- SELMER REFERENCE 54 ALTO VS MARK VI SERIAL NUMBERS
- SELMER REFERENCE 54 ALTO VS MARK VI SERIAL NUMBER
- SELMER REFERENCE 54 ALTO VS MARK VI SERIAL
Latter-year Mark VIs gained a reputation of being lower quality than early versions (possibly due to Selmer's higher annual production output of the popular saxophone), leading to a greater demand of early-year Mark VIs with a five-digit serial number. Others contend that Mark VIs produced after about SN 180,000 had harder metal as a result of a change in the metalworking process, however, that SN corresponds to a known change in neck design so differing characteristics before and after can not definitely be ascribed to metallurgy. Some contend that the neck design changes account for the different tonal and playing qualities between earlier and later Mark VIs. At least three changes to neck design were made on the tenor during the 1950s and 1960s, and once again in the 1970s. Some altos had baffles soldered into the bow to correct intonation issues. In subsequent years the short bow was reintroduced.
SELMER REFERENCE 54 ALTO VS MARK VI SERIAL NUMBER
The length of the bow was increased on altos during the 85K serial number range to address certain intonation issues. The changes were not documented by Selmer. The bore taper, bow, neck designs, and some mechanical features changed throughout the history of the Mark VI. Tonally, early examples are considered to have a "dark" tone, while later examples are thought of as having a "bright" sound. Switching over from its predecessor, officially named the Super Action but commonly called the Super Balanced Action, Selmer's earliest Mark VI models were transitional, incorporating design elements from the preceding model. The design of the Mark VI evolved over time. The Mark VI is played by many saxophonists including Jimmy Heath, Sonny Rollins, John Coltrane, Maceo Parker, and David Sanborn.
The British/Canadian Mark VIs often have a symmetrical medallion engraved on the front of the bell, and a design reminiscent of the chambered nautilus along the sides of the bell.Īmerican-assembled Mark VIs have floral or scroll engraving, with only the earliest models extending to the bow.
Nickel or silver-plated keys with a lacquer-finish body were offered among the French-assembled horns. Some French-assembled Mark VIs lack any engraving other than the brand stamp. The French-assembled Mark VI engraving is usually of a butterfly and floral motif, and the engraving typically extends to the bow. The style of engraving on the bell of the instrument is an indicator of the place of assembly.īell of a Selmer Mark VI alto saxophone in the 80,000 serial number range. After manufacture, instruments designated for the British/Canadian or American markets were shipped unassembled and unengraved to their respective markets for completion. There are reports of a limited number of baritone saxophones labeled as Mark VIIs, but these horns were of the same design as the Mark VI.Īll Mark VI saxophones were manufactured in France. Since the Mark VI design continued for sopraninos, sopranos, baritones, or bass saxes, they did not have a Mark VII model. Selmer debuted the Mark VI in 1954 with sopranino, soprano, alto, tenor, baritone and bass saxophones, until the introduction of the Mark VII model in 1975. The sopranino saw limited production until about 1985.
SELMER REFERENCE 54 ALTO VS MARK VI SERIAL NUMBERS
Production shifted to the Mark VII for the tenor and alto in the mid-1970s (see discussion of serial numbers below), and to the Super Action 80 for the soprano and baritone saxophones in 1981. The Selmer Mark VI is a saxophone produced from 1954 to 1981. Selmer Mark VI tenor saxophone Concert model with high F#, right hand G#, D to E flat trill and C to D trill using the palm key E flat
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