Pro Sax Selmer
Mouthpiece, Alto Sax, S-80 Selmer Paris, C* Tip Opening: Med Close 1.70 / Facing Length: Med 22.00
Selmer makes numerous saxophones and their line once included the legendary Mark VI. Their recent models have returned to design ideas that the Mark VI had.
Company: Selmer
Founding Date: Early 1900s
History:
Selmer was founded in the early 1900s by Henri and Alexandre Selmer. In it is early days, they concentered on clarinets, as both of it is founders were clarinet players. Although Henri and Alexandre started out by building reeds and mouthpieces for clarinets, the company would in the end grow to include a wide range of woodwind instruments, including the saxophone.
Selmer’s most successful saxophone, the Mark VI was introduced in 1954. The saxophone was made in France, and in the first place imported to the United States in elements to stay clear from import tariffs. The Mark VI was developed up until the end of 1973 when it was substituted by the Mark VII- supposed to be an “improvement” but not so much in reality. Selmer’s most recent professional horns, the Reference 54 and the Reference 36, were introduced in 2005. These models are based on 1954′s Mark VI model and 1936′s Balanced Action model.
Who Plays the Brand:
Selmer is one of the huge four saxophone makers and has a big stable of artists who prefer the brand. A short list of these artisan includes Phil Woods, Paul Desmond, Bob Berg, Sonny Rollins, Stan Getz, Eddie “Lockjaw” Davis, John Coltrane, and Lee Konitz. Owing to the popularity and reputation of the Mark VI horn, this list is only a snippet of the huge body of artists that proudly use a Selmer for their performances.
What They Are Known For:
Although the Selmer name has produced successful models for as long as they have been manufacturing saxophones, the Mark VI is not only the firstborn model players think of when they think ‘Selmer’, it’s the firstborn model some players think of when they think ‘saxophone’. The horn is genuinely legendary amongst jazz musicians, and is played by numerous of the best in the business.
Perhaps because the Mark VI set such a high standard, Selmer took a wrong turn with the introduction of the Mark VII which most saxophone players agree was a step backwards. The Reference 54 and Reference 36, however, are benefitting a very decent reputation.
Interesting Stories About Them:
A recent reviewer at Musicians Friend had very kinds words to say with regards to the new Reference model saxophones and how favorably they compare to the horns they seek to recreate:
“Playing the Reference 54 tenor was an illuminating experience. I knew at once I had an extraordinary instrument in my hands. It had the richness of tone, the warmth, and the punch and projection I loved in my Mark VI, but was a little brighter.
finally put down the Reference 54 and picked up the Reference 36. It had the same ergonomic key feel as the 54 but it is own tonal coloring. It is based on the Balanced Action model Selmer introduced in 1936 and has that instrument’s rich open sound. Like the 54, it is an extraordinary instrument. If I had to choose amidst the two, I’d have a hard time making up my mind.”
Price Ranges:
Sopranos range from $895 for a student model to $5,499 for a professional model.
Altos range from $1,602 for a student model to $5,229 for a professional model.
Tenors range from $2,160 for a student model to $6,199 for a professional model.
Baritones range from $4,479 to $9.329 for a professional model.
(Prices current in June 2009)
Pro Sax Selmer Photo
Pro Sax Selmer Pic
Pro Sax Selmer Picture
Pro Sax Selmer Picture
Most helpful client reviews
74 of 75 persons found the following review helpful.
 Selmer = industry standard
By P. Petersen
As a professional woodwind instructor and player, I ordinarily commend the Selmer C* mouthpiece to all of my students as their initial “step up” from the beginner’s mouthpiece that came with their horn. When they buy or rent a saxophone, specially these cheap new Chinese/Taiwanese horns like “First Act” or other brands, the mouthpiece that comes with the horn is normally substandard, commonly plastic, and is hardly sufficient for the beginner to get a sound out of the horn. Even so, a good mouthpiece may assuage a great deal of of the difficultnesses caused by an el-cheapo instrument.
Obviously, each student must always have the best possible instrumentation at his/her disposal, but even if the cost prohibits a student from buying a top-of-the-line pro horn, they will have to still invest the cash in a top quality mouthpiece. The mouthpiece and embochure form the foundation to tone production, and a good mouthpiece will make it possible to learn to manufacture a decent tone on even the worst-quality instrument. Conversely, the best instrument in the world is only going to sound intermediate if the mouthpiece is sub-standard. Garbage in, Garbage out.
Selmer has always had a good reputation for quality, and this piece is no exception. I’m not sure why they decisive to modify their nomenclature from C* to C1, but as far as everything I may find to read regarding them, this is the frequent model S80 C*. The letter C refers to the tip opening, which ranges from A (narrowest) to H (widest) and the star refers to little divergences in tip opening that aren’t sufficient to warrant a whole letter. This mouthpiece, the C1 or C*, has a tip opening of sixty-five thousandths of an inch, which is a good mid-range intermediate which will give students a great deal of control over the full range of the horn without sounding too bright (as with wider tip openings) or too dark (as with narrower openings). Most other mouthpiece manufacturers use numbers rather of letters, ordinarily 1 to 10, with 10 being the widest tip opening. The C and C* Selmers are roughly equivalent to in regards to a 5, so just with regards to medium. For this reason they’re good for students who are still fabricating their sound – this piece will give them the most skillfulness and “growing room” for their money.
As with any purchase, each student must spend galore time playing a new mouthpiece BEFORE buying it to see if it’s right for them. Every mouth is shaped differently, and so a lot of mouths will naturally take to the shape of the Selmer while others might find a Meyer or Otto Link more to their liking. No matter what you read with regards to how this or that mouthpiece is the one, THE TRUE TEST IS IN THE PLAYING, no matter what. Copy the following phrase down and memorize it:
The idealisti mouthpiece is the one that makes it easiest to achieve the sound you want with the minimum of effort.
Notice I didn’t say that this or that mouthpiece will make you sound like this or that. YOU are the major element in what you sound like. Any player with sufficient control over their chops may make any saxophone sound like anything if they contort their face into the right position to make it take place through embouchure. The mouthpiece is shaped to make it having little impact or harder to achieve a peculiar sound with less or more venture based on what the rest of your mouth is doing. But the overall tone quality is something YOU control by embochure, breath control, and concept.
So – when choosing a mouthpiece, it’s vitally important to have an idea of what you want your tone to sound like FIRST, then undertake various dissimilar mouthpieces and compensate attention to how hard you’re having to work to get that desired tone. Some of the mouthpieces will make it requiring little effort to get your Preferred Sound, a lot of will make it harder. The one you want is the one that lets you sound like you with the least amount of “shape changing” of your embouchure.
With that in mind, it’s indispensable to say that if you’re planning on buying a mouthpiece through mail-order, be sure you’re not affrighted to take vantage of the company’s return/exchange policy if need be. If you plunk down cash for a good mmouthpiece, and then you get it and play it and it’s not making it posing no difficulty for you to sound like what you want to sound like, don’t be affrighted to send it back and interchange it for a better one. Sometimes it’s as simple as altering to a dissimilar facing. If a C1 doesn’t feel right, try a C2, etc.
And – don’t be frighted to ask the counsel of a pro and take a lesson if you’re necessitating help. That’s what we’re here for.
4 of 4 people found the following review helpful.
THE BEST
By Rudolph B. Jackson
Great mouthpiece for playing all types of music surperb shipping too! Great for intermediate player and pro’s.
2 of 2 people found the following review helpful.
GREAT MOUTH PIECE
By designomatic
Finally, my firstborn review… Shipping was lightning fast and this mouth piece genuinely sings. I was told my assorted alto players that this was a outstanding piece. Sure enough, it unquestionably beats my generic mouth piece that came with the alto. It plays well with 2 1/2!
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