Of course it is. I just used the word "shootout" to get peoples' attention. I'm just seeking an answer to the question I initially posed: Based on your experience with these horns, are the 6 tones produced here good representations of the tonal characteristics of the 6 different horns?
I can do that. Now, my experiences were only based on the particular examples I tried. For at least the Selmers, there must be better. All of these horns are in comparison to my Barone "Vintage".
Selmer Serie II - Smaller and more introverted sound, especially in the low end. Seems a little too "strictly classical", unlike the alto version, which I find superb. I want to try more of these, I refuse to believe they all sound this small.
Selmer Serie III - Bigger sound than the Serie II but brighter, again, particularly noticeable in the low end. I'd never use this for classical studies, but I could see this sounding great with an Otto Link. Still, there was a certain white noise to the sound I didn't care for, this is my second least favorite modern Selmer, following the Reference 36.
Yanagisawa T901 - Bland and didn't stand out to me at all. Felt like a generic intermediate horn, made me think of the color gray.
Yanagisawa T992 - A bit more special than the 992, but remarkably similar to the Yamaha 875EX in terms of tone. Darker than your typical Japan horn, but with the characteristic "Japanese" core. Not my thing, but very nice. Extremely even response.
P. Mauriat 66RX - Superb presence of a dark "Selmer" core with this horn, particularly in the mid and low end. I preferred my Barone's more homogenous but similar tone, however, this horn would be killer for my jazz concept. I find my Barone to be a more versatile horn, though.
I'm surprised you didn't mention the tenor Reference 54. I find this to be the best modern Selmer, at least the ones I have tried. They're rather similar to my Barone though... sounds like you should just get a Barone