[BigBen23]

I love my Mark VI Alto 119XXX and I've oogled at more than one MK VI Tenor but given its not ever going to be my main Saxophone I wont fork over the cash even though I believe its the archetypal for Tenor and Alto.

1. Are you an all MK VI player or are you like me and your lineup is a mix?

2. Does the extreme variation of Mark VI's affect your lineup decision?

 

[buddy lee]

I love my Mark VI Alto 119XXX and I've oogled at more than one MK VI Tenor but given its not ever going to be my main Saxophone I wont fork over the cash even though I believe its the archetypal for Tenor and Alto.

1. Are you an all MK VI player or are you like me and your lineup is a mix?

2. Does the extreme variation of Mark VI's affect your lineup decision?

1. I currently have 5 tenors, one of which is a 1964 Mark VI. It is not my main horn, but I do play it from time to time. I also have a 1953 Super 20, a modern Borgani Jubilee, a modern B&S Medusa, and a 1948 Martin Committee III (currently for sale)

2. I don't think I'd ever buy a Mark VI that I couldn't try first, for the reason you mention, plus the fact that they're not exactly cheap...

 

[BigBen23]

I love my Mark VI Alto 119XXX and I've oogled at more than one MK VI Tenor but given its not ever going to be my main Saxophone I wont fork over the cash even though I believe its the archetypal for Tenor and Alto.

1. Are you an all MK VI player or are you like me and your lineup is a mix?

2. Does the extreme variation of Mark VI's affect your lineup decision?

1. I currently have 5 tenors, one of which is a 1964 Mark VI. It is not my main horn, but I do play it from time to time. I also have a 1953 Super 20, a modern Borgani Jubilee, a modern B&S Medusa, and a 1948 Martin Committee III (currently for sale)

2. I don't think I'd ever buy a Mark VI that I couldn't try first, for the reason you mention, plus the fact that they're not exactly cheap...

I haven't tried a King Super 20 Tenor yet but I've heard great things.

 

[adamk]

My only Selmer is a Mk 6 sop from early 70s.

 

[Dr G]

I had all Selmers in the '80s and early '90s: Mk VI sop, Mk VI alto, Balanced Action tenor. I've gone through a lot of horns in the last couple decades, and after all that now have all Borgani Jubilee horns (OB UL sop, OBA silver pearl alto, J silver plate tenor, OBT silver pearl tenor).

 

[skeller047]

I have a SBA Alto, and a Mark VI tenor. Also a Barone tenor. I use one of the Boston Sax Shop necks on the Mark VI tenor, it markedly improved the response in the palm key and altissimo ranges. Soprano, I've got 2 - Yanagisawa curved (SC990) and one of the Viking one-piece sopranos with the curved neck (like a 62R, kinda). Both are very good.

I used to have a Mark VI alto, it was quite good, but the SBA blew it out of the water and I sold it. The tenor was always "just OK": good but not great. I liked the tone, and the response, but anything from a C3 up was kind of thin. (The new neck fixed that without changing anything else about the horn.) I prefer playing it to the Barone because it's a little lighter and the key layout is a bit better (maybe I'm just used to it), but the Barone plays every bit as well.

 

[Benjamin Allen]

I generally have not preferred the Mark VI tenor and soprano saxophones. I was a big Selmer person for years and still love the Reference 54 alto and the Serie II on alto/tenor. I also love the Selmer Serie III soprano. But I have not ever been a Mark VI person save alto. Amusingly, though, I have recently converted to the new to me Yamaha Z II on tenor and may switch altos to the Yamaha Z II for ergonomic reasons. I find these are great horns with the C1 neck (alto and tenor), which has the original 62's bore dimensions according to Yamaha. I say amusingly because of the degree of copying Yamaha did from the Mark VI in creating the 62 and later 82 series.

 

[LostConn]

My current lineup of saxophones is three Yanagisawas + one Selmer (Series III, not Mark VI). I don't suppose that's very unusual, since a fair number of people on SOTW seem to own multiple Yanys.

Perhaps the more eccentric feature of my lineup is that it consists of three black lacquer horns + one gold lacquer. That could be unique here.

 

[BigBen23]

I have a SBA Alto, and a Mark VI tenor. Also a Barone tenor. I use one of the Boston Sax Shop necks on the Mark VI tenor, it markedly improved the response in the palm key and altissimo ranges. Soprano, I've got 2 - Yanagisawa curved (SC990) and one of the Viking one-piece sopranos with the curved neck (like a 62R, kinda). Both are very good.

I used to have a Mark VI alto, it was quite good, but the SBA blew it out of the water and I sold it. The tenor was always "just OK": good but not great. I liked the tone, and the response, but anything from a C3 up was kind of thin. (The new neck fixed that without changing anything else about the horn.) I prefer playing it to the Barone because it's a little lighter and the key layout is a bit better (maybe I'm just used to it), but the Barone plays every bit as well.

I'm a big fan of what Jack is doing over at Boston Sax Shop. I like SBA more for Tenor than Alto but I like playing the tonal spectrum I can get out of my MK VI.

 

[400VI62]

I love my Mark VI Alto 119XXX and I've oogled at more than one MK VI Tenor but given its not ever going to be my main Saxophone I wont fork over the cash even though I believe its the archetypal for Tenor and Alto.

1. Are you an all MK VI player or are you like me and your lineup is a mix?

2. Does the extreme variation of Mark VI's affect your lineup decision?

My lineup is a mix;

Soprano YSS62, SC991B

Alto MarkVI, YAS62

Tenor TH&C, YTS62

Baritone YBS32, MarkVI( Low Bb ), SML(LowA)

I am happy with my herd of saxophones, these ones are my main and backup horns, I also have;

SML/KING MARIGAUX Soprano, Alto and Tenor

Buescher S5, S25 (these two got me into Bueschers)and an Alto TH&C

I am not worried by not having a Mark VI Tenor, I do enjoy being on my TH&C Tenor while the rest of the section are on Mark VI's, they're so common, ;-).

 

[Reet McVouty]

I still have a Selmer Largebore (1929) alto. It's a sweet sounding horn but the ergos are a little awkward after playing Yamaha's and my Cannonball alto for a while now. I tried selling the Largebore but I couldn't get what I wanted for it so I decided to keep it. I had an SBA tenor and ended up selling it after playing my son's YTS-475, and I ended up buying a YTS-875EX with the proceeds.

There's no doubt that Selmer makes great instruments past and present. But the variances of the MK VI due to the constant build changes make them a crap shoot. And the price tag, forgetaboutit! Even their modern horns fetch a hefty sum. I'm sure we'd all have a Reference 54 if they sold at the same cost as a P.Mauriat.

Anyway, it's nice to still have a vintage Selmer in my stable. I take it out and play it every now and then, but is in need of an overhaul now. My dilemma is, do I want to spend the money on a horn I seldom play?

 

[Tranechaser]

Current state of my revolving door lineup.

Tenor - 47XXX SBA, 74XXX VI, 93XXX VI, 271XXX VII
Alto - 20XXX BA, 160XXX VI
Soprano - 03XX Yamaha 62 purple logo

 

[B Flat]

Well just to be the odd one out.
No VI’s anymore.
Had a VI Baritone that didn’t agree with me.
Now it’s a 33 Conn Baritone as well as a later 1960-70 12M and a The Martin Baritones.
Tenor is a 1932 Selmer super and a 1960 super 20.
Alto is a 1940’s SML Rev A and a Yanagisawa 991.
So I’m all over the place with brands, ergonomics, tone the whole lot.
What I like in one horn is what I don’t like in another.
Don’t even look in my mouthpiece drawers.

 

[BigBen23]

I still have a Selmer Largebore (1929) alto. It's a sweet sounding horn but the ergos are a little awkward after playing Yamaha's and my Cannonball alto for a while now. I tried selling the Largebore but I couldn't get what I wanted for it so I decided to keep it. I had an SBA tenor and ended up selling it after playing my son's YTS-475, and I ended up buying a YTS-875EX with the proceeds.

There's no doubt that Selmer makes great instruments past and present. But the variances of the MK VI due to the constant build changes make them a crap shoot. And the price tag, forgetaboutit! Even their modern horns fetch a hefty sum. I'm sure we'd all have a Reference 54 if they sold at the same cost as a P.Mauriat.

Anyway, it's nice to still have a vintage Selmer in my stable. I take it out and play it every now and then, but is in need of an overhaul now. My dilemma is, do I want to spend the money on a horn I seldom play?

The 875 EXii series may be the best horns on the market they sound a lot like a good MK VI but i'd say it does miss that "sparkle" that a good MK VI has.

 

[GCinCT]

I am an alto player. My main alto is a King Super 20 series one that I LOVE. I also have a Yamaha YAS-62 Purple logo which is a great horn that I really like. I don't play much tenor or soprano, but I do have a Conn 16M and a Yamaha YSS-475II. I like them both.

I have never owned a MkVI. I had a VII alto. It was an early one with an M serial number and it had a VI neck. It was a very nice horn but I liked my King and Yamaha better so I sold it. I would try a VI if I had the opportunity, but it is unlikely I would buy it. The prices are just so overinflated and I can't imagine liking it more than my Super 20.

 

[JazzManCan]

Been through a ton of SBA’s and VI’s as well as a few BA’s, VII’s and pre-BA horns and just love VI’s the most in general. Here’s my lineup:

Alto: 76xxx Mark VI (Med bow)
Tenor: 104xxx Mark VI
Soprano: Yamaha 62R

 

[BigBen23]

I am an alto player. My main alto is a King Super 20 series one that I LOVE. I also have a Yamaha YAS-62 Purple logo which is a great horn that I really like. I don't play much tenor or soprano, but I do have a Conn 16M and a Yamaha YSS-475II. I like them both.

I have never owned a MkVI. I had a VII alto. It was an early one with an M serial number and it had a VI neck. It was a very nice horn but I liked my King and Yamaha better so I sold it. I would try a VI if I had the opportunity, but it is unlikely I would buy it. The prices are just so overinflated and I can't imagine liking it more than my Super 20.

I am expecting the market price to go down as to more reasonable value in the coming years and it has been gong down steadily. The days of Selling one for 10k are pretty much over unless it was owned by someone famous.

 

[rloyot]

I'll play - I've been through a number of horns over the years. Finances and life circumstances have caused me to sell horns more than I care for.
Altos - played a bunch - owned:

• Buescher student horn as a kid - it was surprisingly good.
• Radio Improved that screamed but had real intonation issues
• Buffet S1 - truly excellent, very sad to have let that go
• transitional MK VI 54xxx 2nd best alto I ever played
• BA 25xxx silver plate (current) - hands down the sweetest, most beautiful alto I have ever blown, 'til death do us part

As for tenors:

• Super 20 SS 314xxx was my first tenor at age 14 - loved it, played it to death
• Yani 900? silver - nice but uninspiring tonally - just for a minute, moved on
• MkVI 110xxx nice but not inspiring
• Buescher TH&C. Real nice horn and a lovely sound but I never got traction with it
• Conn 10M, don't remember serial. Had a lush big low end and would resonate like crazy but I could not find my way on that action - turns out I'm a Selmer layout guy.
• transitional MkVI 56xxx - museum piece but I could never connect with the way it wanted to take air (Bergonzi took that one)
• BA 29xxx no lacquer - straight line screamer - this one broke my heart when I sold it (wasn't playing out at the time)
• BA 26xxx - relaq and re-engraved. Very nice but nothing magical
• MkVI 85xxx, horrible relaq that I had stripped and overhauled by Tenor Madness. An absolute joy of a horn, warm and fuzzy. Very sad when that went (was managing a fiscal fiasco). My 2nd favorite of all time
• MkVI 94xxx stripped, had a nice sound but too much resistance for me so let go
• SBA 42xxx 80% original laq. Just got this and it's off for a setup but a real wow when buying. Reminds me very much of the BA alto in the flexibility of sound. Sweet. This could be a lifetime keeper
• Super 20 SS 375xxx gold inlay. This is my loud gig horn. Never forgot my first horn and this one did not disappoint. It's a fantastic bar room brawler, eat's VI's for breakfast. Stays with me until I can no longer play gig's I think

Soprano - my one and only is Yani 902 silver from the early 80's. I love it so much and would never part with it.

-- Rob