The Supreme is great! I own one and the tuning is incredible, response incredible, more focus yes! Mark VI lots of tuning issues, not as responsive. I believe the Supreme is Selmer’s best saxophone. The tuning, response, improved mechanics will blow your mind!
To me the Supreme, listening through monitor speakers, is more focused as you said, but with more range of frequencies and a modern brightness when you played it a bit louder, like a mix of the the sound of the Mark VI and a Reference 54.
All of the “comparison” videos make an issue of which sax sounds better. Professional sax sound is subjective to the individual. There are several videos comparing student vs pro horns and the sound difference is negligible. Because the trained, educated, well-practiced pro can get a good sound out of just about any saxophone that is I’d good working order. The metric for whether one saxophone is better than another can be measured by intonation, ergonomics, build quality and overall playability.
The sound is made by the mouthpiece, the reed and the player. As long as the saxophone is in good order, they sound the same. However, the producers are trying to tell you otherwise. But the key layout differ. I’m a Selmer player and tried a Yamaha once. That wasn’t a nice experience.
You may be right about sound, but. While we are born with an ability to listen, we need to learn to hear - identify relevant sounds from background noise, store reference patterns of "voices" (sound sources) so as to be able to recognize them later, and learn to build a mental image of "sound stage" or where voices are in the space around us. This type of learning process typically takes 10,000 times or hours, depending on the complexity of what we need to learn. I saw this pianist (in YT) as kid in a candy store being allowed by Steinway to select one of 5 model D grands for a solo recording of hers. She described differences that I did not hear and selected one. Then two years later, she was going to record in a 5 or 6 instrument group and was allowed to select one of 5 again. Quickly testing each, after the first round having played all a bit, she pointed to one and said, I chose that one previous time. And she chose another one for better fitting in into the group. Extremely subtle and hard to relate to through MP3, YT data compression, computer playback over desktop speakers. This video, it seemed to me that the Supreme was a tad more mellow and I probably cannot reproduce that assessment above "chance" level in the blind. It struck me that George played between mp and f or ff only, and that the Supreme sounded more controlled. I'd want to hear these instruments at their level of ppp through fff, especially at the extremes of their note range. Of course, reed and mouthpiece make a difference, like the player's ability, but if there is a tonal-behavioral base that stays the same swapping mouthpiece/reed then that is "the sax", I feel. To add to this "tonal" thread - why do you recognize a sax playing a note called central A on a piano as different from the piano's? Or a violin's? Etc. All would play 440 Hz. Because none of these generate a perfect sine wave (that electrical engineers use in their designs and calculations). Rather they generate a sort-of-erratic (relative to sine) waveform with "voice"-specific patterns. As we, humans, don't have a single membrane, single wire, microphone for ears, but rather 20,000 tuned and separately wired sensors, our brains easily deal with this to analyze waveform and from that recognize a "voice". Problem is, when voices are similar, you need a load of times or hours in order to become able to distinguish between them. This is what's called "learning". A process that starts in the womb. When a normally listening baby is born, it already knows the melody of mother's language. In the summer holiday, on a camp site in Southern France, you can distinguish the French babies from the Germanic ones. A French sentence has its melody going up towards the end of the sentence and a Germanic goes down in melody, except in questions. Babies mimic that in their attempts to communicate with you (negotiate, dominate ;) ). If you could isolate the sax from the mouthpiece and air-excite a 440 Hz tone away from it that is relayed through the sax, then the Supreme will have a different waveform coming out than the VI - if only because of the weight difference and associated resonance differences. When you "couple" the mouthpiece, placing it on the sax, again, the mass difference will cause different harmonics from that contact-excitement. And you and I may not be able to hear the difference. We simply may be too old to still be able to hear in the required frequency range to hear the difference. Ever. But we could see it on an oscilloscope. By the way, the auditive brain is much faster than the visual and considering "data compression in the retina" it probably is more precise. "We" don't learn how to get the most out of it, as we use our eyes in the first place. But if you have worked with people who were born blind, then you may have been surprised by their ability to interpret so many things based on "tonal" (acoustic) differences. In this detailed sense, you may be like the two year old who does not understand the difference between being able to see someone else and being seen by them. Or you may be right. It's not easy to scientifically definitively decisively answer these tonal questions. One thing is clear: you will never be able to demonstrate "audible" differences with randomly selected peeps from the street, in a "à l'improviste" comparison.
The difference in tone if any is negligible as he mentioned. I’d prefer a Supreme Alto of a Mark VI alto because the altos are riddled with issue’s especially with the changing of the bows the short bow is sharp on the bell notes and the long bow is terribly flat and even the medium bow while better is quirky. The Supreme is a life long investment and at the sheer cost to own one I’m not sure it’s better than what Yamaha or Yanagisawa is producing. So for the time being I will continue using my YAS-62 mark 1. Tenor I’m very much in the Selmer Paris camp but alto and soprano has been Yamaha for a long time.
Great video. I couldn't tell much with the sound other than the Supreme sounding a little more "free blowing." Both horns are great in their sound and character. You lucked out from your dad with that horn. Congratulations!
It sounded very nice through my headphones ...but the price! You would need to fall in love with the sound to justify spending double the cost of a Yanagisawa IMHO.
This is a great video. I suppose the question is; is there enough variation between the inherent tone that could not be made up for in mouthpiece/reed choices? Hearing you play, my ears tell me (again) that the vi is the center of the saxophone world. It has been and will continue to be. By any tangible metric the supreme is a better saxophone. If I had the money I would buy one. However If I had to choose one (and I already have) I would keep my vi, the long bow, and all the weird stuff that comes with it because, while not totally provable, there is a difference in the potential of the sound. The flaws are what makes it interesting to me.
Hard to tell, a longer test in different styles and dynamics would be great. I saw the Mark 6 first but maybe my ears are biased cause i play a 71 mark6 tenor.
I tried out the Supreme , very nice sax . Very open sound .. focused? I felt it was pretty open in comparison to my Armstrong Heritage alto . Would love one .
Look at the receiver of the neck tenon. No wonder the supreme is more focused. Please put chapter markings for the start of each play test next time. Still a great video!
Not a good idea to buy before you go to the conservatory. Consult with your prof first, once you made it. You will have a miserable time if your teacher disapproves of the saxophone you play.
But yeah, probably overkill at this stage. Nothing wrong with a Custom Yamaha or Selmer Axos to get you going on a quality pro horn. You won’t be able to take advantage of the Supreme’s qualities for at least an extra decade of constant study, so it’s kind of pointless imho to shell out so much at this stage.
th-cam.com/video/OVWPHWUm4pg/w-d-xo.html The neck tenon on my new Selmer Supreme Tenor saxophone was defectively welded by the Selmer factory. The collar was improperly soldered and came completely loose. To have this repaired would damage the finish and result in severe cosmetic damage. Selmer has been aware of this defect since 10/24 and I’ve had zero response from them. No outreach; no apology; no concern for my ability to practice, rehearse, or perform. Update 11/7--Selmer is replacing the horn but it will take at least two weeks for the new horn to arrive. Still no apology for the inconvenience cased for a performing musician. Update 11/16--Still no replacement horn. Selmer has refused to expedite resolution and continues to seem unconcerned with their warranty responsibility. Update 11/27-Still no horn and no apology from Selmer.
Thanks for this it's really helpful. Mark VI is better :). The new Supreme sounds not bad obviously, but there is a funny plastic sound(I couldn't find a better way to describe this. Or Mark VI has got a more sweet, warm sound.) The upper register is also not clear like in Mark VI. So still MARK VI is the MARK VI. :D
Learn the melody as the composer intended. Then experiment with certain parts, by adding flourishes. Say, with small substitution of notes: e.g. replace half notes with two quarter notes, or vice versa; replace one quarter note with two eight notes and vice versa; replace a single note with two surrounding (chromatic) notes, etc. You begin with that.
When I was young I played the selmer mark 6 and series 2 horns but now that I’m much older I switched to the elite aw020 Yanigisawa because it’s easier to blow through. Both selmers I played are great horns but have small bores and require effort to play. I think the supreme is more edgy sounding and I would like to hear it in an ensemble.
The Supreme is more in tune and has a more interesting sound. I would like to have heard slow scales and arpeggios in every key over the entire range-no altissimo. Will there be a tenor Supreme soon?
I choose MkVI, because any great saxophone should be imperfect. A great sax for genres where saxophone sounds like a saxophone - say blues, jazz and rock - must play out of tune at least a bit. It's the secret sauce which many great players won't reveal: hunting for good intonation through one half of performance, then playing slightly out of tune through the other part of performance. THAT gives sax its iconic sound, and it's the only way to play great sax music.
Ok, let's say that's true: wouldn't having a horn with more consistent tuning make it easier to play both in tune AND bend the pitch the desired direction? For example, if you're horn has a particularly sharp middle E, won't that make it extra hard to bend that note in the flat direction, when desired, as well as making it harder to play more in tune, when desired? I certainly find that to be the case.
@@lukasalihein It's difficult to answer. When the instrument is super modern and designed with all sorts of CAD/CAM aid, 3D and wind tunnel simulations and intonates perfectly for 90% of players - be they amateurs or pros - well, we have never has such a thing before. (I stand corrected: Buffet Senzo was such a perfect saxophone before Selmer Supreme, but because it's Buffet, it did not get much "attention".) The whole universe of saxophone vocabulary was invented in the 20-th century for the sake of overcoming many technical difficulties with the instrument. That's where the saxophone music comes from. How will all of that be used today? Well, it may be not used. Those genres are now nearly dead (jazz, blues, rock), and real (live) music performances are very much dead too; last two years destroyed even that little what was still happening somewhere. Computers and algorithms now generate and control both worldwide news, and perfect pitches, and there are little to no new original genres. Maybe the culture has come to its end when it celebrates technical perfections on non-existing content and needs no previously very useful skills.
@@zvonimirtosic6171 Honestly man I've never heard of anyone intentionally playing out of tune as a "secret" to building a great jazz solo. Controlling and manipulating pitch, sure, but "out of tune" is something else. Respectfully I'm not sure where you're getting this idea from. I also play jazz, live, many times a week, so the idea that it's "dead" is a stretch. Certainly not the popular music of the day, but a far cry from dead. Lastly, "The whole universe of saxophone vocabulary was invented in the 20-th century for the sake of overcoming many technical difficulties with the instrument" is an extremely bizarre claim. The vocabulary of the saxophone music (at least in jazz) developed organically as a means of musical expression, and the technical facility and adaptability of the saxophone facilitated that development more than any other wind instrument.
Curious to see how people get easily biased by the video itself. I’ve seen millions of videos saying positive things about vintage horns (MK VI and SBA) and people commenting things like “no saxophone is going to beat the legendary MK VI”… now that this guy is trying to put the supreme a step above MK VI seems that everyone agrees with his opinion and now we are able to find the cons in the MK VI. In other video about Yanagisawa people were saying basically that Yany saxophones are the gold standard in the industry 😂 Personally I think that in this range of instruments the differences are minimal and usually come from the mouthpiece or the sax player, if you are trying to make a decision and want to spend a lot of money just go to the store, test the saxophone and PLEASE… try to avoid video comparisons because you could get easily biased… actually, before spending such amount of money practice to build solid skills no matter what horn you play… just an opinion
The Mark VI still sounds better than all other Selmer saxophones.That's just the way it is.Yes, the new models have the Selmer sound, but they don't sound as good as the Mark VI.
The much revered Mk VI was of a slightly flawed design - heaps of tonal potential if the player had the means. Any improvement shall always be welcomed. The Supreme, as good as it appears to be, has some VERY stiff competition in the contemporary soundscape.
Tuyệt vời , chúc các bạn luôn thành công , nó là niềm mơ ước và hy vọng của tôi , có được cây kèn cũ đối với tôi là hạnh phúc lắm rồi nhưng điều đó ko thể đến với tôi
Oh c'mon, don't judge the Supreme from this paltry demo of less than stellar playing. If you want to get a handle on how it really performs, watch a proper review by a top player who has played it for a while. You can find them elsewhere on YT. I've owned a Supreme for 8 months and I'm constantly discovering aspects of what it can do, and I'm a pro player with 30 years experience playing other Selmers. The Supreme is a magnificent instrument; but even great instruments take time and dedication from the player to reveal the potential.
How does it compare to series ii? Some claim the sound is cheap, that is the supreme.. I was thinking of either series ii or supreme. Any recommendations?
Series II are terrific horns. If you like the Selmer tonal palette in general, then go for a Series II in good condition or a new Selmer Axos, which are also excellent. My advice is only spend up big for the Supreme if you’ve played other top saxes - Selmers/Yanis/Yamahas etc. and STILL been dissatisfied about very specific aspects that pertain to high level playing - precision of intonation, precision of mechanism, precision of eveness of tonal weight and EQ of the instrument from bottom to top. If these things aren’t an issue for you, then there is absolutely no musical reason to buy a Supreme. Playing a Supreme is like driving a high end sports car- it enables you to do amazing things, but it also shows up flaws in your playing because it is so incredibly responsive to every input from the player. It is worth every cent when you consciously and specifically demand from a saxophone what it provides that other models cannot.
@Luke Serrano thanks! Im trying to get back into playing after years of no playing. I just want to get one good instrument for life and improve . Want this to be the last sax i get. Ive never tried selmer. I heard series ii has more resistance, harder to play. But i guess I should try the series ii maybe, which is cheaper.
@@op14435 don’t worry about resistance. Any decent pro horn will have more resistance than a student horn; it’s part of what helps to enable a player to create a more complex tone. I went from a student Yamaha to a Series 1 Selmer as a 17 year old, and it took me a couple of weeks to get used to the difference- i.e. you need better breath support to overcome the resistance. But as long as you get back into it with a sensible mouthpiece with a 5 or 6 tip opening, and reeds of a 2.5 - 3 strength, then you shouldn’t have any trouble getting a good sound with plenty of breath for long phrases. I’d recommend the D’Addario mouthpieces as good, well priced and versatile pieces. Good luck!
The Mark VI was a very inconsistent instrument. I would expect the newer horns to be more consistent for no other reason than improvements in manufacturing! Tone quality is strictly up to the individual, assuming the instrument has the quality to get there, and both of these horns are quality instruments. I'm truly confused as to what all of these comparisons are tor, and about?
Im shocked how almost no-one can hear the gigantic difference between the two. The MK VI sounds a lot better. It has got a fuller sound and projection. In particular has more of the lower overtones upfront where as the ‚Supreme’ sounds very thin like most of the modern saxophones. There are a lot of things that you can do as a player. Intonation is mostly to do with the player, that can adjust to the instrument over the months of practicing. You can’t change the lack of projection on modern saxes though. I own one of the first Selmer Rederences the matt finish. After trying Keilwerth Superdynaction I realized how backwards and behind all the modern saxes have gone. Apparently the materials that the vintage saxes were made of were different. Im only dissapointed that they haven’t managed to reproduce that with the modern ones.
I tried both , the mark is better in any single way . For me the worst thing about the supreme was the ergonomics wich are complete garbage . Tonewise it sounds super dark , no brilliant highs like the mark 6 , no sweet mids like the reference 54 and no deep base like the series 2 for example . Overall 3/10 horn for me
Supreme is an unsuccessful model, matte saxophones sound bad. There's not much to say. 6 sounds great. I am ready to buy Supreme for $700-800, this is its real price
@@op14435 сейчас много тестов разных инструментов на ютуб, посмотрите сами и сделайте вывод, мне больше всего нравится Conn 6m и разные Селмер. В Supreme мне не нравится его выпячивание, другие модели они тембрально укладываются в музыкальную ткань, а этот как то торчит. В итоге они просто выкинули свое главное преимущество. Мне больше нравится простой лак, а эти темы матовый или без упаси боже лака просто маркетинг.
@Александр В. thank you. I recently got aw02 but was thinkng to get supreme. Aw02 is easy to play. Heard that supreme takes a lot of air to play it like the series 3. I never had a selmer and never tried playing it.
@@op14435 Sorry, I thought you understood Russian. I say my opinion, it may not coincide with yours. I had yanagisawa 901, a tenor without varnish, I believed the good recommendations. This saxophone brought me a lot of suffering and when I switched to yamaha I was happy, although it is a bright saxophone. Yanagisawa is a really bad sound. If you compare Selmer and Yanagisawa, then for me, Selmer is always the winner. In my opinion, there is a crisis in the world of saxophones now, it upsets me terribly, only selmer sounds good from modern manufacturers. Now I dream of a selmer saxophone and a conn 6m. The economic situation and sanctions are difficult now, but I hope I can buy it.)
@Александр В. я понимаю:) its easier to text in english lol. But what you think of the ease of play. I just heard series 2 its not easy to play as yanagisawa. I want to get supreme but seems like your not into it lol. I just would like to hear peoples opinions thats all. Its a big purchase so i dont know. Im planning to ship aw02 back for a selmer supreme.
MY, My, My - Let's go!!!! I appreciate you sharing this - There aren't as many Supreme videos out there compared some other Saxes of interest to me.
The Supreme is great! I own one and the tuning is incredible, response incredible, more focus yes! Mark VI lots of tuning issues, not as responsive. I believe the Supreme is Selmer’s best saxophone. The tuning, response, improved mechanics will blow your mind!
Have you played a Yanagisawa? And how does it compare?
@@chrizze5062 different sound, not as free blowing and tuning isn’t as good.
I’ve play tested a selmer supreme and I couldn’t agree more, however I ain’t dropping 10k on a saxophone😭
@@bigsnozitaliano9494 I don’t know where you live, but in the United States they’re not 10k
@@Jamrightthen The limited edition model that came out was like 10k but still I ain’t tryna spend 6k on a horn either😂
To me the Supreme, listening through monitor speakers, is more focused as you said, but with more range of frequencies and a modern brightness when you played it a bit louder, like a mix of the the sound of the Mark VI and a Reference 54.
All of the “comparison” videos make an issue of which sax sounds better. Professional sax sound is subjective to the individual. There are several videos comparing student vs pro horns and the sound difference is negligible. Because the trained, educated, well-practiced pro can get a good sound out of just about any saxophone that is I’d good working order. The metric for whether one saxophone is better than another can be measured by intonation, ergonomics, build quality and overall playability.
The only thing that matters is how you feel playing it. For some reason usually evaluation videos seem to ignore that.
The sound is made by the mouthpiece, the reed and the player. As long as the saxophone is in good order, they sound the same. However, the producers are trying to tell you otherwise. But the key layout differ. I’m a Selmer player and tried a Yamaha once. That wasn’t a nice experience.
You may be right about sound, but. While we are born with an ability to listen, we need to learn to hear - identify relevant sounds from background noise, store reference patterns of "voices" (sound sources) so as to be able to recognize them later, and learn to build a mental image of "sound stage" or where voices are in the space around us. This type of learning process typically takes 10,000 times or hours, depending on the complexity of what we need to learn.
I saw this pianist (in YT) as kid in a candy store being allowed by Steinway to select one of 5 model D grands for a solo recording of hers. She described differences that I did not hear and selected one. Then two years later, she was going to record in a 5 or 6 instrument group and was allowed to select one of 5 again. Quickly testing each, after the first round having played all a bit, she pointed to one and said, I chose that one previous time. And she chose another one for better fitting in into the group. Extremely subtle and hard to relate to through MP3, YT data compression, computer playback over desktop speakers.
This video, it seemed to me that the Supreme was a tad more mellow and I probably cannot reproduce that assessment above "chance" level in the blind. It struck me that George played between mp and f or ff only, and that the Supreme sounded more controlled. I'd want to hear these instruments at their level of ppp through fff, especially at the extremes of their note range. Of course, reed and mouthpiece make a difference, like the player's ability, but if there is a tonal-behavioral base that stays the same swapping mouthpiece/reed then that is "the sax", I feel.
To add to this "tonal" thread - why do you recognize a sax playing a note called central A on a piano as different from the piano's? Or a violin's? Etc. All would play 440 Hz. Because none of these generate a perfect sine wave (that electrical engineers use in their designs and calculations). Rather they generate a sort-of-erratic (relative to sine) waveform with "voice"-specific patterns. As we, humans, don't have a single membrane, single wire, microphone for ears, but rather 20,000 tuned and separately wired sensors, our brains easily deal with this to analyze waveform and from that recognize a "voice". Problem is, when voices are similar, you need a load of times or hours in order to become able to distinguish between them. This is what's called "learning". A process that starts in the womb. When a normally listening baby is born, it already knows the melody of mother's language. In the summer holiday, on a camp site in Southern France, you can distinguish the French babies from the Germanic ones. A French sentence has its melody going up towards the end of the sentence and a Germanic goes down in melody, except in questions. Babies mimic that in their attempts to communicate with you (negotiate, dominate ;) ).
If you could isolate the sax from the mouthpiece and air-excite a 440 Hz tone away from it that is relayed through the sax, then the Supreme will have a different waveform coming out than the VI - if only because of the weight difference and associated resonance differences. When you "couple" the mouthpiece, placing it on the sax, again, the mass difference will cause different harmonics from that contact-excitement. And you and I may not be able to hear the difference. We simply may be too old to still be able to hear in the required frequency range to hear the difference. Ever. But we could see it on an oscilloscope.
By the way, the auditive brain is much faster than the visual and considering "data compression in the retina" it probably is more precise. "We" don't learn how to get the most out of it, as we use our eyes in the first place. But if you have worked with people who were born blind, then you may have been surprised by their ability to interpret so many things based on "tonal" (acoustic) differences.
In this detailed sense, you may be like the two year old who does not understand the difference between being able to see someone else and being seen by them. Or you may be right. It's not easy to scientifically definitively decisively answer these tonal questions. One thing is clear: you will never be able to demonstrate "audible" differences with randomly selected peeps from the street, in a "à l'improviste" comparison.
@@jpdj2715 Listening to and playing the saxophone for more than 50 years, I stand by my statement.
What a place of beauty. My dream shop. 🌟❤️🙏🙂💫
The difference in tone if any is negligible as he mentioned. I’d prefer a Supreme Alto of a Mark VI alto because the altos are riddled with issue’s especially with the changing of the bows the short bow is sharp on the bell notes and the long bow is terribly flat and even the medium bow while better is quirky. The Supreme is a life long investment and at the sheer cost to own one I’m not sure it’s better than what Yamaha or Yanagisawa is producing. So for the time being I will continue using my YAS-62 mark 1. Tenor I’m very much in the Selmer Paris camp but alto and soprano has been Yamaha for a long time.
Johnny Gill on a Selmer. Never thought I’d hear that.
I know, right? 😂
Great video. I couldn't tell much with the sound other than the Supreme sounding a little more "free blowing." Both horns are great in their sound and character. You lucked out from your dad with that horn. Congratulations!
Just discovered your channel in my pursuit of information on the yds-150, and you have rekindled my love of music
Loving the Gerald Albright vibes!
It sounded very nice through my headphones ...but the price! You would need to fall in love with the sound to justify spending double the cost of a Yanagisawa IMHO.
This is a great video. I suppose the question is; is there enough variation between the inherent tone that could not be made up for in mouthpiece/reed choices?
Hearing you play, my ears tell me (again) that the vi is the center of the saxophone world. It has been and will continue to be. By any tangible metric the supreme is a better saxophone. If I had the money I would buy one.
However
If I had to choose one (and I already have) I would keep my vi, the long bow, and all the weird stuff that comes with it because, while not totally provable, there is a difference in the potential of the sound. The flaws are what makes it interesting to me.
Hard to tell, a longer test in different styles and dynamics would be great. I saw the Mark 6 first but maybe my ears are biased cause i play a 71 mark6 tenor.
Hi, greetings from NY. I play on a Supreme 2 years ago.
On my basic ear pieces the MK 6 has a little more projecting sound i dont know if the finish on the Supreme affects this .
I tried out the Supreme , very nice sax . Very open sound .. focused? I felt it was pretty open in comparison to my Armstrong Heritage alto . Would love one .
Look at the receiver of the neck tenon. No wonder the supreme is more focused. Please put chapter markings for the start of each play test next time. Still a great video!
both beautiful saxophones!
I'm probably gonna get a Supreme for my sweet 16. I get it cause I want to go to the conservatory is it a good idea?
And yes we have enough money.
Not a good idea to buy before you go to the conservatory. Consult with your prof first, once you made it. You will have a miserable time if your teacher disapproves of the saxophone you play.
@@johan0234523 the teacher would just be jealous! 🤣
But yeah, probably overkill at this stage. Nothing wrong with a Custom Yamaha or Selmer Axos to get you going on a quality pro horn. You won’t be able to take advantage of the Supreme’s qualities for at least an extra decade of constant study, so it’s kind of pointless imho to shell out so much at this stage.
Which of the great saxophone masters who is not an endorser plays the supreme?
The intonation is better on the Supreme as you said as well.
The Supreme, in my opinion, is better overall.
th-cam.com/video/OVWPHWUm4pg/w-d-xo.html
The neck tenon on my new Selmer Supreme Tenor saxophone was defectively welded by the Selmer factory. The collar was improperly soldered and came completely loose. To have this repaired would damage the finish and result in severe cosmetic damage. Selmer has been aware of this defect since 10/24 and I’ve had zero response from them. No outreach; no apology; no concern for my ability to practice, rehearse, or perform. Update 11/7--Selmer is replacing the horn but it will take at least two weeks for the new horn to arrive. Still no apology for the inconvenience cased for a performing musician. Update 11/16--Still no replacement horn. Selmer has refused to expedite resolution and continues to seem unconcerned with their warranty responsibility. Update 11/27-Still no horn and no apology from Selmer.
That Mark VI needs me playing on it. ❤️
Try the Supreme's neck on the VI please
Thanks for this it's really helpful. Mark VI is better :). The new Supreme sounds not bad obviously, but there is a funny plastic sound(I couldn't find a better way to describe this. Or Mark VI has got a more sweet, warm sound.) The upper register is also not clear like in Mark VI. So still MARK VI is the MARK VI. :D
I think exactly the same the 6 has a unique vocal signature a true sax sound in studio he will blow you it’s like satin!
I also hear that. You nailed what I thought.
I prefer the supreme
Do u guys have any tips for improvising
Learn the melody as the composer intended. Then experiment with certain parts, by adding flourishes. Say, with small substitution of notes: e.g. replace half notes with two quarter notes, or vice versa; replace one quarter note with two eight notes and vice versa; replace a single note with two surrounding (chromatic) notes, etc. You begin with that.
When I was young I played the selmer mark 6 and series 2 horns but now that I’m much older I switched to the elite aw020 Yanigisawa because it’s easier to blow through. Both selmers I played are great horns but have small bores and require effort to play. I think the supreme is more edgy sounding and I would like to hear it in an ensemble.
Request, can you guys please make a backing track with the bass saxophone for daft punk get lucky
The Supreme is more in tune and has a more interesting sound. I would like to have heard slow scales and arpeggios in every key over the entire range-no altissimo. Will there be a tenor Supreme soon?
I choose MkVI, because any great saxophone should be imperfect. A great sax for genres where saxophone sounds like a saxophone - say blues, jazz and rock - must play out of tune at least a bit. It's the secret sauce which many great players won't reveal: hunting for good intonation through one half of performance, then playing slightly out of tune through the other part of performance. THAT gives sax its iconic sound, and it's the only way to play great sax music.
Ok, let's say that's true: wouldn't having a horn with more consistent tuning make it easier to play both in tune AND bend the pitch the desired direction? For example, if you're horn has a particularly sharp middle E, won't that make it extra hard to bend that note in the flat direction, when desired, as well as making it harder to play more in tune, when desired? I certainly find that to be the case.
@@lukasalihein It's difficult to answer. When the instrument is super modern and designed with all sorts of CAD/CAM aid, 3D and wind tunnel simulations and intonates perfectly for 90% of players - be they amateurs or pros - well, we have never has such a thing before. (I stand corrected: Buffet Senzo was such a perfect saxophone before Selmer Supreme, but because it's Buffet, it did not get much "attention".)
The whole universe of saxophone vocabulary was invented in the 20-th century for the sake of overcoming many technical difficulties with the instrument. That's where the saxophone music comes from. How will all of that be used today? Well, it may be not used. Those genres are now nearly dead (jazz, blues, rock), and real (live) music performances are very much dead too; last two years destroyed even that little what was still happening somewhere. Computers and algorithms now generate and control both worldwide news, and perfect pitches, and there are little to no new original genres. Maybe the culture has come to its end when it celebrates technical perfections on non-existing content and needs no previously very useful skills.
For sure exactly the same when i tune piano at Steinway
@@sydneyblanchard9888 But you can't bend notes on the piano while playing.
@@zvonimirtosic6171 Honestly man I've never heard of anyone intentionally playing out of tune as a "secret" to building a great jazz solo. Controlling and manipulating pitch, sure, but "out of tune" is something else. Respectfully I'm not sure where you're getting this idea from. I also play jazz, live, many times a week, so the idea that it's "dead" is a stretch. Certainly not the popular music of the day, but a far cry from dead. Lastly, "The whole universe of saxophone vocabulary was invented in the 20-th century for the sake of overcoming many technical difficulties with the instrument" is an extremely bizarre claim. The vocabulary of the saxophone music (at least in jazz) developed organically as a means of musical expression, and the technical facility and adaptability of the saxophone facilitated that development more than any other wind instrument.
Curious to see how people get easily biased by the video itself. I’ve seen millions of videos saying positive things about vintage horns (MK VI and SBA) and people commenting things like “no saxophone is going to beat the legendary MK VI”… now that this guy is trying to put the supreme a step above MK VI seems that everyone agrees with his opinion and now we are able to find the cons in the MK VI. In other video about Yanagisawa people were saying basically that Yany saxophones are the gold standard in the industry 😂
Personally I think that in this range of instruments the differences are minimal and usually come from the mouthpiece or the sax player, if you are trying to make a decision and want to spend a lot of money just go to the store, test the saxophone and PLEASE… try to avoid video comparisons because you could get easily biased… actually, before spending such amount of money practice to build solid skills no matter what horn you play… just an opinion
Onde e essa fabrica
The Mark VI still sounds better than all other Selmer saxophones.That's just the way it is.Yes, the new models have the Selmer sound, but they don't sound as good as the Mark VI.
Agreed!
The much revered Mk VI was of a slightly flawed design - heaps of tonal potential if the player had the means. Any improvement shall always be welcomed. The Supreme, as good as it appears to be, has some VERY stiff competition in the contemporary soundscape.
Saxophone design with 2 octave keys is a copromise more would be tricky to use .
Tuyệt vời , chúc các bạn luôn thành công , nó là niềm mơ ước và hy vọng của tôi , có được cây kèn cũ đối với tôi là hạnh phúc lắm rồi nhưng điều đó ko thể đến với tôi
Song Gerald albright version ,hehee
do some classical sax demo
why would it not be better then a horn from 1960, I mean, most things are better build right? maybe compare to a selmer 3 would be more logical
Oh c'mon, don't judge the Supreme from this paltry demo of less than stellar playing. If you want to get a handle on how it really performs, watch a proper review by a top player who has played it for a while. You can find them elsewhere on YT. I've owned a Supreme for 8 months and I'm constantly discovering aspects of what it can do, and I'm a pro player with 30 years experience playing other Selmers. The Supreme is a magnificent instrument; but even great instruments take time and dedication from the player to reveal the potential.
How does it compare to series ii? Some claim the sound is cheap, that is the supreme.. I was thinking of either series ii or supreme. Any recommendations?
Series II are terrific horns. If you like the Selmer tonal palette in general, then go for a Series II in good condition or a new Selmer Axos, which are also excellent. My advice is only spend up big for the Supreme if you’ve played other top saxes - Selmers/Yanis/Yamahas etc. and STILL been dissatisfied about very specific aspects that pertain to high level playing - precision of intonation, precision of mechanism, precision of eveness of tonal weight and EQ of the instrument from bottom to top. If these things aren’t an issue for you, then there is absolutely no musical reason to buy a Supreme. Playing a Supreme is like driving a high end sports car- it enables you to do amazing things, but it also shows up flaws in your playing because it is so incredibly responsive to every input from the player. It is worth every cent when you consciously and specifically demand from a saxophone what it provides that other models cannot.
@Luke Serrano thanks! Im trying to get back into playing after years of no playing. I just want to get one good instrument for life and improve . Want this to be the last sax i get. Ive never tried selmer. I heard series ii has more resistance, harder to play. But i guess I should try the series ii maybe, which is cheaper.
@@op14435 don’t worry about resistance. Any decent pro horn will have more resistance than a student horn; it’s part of what helps to enable a player to create a more complex tone. I went from a student Yamaha to a Series 1 Selmer as a 17 year old, and it took me a couple of weeks to get used to the difference- i.e. you need better breath support to overcome the resistance. But as long as you get back into it with a sensible mouthpiece with a 5 or 6 tip opening, and reeds of a 2.5 - 3 strength, then you shouldn’t have any trouble getting a good sound with plenty of breath for long phrases. I’d recommend the D’Addario mouthpieces as good, well priced and versatile pieces. Good luck!
@Luke Serrano i bought the supreme today!! Hope it's good!
The Mark VI was a very inconsistent instrument. I would expect the newer horns to be more consistent for no other reason than improvements in manufacturing! Tone quality is strictly up to the individual, assuming the instrument has the quality to get there, and both of these horns are quality instruments. I'm truly confused as to what all of these comparisons are tor, and about?
Im shocked how almost no-one can hear the gigantic difference between the two. The MK VI sounds a lot better. It has got a fuller sound and projection. In particular has more of the lower overtones upfront where as the ‚Supreme’ sounds very thin like most of the modern saxophones. There are a lot of things that you can do as a player. Intonation is mostly to do with the player, that can adjust to the instrument over the months of practicing. You can’t change the lack of projection on modern saxes though. I own one of the first Selmer Rederences the matt finish. After trying Keilwerth Superdynaction I realized how backwards and behind all the modern saxes have gone. Apparently the materials that the vintage saxes were made of were different. Im only dissapointed that they haven’t managed to reproduce that with the modern ones.
I tried both , the mark is better in any single way . For me the worst thing about the supreme was the ergonomics wich are complete garbage . Tonewise it sounds super dark , no brilliant highs like the mark 6 , no sweet mids like the reference 54 and no deep base like the series 2 for example . Overall 3/10 horn for me
The late model mark vi alto is not going to get you into a new supreme at $8,600.
Mark VI > Supreme
Mark6 much better.
Supreme is an unsuccessful model, matte saxophones sound bad. There's not much to say. 6 sounds great. I am ready to buy Supreme for $700-800, this is its real price
How about the dark gold lacquer supreme?
@@op14435 сейчас много тестов разных инструментов на ютуб, посмотрите сами и сделайте вывод, мне больше всего нравится Conn 6m и разные Селмер. В Supreme мне не нравится его выпячивание, другие модели они тембрально укладываются в музыкальную ткань, а этот как то торчит. В итоге они просто выкинули свое главное преимущество. Мне больше нравится простой лак, а эти темы матовый или без упаси боже лака просто маркетинг.
@Александр В. thank you. I recently got aw02 but was thinkng to get supreme. Aw02 is easy to play. Heard that supreme takes a lot of air to play it like the series 3. I never had a selmer and never tried playing it.
@@op14435 Sorry, I thought you understood Russian. I say my opinion, it may not coincide with yours. I had yanagisawa 901, a tenor without varnish, I believed the good recommendations. This saxophone brought me a lot of suffering and when I switched to yamaha I was happy, although it is a bright saxophone. Yanagisawa is a really bad sound. If you compare Selmer and Yanagisawa, then for me, Selmer is always the winner. In my opinion, there is a crisis in the world of saxophones now, it upsets me terribly, only selmer sounds good from modern manufacturers. Now I dream of a selmer saxophone and a conn 6m. The economic situation and sanctions are difficult now, but I hope I can buy it.)
@Александр В. я понимаю:) its easier to text in english lol. But what you think of the ease of play. I just heard series 2 its not easy to play as yanagisawa. I want to get supreme but seems like your not into it lol. I just would like to hear peoples opinions thats all. Its a big purchase so i dont know. Im planning to ship aw02 back for a selmer supreme.