Look for inconsistencies in the shine of the metal which can also point to a re-lacquer job.įourth, pay attention to the finish. Practically though, only an experienced few can successfully perform this work without over buffing the horn and removing too much metal. Theoretically, removing the lacquer, rebuffing the horn and re-applying lacquer will notĭamage a saxophone.
This is one of the common problems with any old sax.
Third, beware of poorly re-lacquered instruments. Over time and multiple owners, many atrocities can take place to an otherwise good horn. Make sure all the adjustment screws and parts are actually there. After so many years, rod ends, pivot rods and pads all need close inspection for wear and deterioration. Second, make sure that the minimum 37 to 56 year old sax is in good Many of these instruments have weak spots.
#New 2017 selmer reference 54 tenor serial number#
not the serial number (mine is from the primo range), not the condition, and probably not the claims of sellers.įirst, look for a sax which plays well, with good intonation, tone and power from top to bottom. Nothing short of playing one will tell you for sure. To summarize, there are great Mark VIs and lousy Mark VIs andĮverything in between. And that explains my personal Mark VI, which is a very good sax, but certainly not a great sax. The result is a huge amount of individual instrument variation from Fact is, the manufacturing tolerances Selmer were able to maintain in those days were awful. This is a truth I learned only late in life.
(You can re-read this last sentence as many times as it takes to let it fully sink in.) And that high opinion is held with an almost religious fervor today. So, quite a mystique developed about the superiority of the vaunted Mark VI. For the 19 years it was produced and for at least the subsequent 13 years (and arguably the next eleven years too), no saxophoneĬould equal it. Years ago as of 2010) and produced through 1973 (over 37 years ago as of 2010). The Mark VI was introduced by Selmer Paris in 1954 (over 56 Olvera Music is an Official Conn-Selmer,Inc.If you've arrived here, you probably want to own the best saxophone ever made. Pads: treated leather with metal resonators.Adjusting screws: high F, G# key, F#/G# lug, F#/G#, adjusting bar, low C#, low B, side C, side Bb.Right-hand thumb rest: metal adjustable.Mechanism: compact key positioning - closer to the body and directly under the hand.
Body material: Matte finish over yellow brass.Acoustics: Reference body style-full sound.The instruments continue to be hand-crafted in Paris with the fourth generation of Selmer family members leading the company. Today, Selmer Paris is a leading manufacturer and the choice instrument of clarinet and saxophone professionals around the world. In 1905, Henri took over the Barbier Company, a flute maker in Paris. These instruments would gain in popularity in Europe and America, winning awards at the 1900 Paris Exhibition and in 1904 St Louis World’s Fair. In 1898, Henri’s brother, Alexandre left for the US and began selling clarinets as he toured with the Boston Symphony Orchestra. In 1885 following graduation from the Conservatoire de Paris, Henri Selmer began making reeds, mouthpieces, and clarinets in Paris. It plays, feels, and looks like a vintage Selmer, including longer bell to improve intonation and a matte finish. The Reference 54 tenor takes its inspiration from a 1958 mid-70,000 serial number Mark VI. Join the legions of jazz saxophonists that have rediscovered the sound of the legendary Mark VI and have made the Selmer 74 Reference 54 tenor saxophone their horn of choice. Complete with shaped flight case, Selmer Paris Super Session mouthpiece, cap and ligature, and care products. The keywork of the Selmer 74 tenor saxophone is extremely fluid and reacts well to even the most wicked licks. Herch Snare Catalog (Special Order Only)Ī major favorite among jazz saxophonists, the Reference 54 tenor saxophone offers a rich throaty sound that even "barks" well in the lower register.