., very soon. I have seen a few of these horns that were closet horns and of course they are fine, but the majority of the played ones look like something that would fit in on a TROMA TEAM movie set.:D
 

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What i'm wondering about on altos is trying a Series II neck on a Series III horn. Better tuning with tone like a Series II ?? Dunno when I'll get a chance to try this combo out...
 

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My S80 was purchased in mint condition from a pawn shop in 1990. The pads were worn out but finish was perfect. The horn was played through a year of high school, 4 years of college, and weekend stuff since and still is 95%+ finish...some scratches, no large wear areas. It is a first-year production S80.
 

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Series one neck problem

I bought my SA80 series one alto in Korea, of all places, and I'm still kicking myself for not buying the matching tenor that the vendor had for sale:cry: .

What is the problem with the stock neck, actually. Can anybody clarify this? Also, roughly how much would you expect to spend to update to a better Selmer neck?
 
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