I've also got pictures of my III now.Yeah - the III is incredible and all, but for what I do musically, it's like using a Ferarri to deliver pizzas.
Selmer reference 54 alto antique professional#
They were done by a professional photographer. You can fit a bumper sticker on that thing!I've got awesome pictures if anyone wants to see the 23. Maybe it's the one really large key guard that covers all the bell keys. This old one I've got is a different animal.Don't know if it's the 'ol "dont make 'em like they used to" thing or what. Practiced a bit and used it at church yesterday.I'm going to make this 23 my main horn and sell the Selmer III.I played a new 23 in a local shop last year and didn't like the way it felt or sounded at all. Check me into the looney bin, call a doctor, call a priest.I set up and tweaked the YAS-23 this weekend. Their soprano is from Taiwan (a great horn for the price), and their alto is out of Germany and is, too, an outstanding horn though not as cost competitive as their soprano. At least Yamahas play in tune.I was very impressed (once again) with the Accent brand horn. Better off with a YAS23 than with a Cannonball. Who knows - maybe the III will go up for sale.BTW, I absolutely hated the Cannonball. When I get the chance, it will be Iron Chef time. unlacquered or silver plate is simply a matter of appearance and upkeep in my opinion.So I'll gladly keep my III for now.I just wish they had a Yamaha 82Z or 875EX to try out. Maybe colored lacquer dulls things to a noticeable amount, but standard lacquer vs. I like the feel of unlacquered horns, so silver works for me. Maybe Selmer's C# tonehole is specifically for some inherent flaw in their bore design or something.The lacquered III had a touch less brightness, but nothing terribly significant. The Ref's C# had that hint of flatness to it but was better than I've experienced on other horns I've played. The LH pinky table played the same between the two as far as I could tell.And I'll attest that the III's middle C# tonehole most certainly DOES make a difference. I also like the larger plafrom of the III RH pinky table. The Ref high E is flat as the palm keys are below it. The high E on the III has a little bit of a lip to it which I've come to rely upon, apparently. High A rang nice and clear on both the Ref and the III.Maybe it's because I'm used to it, but I like the III's keywork much better. The tenons are the same size but the III neck was a bit longer with the octave pip slightly closer to the mouthpiece. I swapped necks between the horns and didn't notice any difference at all. So close to the lacquered III that I'd say that there was no noticeable difference as a player tone-wise. I played both a vintage LT and a Vandoren JJ A55.The Ref played only slightly warmer than my III (which plays brightly anyhow) and played about identical to the lacquered III. my silver plate III and a standard lacquered III. Well, I just took the Pepsi Challenge (with the blindfold off - anyone know what I'm talking about?)I played the Ref vs. We also provide a 1 year comprehensive warranty with this sax with the option to purchase an additional year extended warranty (2 years total).Ĭheck out what selmer has to say about their reference horns by following the link below.Selmer Reference 54 vs. This sax is sold with a complete professional setup by the Saxquest Shop. The palm key placement and height is similar to a Mark VI, however, the intonation in the middle register is superb, unlike many a Mark VI. The reference 54 comes with the high F# key in addition to a more compact key positioning bringing them closer to the body and more directly under the hand. The overall sonics are dark and centered with a certain unique depth of sound which is warm, rich and focused. We've found that the increased radius of bottom bow makes for a fatter/bigger bottom end.
It's built in the spirit of the 1954 Mark VI, but it's not a clone. The reference 54 definately has its own voice. I come away with the impression that these are truly great saxophones.
I have play tested several of the reference tenors and pitted them against some of the best Mark VI's out there.
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