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Discussion Starter #1
A lot is written about Selmer mark 6 manufacturing changes during its approx. 20 year run, with the earlier horns being arguably more desirable than later ones. Is the same true for The Martin Committee 3?
I am looking at buying a 1945 The Martin alto that look to have been little used. Were these better or worse than that 50's or later horns ? What about the tenors?
 

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I've read here that no, nothing changed during the run. To my eye, the late ones (very late 60s+) cheaped-out on engraving and possibly keywork, but they are supposed to be just as good as the older ones. I have a 1948 tenor that is fantastic. If you are ok with the ergos (the pinky table isn't great), go for it.
 

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Discussion Starter #3
Thanks. I'm more tolerant of "old" ergos on alto than tenor. What do you suggest for pads and resos? Currently has rivet resos on prob. original pads.
 

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Thanks. I'm more tolerant of "old" ergos on alto than tenor. What do you suggest for pads and resos? Currently has rivet resos on prob. original pads.
Well the one I have was overhauled before I bought it and has black roo pads with those HUGE metal resonators. To be expected, it wails. If you want something less, go with plastic domes.
 

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My '46 The Martin alto is the bomb: gorgeous in looks and in tone, and so solidly built. Not sure what pads or resos it's sporting. But yeah, that LH pinky table's a trifle hard to cognitively map. My Zephyr alto and Buescher tenor much easier to navigate for some reason.

But my Martin's so sweet that it actually convinced my friend's mother, who's not a player, to pick up the sax.
 

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I got a 54 tenor and a 56 alto. Great tone on both horns.

I've had a MK6 for decades now, but I love my Martins just as much.
 

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I got a 54 tenor and a 56 alto. Great tone on both horns.

I've had a MK6 for decades now, but I love my Martins just as much.
Yeah, same here, I have a 48 Martin tenor and a 64 Mark VI. If I could put the Selmer keywork on the Martin it would be OVER.
 

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