วีดีโอ

It’s a .070mm tip opening

Yep, got it for the esthetics of it. I didn't notice much of a difference between silver and gold. Haven't tried the unlacqured version, but I imagine it'll be like the difference between anything lacquered vs unlacqured

Eventually, if a player progresses enough, 98% comes from them. But still, I always recommend going for equipment that moves the needle in “your” direction, so one can put more energy into making music.

appreciate it!

aside from listening to holiday music for the past 7 months, it's been a fun project!

Maybe some day when I get more time to edit the whole thing (there’s a whole concert as well)

It's a custom vintage short shank Selmer Soloist

@@BMackJazz Nice tone and what lay? Square chamber

@@raefblack7906 It's a horseshoe chamber Soloist, not what they call a cathedral Soloist. Originally a D opening, that I had opened up to a .105 by Brian Powell.

@@BMackJazz Thanks, your piece sounds really good.

The 54 has a vibe to it, one that fits a few gig settings well (especially competing with amplified instruments). The 36 is my favorite modern horn, hands down. Makes sense being a Balanced Action player myself.

@@BMackJazz Brian I just got a 36 this week and absolutely love it,is serial 601xxx, did you find the keys to be a bit on a tight? Seems like spring issue, I have been playing a Yani TW02 and also love it for my commercial gigs? I find the action a lot smoother than the 36 but I can probably adjust it with my tech.

@@rogersalles200 yeah, they’re a bit stiff especially compared to my vintage horns. If you’ve got a good tech that can adjust the spring tension right, go for it, I’m sure it could use the tweak.

@@BMackJazz did you by any chance tried a after market neck on these horns, especially on your SBA? Just curious about how well the stock necks are compared to the other especial necks. Cheers

@@rogersalles200 I’ve got a Boston Sax Shop Heritage neck for my BA, paired quite nicely. Haven’t tried it with the 54’s though (the tenon is rather large to fit the BA, so it won’t work on other horns). I’ve got a review video of it comparing it to the original neck (from the early days of the pandemic, before I got better lighting).

Thanks man. When it comes to great horns for me, it all boils down to which direction one wants to move the needle in. Any energy I can take out of crafting my sound, let’s me put that energy into the creativity….and looking good while doing it never hurts!

@@BMackJazz I hear that! I am actually looking to get a ref 36, 54, series iii, keilwerth sx90r, or a mark vi next year. You know any sax shops that would have these horns available to test out?

Depends on where you’re at. Don’t bother with internet, unless you like to gamble. Trying 3 or 4 of each would be ideal.

The matte one in the video recorded really well. I actually like its sound a little better on the recording than in the room. Funny how those things happen.

Don't stop because of my playing...stop because of Josh Redman's playing...

@@BMackJazz haha. seems about the same from here :)

Yeah, I've been Team-36 since it came out, which makes sense since I'm a Balanced Action tenor player myself.

I’ve played a number of 36’s in matte and I can tell you it will influence the sound towards the “darker” direction. Every Selmer matte finish I’ve played does that as a general rule.

Yeah, the BA is my main horn I’ve been playing for 16 years (now with a Boston Sax Shop neck), and that will always be my first, my last, my everything. And I actually just A/B’d the Reference 54 and an Ishimori. I’m a big fan of the Ishi products (have a lot of them), they’re making great quality and helpful things.

Great horns…

Of the 54’s, the matte sounded best recorded, and the gold sounded best just in the room (had a bigger sound and more edge).

Happy to help! Really I just had cameras and microphones lying around and decided to record myself playtesting these wonderful machines.

One of the best vintage sax out there which rivals any of these Selmers for ¼ price. Grassi Sax . Italian Pride. The best in Italy as of then. Before they stopped production

woah?! I'm clearly the less popular, less Polish, more saxophone'ie representation of that DNA combination. One of us clearly needs to grow a goatee, so one of us can be the evil one....which is probably me.

Finding the right gear lets one put more energy towards the art!

Justin Kauflin....can never go wrong with that magical individual.

yeah, but the soprano player has a bit of an attitude...

@@BMackJazz I can see that lol

ummmm....okay?

Updated the description to include all that for you!

Happy to help...I live for this!

@@BMackJazz Thank You so much!

You might just be hearing the schizophrenia of switching between all those horns. It’s one of the best set up 36’s I’ve played. It aaaaaallll most stayed permanently with me it was so impressive.

I’ve got a Reference alto, which is my favorite modern horn. I actually prefer the II for a “classical” mindset on a personal preference...but only because there are III’s and References (haven’t had the experience of The Supreme yet).

I had a Ref 54 matte tenor and it was extremely dark and very focused, like a laser. I liked my Series III tenor more than the Ref 54 I owned. The extremely focused sound of the 54 makes it more one dimensional in sound vs other tenors that have a more spread sound. The spread sound allows you to push the horn in different directions and you could do more with the horn. I still prefer the Mark VI's over the Series III though. The Series III is my second favorite modern horn (I had a killer 875EX Yamaha) but VI's are just more musical if that makes any sense, and I really don't like the newer keywork of modern Selmers as the vintage ones feel smaller and tighter like your fingers are driving a sports car vs modern keywork feels like your fingers are driving a truck. Best tone on any tenor I've been able to get is a Buescher Aristocrat Series I with the small bell flare - highly underrated and sounds better than my 45,xxx SBA tenor which is my main horn.

It's all in the hips...

El mate oscureció el sonido y grabó muy bien, eso me gustó mucho. El dorado tenía un sonido en vivo más grande que la grabación no capta tan bien como cuando estás en la habitación.

And one of the best parts of the modern Selmer...I don’t have to work as hard with the intonation control.

I felt the same, spot on comment.

Eh, it’s easy when you’re playing the same thing 4 times in a row...

Glad my nerdy desire to play test saxophones could be of service!

Selmer Soloist for me. Mine has some work done to it, but what it lets me get the sound I have in my head out into the world with the most ease.

Commercials use props that look like food...you wouldn’t want to eat them.....