#SELMER REFERENCE 54 ALTO NECK SERIAL#
#SELMER REFERENCE 54 ALTO NECK FULL#
#SELMER REFERENCE 54 ALTO NECK PRO#
#SELMER REFERENCE 54 ALTO NECK PROFESSIONAL#

I think that the III made me sound better than I really was (if that makes any sense) and it helped me get back into the habit of playing more often. 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 NECK 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. When horns like this come along, it seems like a no brainer to take the plunge and get the real thing for only a bit more than a new Reference 54.Selmer Reference 54 vs. Nothing against the Reference 54, but it is not the same as a 1954 Mark VI. Selmer's attempt to recreate this 1954 Mark VI with their Reference 54 is almost laughable.

#SELMER REFERENCE 54 ALTO NECK FULL#

It's full and rich, and a touch on the dark side. The sound of this horn is characteristic of the early Mark VI's. His work will last years before additional repair is necessary. The horn responds and feels like it's brand new. He also replaced the springs, which gives the action a very even feel, but not too heavy.

#SELMER REFERENCE 54 ALTO NECK PRO#

His work is world class, and he uses what are widely considered the best materials available in his overhauls, including Pisoni Pro pads and reusable TM metal resonators. The sax just received a full mechanical restoration from Eric Beach. The body is straight and the lacquer loss is due to decades of honest playing. This sax still has approximately 50% of its original lacquer, and the patina is beautiful.

#SELMER REFERENCE 54 ALTO NECK SERIAL#

The neck has never been pulled down and has the matching serial number. It has the rare 'double S' logo, which if you look closely is actually an S and C, for Selmer et Cie. Here is one of the very first Mark VI alto saxophones Selmer made.

Selmer reference 54 alto neck