It was replaced by the Mark VII, which did not receive a warm reception from Selmer devotees and the saxophone market in general and consequently, after only a couple of years, was replaced by the Super Action 80, followed by the Series II and more recently the Series III.Selmer Paris Reference 54 Professional Alto Saxophone Vintage Matte. It was produced from 1954 through 1974, a twenty year run. Stellen Sie sicher die reviews zu &252 berpr&252 fen, sondern vor allem den roten Knopf dr&252 cken, um zu sehen ob es Ihren Musikgeschmack passt.The Selmer Mark VI is probably the most popular and also most costly vintage saxophone on the market. Selmer pr&228 sentiert Alto Saxophones Reference 54 Alto Saxophone.Wenn Sie auf der Suche nach saxophones oder wind instruments im Allgemeinen sind, dann kann dies eine passende Wahl sein.
Of course it was forgotten that when the Mark VI replaced the Super-Balanced Action, many players of the time were saying the same thing. If you are interested in this article, please send us an inquiry, we will reliably create an individual offer.Still, there were enough players and collectors bemoaning the fact that there was no longer any Selmer saxophone that could compare to their beloved Mark VI's. La calidad y el cuidado durante la fabricaci&243 n se evidencian tan pronto se saca el instrumento de la funda.Selmer Alto Saxophone Model Reference 54 GG.
For one thing, companies like Keilwerth, Yamaha and Yanigasawa were building quality saxophones, giving Selmer their first real competition in years. With this saxophone, prominent American brands like Conn, Buescher, Martin and King would soon cease all saxophone production or be reduced to making only student level horns, or go out of business altogether.Selmer realized that the increased demand for Mark VI's on the vintage market represented an opportunity for them to reclaim some of their prominence. What was interesting about the Mark VI was that Marcel Mule, the eminent classical saxophonist had a hand in its design, yet classical players didn't take to it, but jazz players did in droves and soon it seemed almost no one played anything else.
It feels good in the hands, and all the keys fit right under the fingers as you would expect from a Selmer. Plenty of weight behind it. The only nod to the original as far as the keywork goes is a pearl for high F instead of the teardrop key more in use today, and a round instead of elliptical pearl for the side F# like you would find on a Mark VI.When you pick up the horn, you can feel a horn of substance. What they did was to take a 1954 Mark VI alto which they found in New York which epitomized the best aspects of the model in terms of sound, study its specifications and then reproduce it exactly, with only the keywork updated.
Of course, all horns should get a good set-up, but at the price of the Selmer, this shouldn't be an issue on every horn. This means that a tech will have to make the adjustment to this key when it comes out of the box. This has been true on every Reference 54 I've tried. You can also feel it in your mouth as you play as if someone tapped the neck with a stick. This also causes a split-second lag time in the response of the note. So far on all the References I tried, I noticed that the octave key comes down with a pronounced thump or more accurately a heavy clunk because there seems to be a split-second lag-time from when you press the key to when it closes.
The first time I held it in my hands I was eager with anticipation. Just by its looks and feel, not to mention the price, I expected it to have a sound worthy of its name. Again, at the Selmer's price point, this should not be an issue as far as I'm concerned.Now for what I consider the most important thing about any saxophone, and that is the sound. How many have I tried? So far I've played a dozen of them, and found exactly the same issues with the octave and front high F key. Once again I found this true on all of the References I've tried. It was set slightly higher than the other keys, so that when I rolled my finger to press it down, it got caught in the space between the keys, again causing a slight delay in the response of the note.
No doubt about it, it is a fine horn indeed. It has the characteristic darker mellower tone that is normally associated with Selmer. Let me clarify.The sound is rich and deep for sure. It was here that I couldn't figure something out. I put the mouthpiece to my lips and then I blew into it.
What Is A Selmer Reference 54 Alto Saxophone Plus Side And
There really wasn't a lot of spread in the tone. That's good for ensemble playing or studio work, but not so great when developing your own individual sound. This really means that you'll end up with more or less a generic horn. There is a plus side and a minus side to such consistency.
It just didn't make me go "wow!". Then of course, just looking at it caused me to expect great things from it. Before I ever played one, I read a number of reviews which called it the greatest saxophone ever made, that Selmer has finally done the Mark VI one better, or at least got back its groove. I don't know if this description translates well, but this is my feeling about it.The other thing was that I wasn't "wowed" by its sound.
Even the Buffet 400 I reviewed made me do that because the sound and feel was far above average for a medium priced horn that was made in China. Mauriat 66R and 67R saxophones have made me go "wow!". The Buescher 400 tenor I recently tried made me go "wow!", as did that Conn Virtuoso Deluxe that I described earlier.
They are far more consistent in tone than Mark VI's, but that doesn't mean a cookie cutter sound. In any case, the more recent References I've played are fantastic looking and sounding horns. So maybe it's a myth that hand hammering, the long and tedious process of shaping the bell makes a saxophone better. Another thing he told me was that now there is a lot more machining than hand work, particularly in hammering the bell, since so many workers were getting serious wrist, arm and shoulder injuries over repeated striking of the bell. If it isn't, I really do envy you.Update(2014) Since writing this article, I've played a couple of dozen more Reference 54 altos, and I am happy to say that I didn't have any issues with the octave key, or any of the keys for that matter, and this time, the horns definitely made me go "WOW"! Why the change? When I last spoke with Jerome Selmer, he told me that with computer modeling, they can more accurately place the tone holes, and in fact slightly raised the level of the tone holes, position keys and key rods more accurately, as well as make the brass more consistent by accurately measuring the ratio of zinc to copper. However, if you're a practical musician, and these days you really have to be, it may make more sense to try something else out, unless money isn't an issue.
Saxophone Review: Selmer Reference 54 Alto Saxophone I don't care about names, just sound and quality. As much as I was wowed by the current crop of Reference saxophones, I can still be wowed by other saxophones that won't cost me nearly as much. Sure, there may be a certain "prestige" to owning a Selmer, and certainly it will have a better resale value if you find yourself in dire straits and have to sell it, but if you're a working musician, not a "star", there are now plenty of less costly options that will take you to the same place. The bottom line here, is that I have still played other saxophones that make me go "WOW" but are not nearly as costly. I really fell in love with the ones I've played, and if I find any problem with them it's that they're going for a street price of nearly 7 grand.
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