Selmer Supreme | Alto Saxophone Review
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- เผยแพร่เมื่อ 28 ส.ค. 2024
- Dr. Wally Reviews the Selmer Supreme, a professional saxophone just under $8,000. Is it worth the price?
HUGE thanks to Brian at GetaSax for loaning us this beautiful (and well set up) saxophone! check out his selection: www.getasax.com
The savings account joke was priceless
Wait, what joke? It's true!
I was counting on someone to say that!
Where's the lie, though?
I can do a Yanagisawa setup in one hour and love the result. A Selmer can take a day and 10 pads and I am still frustrated at the end because I can't fix some factory flaws without an overhaul and the horn costs twice as much as a Yanagisawa or Yamaha that doesn't have similar issues out of the box. I hope they improve; I believe they are certainly capable. Their legendary status has proven remarkably resilient to their own assaults upon it (thanks in part to the shops that sell them finishing the work that should have been done at the factory), but it won't hold up forever.
One day, I'd like to play a modern Selmer I wasn't already mad at. They make great body tubes (the slotting and intonation on the Supreme has to be felt to be believed, it is truly incredible), and I even really enjoy the aesthetics of the new machine-done engraving, which is surprising for a vintage curmudgeon like me.
Thank you for the honest review.
I'm with you. It's strange to me that so many saxophonists don't consider "setup" as part of "build quality"? There's a mythos that Selmer leaves it up to the dealers? Baffling to me, especially because not many dealers have the network like Brian at Getasax of quality repair techs (you being quite the exemplar).
When I think of Selmer, I always think of the "Ship of Theseus" thought experiment. Would be a fun coffee chat sometime, Matt!
You nailed it, Matt!!. I played a series II tenor once at a retail shop and 3 pads fell out while I tried to play it. I bought a Yani. I think if SML were still around, this would be called the"Lawsuit Selmer" because of the neck receiver ring.
I suspect the one Selmer I purchased is suffering from a setup issue. I have a few alto's, but the latest and first Selmer I purchased is wildly sharp from C# and up and no amount of embouchure or mouthpiece adjustment, or pulling out the neck gets it close. I went ahead and added some corks to the palm keys to keep them from rising so much, pulled out the mouthpiece, and pulled up the neck as far as it would go and still function, and it's still sharp but within the same key >
I stand by all my Yanigisawa horns for my price range they are the go-to saxophone.
@@Buasop Had to give you a shout. I played an SML alto, decades ago. Rolled tone holes and all. I chuckled at your experience with Selmer. I was a tech with a retail chain '77-'99. Every Selmer always 4-10 hrs. service right out of the box. When the S80 came out, we had to repad them the leaks were so bad. After the store owners complained, and to Selmer's credit, they sent a tech to repad the rest of our stock.
I know I'm a bit late, but I figured I would share my experience anyway. I have owned a Selmer Supreme for about one and a half years now, having bought one in June of 2021. I do have to disclose that I got an exceptionally good price at slightly under 6000€ and that did play a role in me pulling the trigger on that particular instrument. But, it did have to get overhauled after I purchased it for everything to seal 100%. The shop I bought it at never acknowledged this problem. I also played about a dozen of them in several different shops and the one I ended up buying was the only one I liked. At first it was more of a rational choice, since I was in the market for a new alto and it's just simply so good, but after a while I did really grow to love it. I will finish my masters degree (classical) on it this year and I have grown to really appreciate it for the powerhouse it is. Response is second to none, as is intonation. Mine has almost no resistance and plays easier than any other horn I've ever played. (I probably tested around 50 professional alto's so far, ranging from silver yanagisawas, to gp yamaha customs and all of the modern Selmer models). I do get what you are saying that it feels less enticing to play than an older Selmer horn (I have no experience woth other brands' vintage instruments). However that doesn't take away from my love for the instrument as it reliably does exactly what I want. So in the end I agree with most you said about it, although as a classical player I can only imagine my perspective is a little different. I hope this is useful to anyone reading.
@b.smitty5273 Can I ask what store you purchased from? By chance did you try both the dark Gold plated and silver plated supreme and can you explain the difference? Thanks
In the spring of 1962 I went to the Selmer factory in Indiana and selected an alto mark VI from the 23 they had on hand. One of their tech staff then did some fine tuning on the set up to my specs. After a month of lots of forte long tones on the bottom fifth of the register, the historically stiff Selmer finish was broken in and sax played beautifully, That summer Frank Kasper of Chicago replaced the needle springs with piano wire for a lightning quick action and I am still playing that instrument today. Tried many others but nothing came up to the old VI.
I played a Supreme at the Selmer showroom in Paris about a month ago. I agree with most of what you say about the horn. My alto is a Selmer Series II from 1996 or so. I loved the look and feel of the Supreme, but would not get rid of my Series II for it. When I was gifted that Series II in high school (brand new) I had the luxury of playing six of them side by side for a week before taking my pick, and the Selmer build quality issues reach back decades. I love the Selmer sound, but every new horn I've bought in the last decade has been a Yamaha or Yanagisawa. Every new and used Ref 36, 54, or Series II or III just didn't do it for me.
VERY much agree. It's a shame, they have such a winning design in so many ways.
@@drwallysax Would it be fair to say that the SBA/MkVI design IS the winning design for the modern saxophone? Every new horn takes that design and just tries to iron out one or another kink or execute better on that MKVI design, I think. E.g., the Yanigasawa horns.
Your back to back comparison between the Supreme and the Mark 6 was very interesting. The Supreme sounds brighter and the Mark 6 sounds a bit richer and maybe a bit warmer as well... And I would agree with you that how any instrument actually feels when you are playing it is as important, if not more important than anything else.
I bought a Supreme about 14 months ago after playing on an SA80 for the previous 26 years. It takes some time to get used to the differences. I agree with you regarding the feel; from the point of view of playing jazz ballads or in a cool style, my SA80 has more built in resistance and a much darker, more spread tone that suit this style better, both in playing and listening. However, for pop, funk and classical imho the Supreme simply is that; the best there is. Being able to sit in an orchestra, chamber group, in a pit etc. and KNOW that you’ll play in tune on every note is worth it. 8k spread over 20/30/40 years of playing is worth it for amazing homogeneity of tone through the registers, super fast response, warmth of tone, great ergs and yes the best intonation on any alto. Yes, mine came imperfectly set up too. But the dealer should include a free initial service anyway, and new pads take time to settle, possibly necessitating a further service, so I think this is a bit unfair. Pad adjustment is not what I’d categorise as ‘build quality’, and I think it’s fair to say all Supremes will be pretty much identical, so the ‘make sure you get a good one’ is no longer relevant advice for this model of Selmer (or the Axos I’d imagine). But yes, some people will buy the Supreme because it’s very pretty and they have the cash, when they don’t really need it for their level of playing, and for these buyers it doesn’t represent good value.
The setup was not a matter of pad settling. I was not being unfair, but generous. Getasax sent me photos and video of the condition. It was truly unacceptable. I think this absolutely is part of the build quality. If the pads are not sealing, the horn does not function. Expecting the dealer to spend time and money on setup (essentially an overhaul in some cases) doesn't sit well with me. If Yamaha and Yanigisawa can send horns that play great out of the box, I think Selmer should as well.
@@drwallysax geez it must have been really bad. Indeed that is unacceptable and needs to be called out. I was thinking it was a 15/20 minute adjustment only like mine was, but this sounds much worse.
One more observation I'd add about the Supreme - the incredibly quick response makes it feel very different to an older horn. The player has to dial in 100% of their internal tone production technique prior to the attack, because the instrument will immediately and extremely faithfully represent what you have set up in your body. I find with my SA80 I have much more time to calibrate all this whilst in the process of creating a sound. This to me creates a kind of 'feedback' and connection with the horn which is more relaxed and reassuring, but much less agile. Different, not better or worse. For this reason, I think it's nice to have a modern and a 'vintage' horn for different purposes, if one can afford this luxury. After all, guitarists for example seem to have a dozen or more guitars for different purposes, yet we expect a certain model of saxophone to be ideal for every musical situation. I suppose calling a saxophone the 'Supreme' doesn't exactly help! ;)
There is no “level of play” that determines how nice if a horn you should buy. Buy the best you can. This is a horn that you can buy even if you don’t play. It could be a great investment and it’s a beautiful piece of art.
@@nhr27 sure. I suppose some kids also learn to drive not with a Fiat but with a Maserati! 😊
What an honest and insightful review! It is so rare in the TH-cam world to get this kind of information. I also agree that feel for the player really is what separates a great instrument from the rest. We can always tweak the sound for the audience.
I thought you sounded a bit better on the Supreme but not $3000 better. I play jazz for fun and use a Selmer Bundy II which sounds OK but the key work does not respond to what I want to do. I have to play loudly so that my phrasing doesn,t drop off and sound ridiculous. I think I might get the horn mastered and playing by the time I reach the age of 78. I,ve been listening to jazz since the age of 15 and have heard hundreds of players at my age now of 75. I hear Paul Desmond in your playing and really enjoy listening to your teaching approach as I too am a retired science and math teacher who had the students laughing for most of the class time. Thanks for your contributions to music. The education system tells me that I'm not supposed to be interested in music as a science teacher, but little do they know that music is chuck full of science and math principles. My favorite musician is Joe Henderson.
Thank you always for your time given to all of us
Great vid doc. I was a tech for45 years, worked on thousands of horns. There's nothing worse than a raw horn, and every Selmer that was shipped to us always seemed to need 4-10 hours of work. The newest models I worked on were the SA, ad SA II. I just didn't understand why they used what appears to be contact cement for a pad adhesive. If the pads aren't leveled to the tone holes, it seems like they clamp the pads with too much pressure. If you clamp them heavily, they will cover, but only briefly. When the pad seats are not of uniform impressions around the circumference, you get some nasty leaks. Of course, there's also buffing and tone hole issues that occasionally pop up. Never buy a raw horn.
In discussing the build quality, I'd be interested in a little more information about the exact problems. For example, I'd regard things like problems with spring tensions, key heights and pad seating as being set-up issues. These shouldn't make it out of the factory, but when they do they can all be addressed relatively cheaply by a repair technician.
On the other hand, build quality problems might include things like tone holes not being level, pillars being mis-aligned and requiring resoldering, or free play in the keywork. These are the mark of a cheap horn, and if you're seeing them on a high-end instrument I'd like to know about them.
Only 42.4K Subscribers? Come on guys, we need to do better than that!
D'awwww, thanks Gary :)
Dr. Wally: Thanks for the honesty in your review of the new Supreme. All comments are great. Although I can afford to buy one, I've been reluctant to get one without knowing much about it. I've played my MKVI tenor and MKVII alto for many decades and prefer them over a number of other saxes. I agree, the Supreme sounds nice, but for $8K it should arrive in perfect playing condition. Also, your comment on "feel" is a very important distinction to the player. So, I'll shy away from the Supreme for now. Thanks a lot for your very insightful thoughts and advice. 👍
Glad it's helpful! I can't imagine trading my vi for this (unless I JUST played classical). Happy practicing!
I love my Supreme! Best saxophone I’ve ever played! It is worth the price especially having it for many years down the road! Furthermore, those that play a mark VI will pay 6500-12000 for a 50 year old horn that needs a lot of work. I’ve had my Supreme going on two years and it’s held up great. The tuning, easy response especially down low, even scale and subtle nuances it has when you play music is just great! It has the great Selmer sound and for the iconic company they’ve figured out how to be a step ahead of all the rest.
Hey, wait a minute, you're a Selmer Artist aren't you Cory! No fair! Blink twice if they're making you type this....Seriously, you sound amazing on yours.
@@drwallysax thanks man! I enjoyed your review and your show overall! No Selmer didn’t tell me to say anything, :) We have a mutual friend I found out Ryan Knight! Have a great one!
Great review! I’m completely in love with my Supreme. It did take some work to get it playing well, but omg what a beauty.❤
Thank you so much Dr. Wally for all your reviews, always honest with unbiased reasoning.
As an old man am still taking lessons with my Selmer Ref.54 which is a very good, yet
expensive saxophone. My understanding was when I purchased it that Selmer trusted
their dealers to set up the instruments themselves which happened in my case.
I notice that another subscriber has encouraged you to do a review on the Wood Stone
(Ishimori) Alto and would endorse his request - I believe they have been designed on the Mk.6!.
Appreciate all your input and expertise!.
Happy Christmas to you and yours and every blessing for the New Year.
Awesome review! I love Selmers! With that being said it is awesome to see that a horn made decades ago would even be able to compete with a modern horn. Selmer must have done some time travel and took modern horns back. 🙂
One of the good ones... my teacher took weeks, touring dealerships between Paris and Mulhouse, trying dozens of Selmer saxophones until he found me one of the good ones. That was 35 years ago. Whenever I played one of my colleague's instruments, I was very grateful he put the effort in. And yeah, he was one of those "French contemporary music" guys.
Thanks for the video, interesting review. I got my supreme nearly a year ago after playing mark 6 for 6 years. My experience with the supreme is that i discovered more and more colors, and comfort zones with the instrument over the time. And me myself as well as my colleagues from the very first day said it definitely sounds like me. There are some moments where I find it quite close to a mark 6 character, but of course it has a modern sound which I believe is fitting very well with many very contrasty musical genres. Regarding the build quality I had no issues, but I choose my instrument out of 7 supremes. Interestingly I was playing a yamaha ex875 for a short amount of time (4-5) months, and this was exactly an instrument which didn’t let me sound like I want, it was just it’s sound and I couldn’t do anything about it…
I absolutely love selmers new and old. Own and play modern and vintage. I teach at a big music store and play/teach for a living. Can confirm, all our new selmers need an overhaul when arriving stateside. I have a modern super action 80 and brand new it needed flatened tone holes and key adjustment. Once all that was talen care of it outplays everything for me. Its been this way for so long I think it must be part of their strategy? "Ecoutez bien! You finish your own horns okay? We are to busy here at selmer injecting them with soul and passion to assemble and ship them properly!!! Zut alors!!!!"
Wow Wally, another great review and I really appreciate your honesty here.
Love this review. There are plenty of reviews of this saxophone so I was VERY curious what your focus would be. The connection of "feel" with a horn is rarely marketed, but so incredibly important. Most players sprinting for one of these won't be in the beginning stages of their relationship with the saxophone. So. We get it. If you can ever get one of the Model 2022 saxophones, I would LOVE your comparison opinion. (hint: I know a guy)
I would certainly love to try one, but terrified I might love it! (my bank account says nooooooooo)!
I bought a brushed finished supreme 1 year ago. I play classical and in my opinion the sound was more full and darker than my yanagisawa a992 that had been overhauled 1 year prior (2 years now). Here's the issue, it was very resistant when it first arrived which I was willing to put up with for the better sound but, after a few days it became unplayable right before a live audition. It was set up very poorly from the factory and the palm keys were leaking after 3 days of use. I got it fixed by the seller, Kessler and Sons is amazing, and now it is by far my favorite saxophone I have ever tried. Yamaha EX, Custom Z, Yanagisawa a990 and a992, and Selmer series 2 are all not as even, rich, and in tune as the supreme.
That's great! Glad you have a top notch Supreme, it'll last a lifetime :)
Thanks for the review. My setup for alto is the Yamaha EXII with solid silver E1 neck and the solid silver V1 neck. I use the V1 neck for dance club gigs and I use the E1 neck for jazz gigs. I have the same solid silver necks for my Yamaha 875 tenor. I feel like I don't need to upgrade my old tenor because the solid silver necks makes my tenor sound better than anything else I've heard. I love using the Roberto's Winds reeds on alto. On tenor I use Roberto's Winds for the jazz gigs. If I want some extra brightness on tenor, I will use the Rigotti Gold reeds. I love how the Rigotti Gold reeds play beautifully at softer dynamics and they get brighter at louder dynamics. I have a P Mauriat System 76 II soprano that I love more than my old Yamaha 62. P Mauriat fixed the key springs on this newer soprano. The first version of this soprano had weak springs for the keys. I love the D'Addario Reserve reeds on soprano.
I've played several horns that made me feel as if the heavens had opened. I bought the last one that happened with. Been in love with my Reference 54 for the last 6 years. I sometimes regret the cost (traded a 10m and a Zephyr) but I remember why I did every time I play it.
So glad you found your match, Spencer!
A thorough and well presented review, thank you. And also thanks for explaining about the "feel." I knew exactly what you meant as I experienced that when researching and buying my piccolo (yeah I know, not quite the same but the idea is) .
The high end high priced hand made one... didn't light me up. I didn't feel like it called me to play it. I didn't enjoy it and wasn't looking forward to playing it. Then I found a much cheaper, like half the price One and I love it!! The best instrument is the one you look forward to playing.
When I switched to Yanagisawa I never looked back. I played vintage horns for years and enjoyed them, but my Yanis helped me get the sound I was looking for and they play so well not to mention the ergonomics. I suppose one thing to consider is the Supreme is still cheaper than the cheapest solid silver handmade flute I could find.
I was IMMENSELY impressed with the build quality of the AW010, but think I preferred the way the AW01 and AW02 played. I sold mine, but would have no problem recommending them. GREAT value for money!
Yes, for some reason saxophone players expect to get their instruments for the price of an intermediate flute, or student model violin! When I play the Supreme I feel like i’m playing an instrument that has had a similar level of finesse in its development and creation as that of top level flutes- and it doesn’t cost 20k+ like they do!
I am really enjoying my 56 alto mpc, it just makes playing more fun. It also has helped me get the sound I want. I always thought my sound was too spread but with my setup I have now I am finally getting to where I want to be soundwise. Thanks!@@drwallysax
I keep wondering who the heck can afford those prices. It's crazy.@@lukeserrano62
@@robertpayne5233 I guess people spend money on the things they value. I drive a very average car because I don't care much for 'the driving experience'. But I paid much more than average for an alto sax which to my mind made it much easier to do the things I want to do with it, with the sound I want to hear. I hate the feeling of knowing there is literally nothing I can do to play e.g. a high C# and get it in tune (like on older Selmers and many other besides), but on the Supreme I know I can get every note in tune. Out of tune playing just drives me bonkers (on any instrument). To me it's like playing tennis without a net.
I just want to say I am loving the new intro!
Thanks! You mean the new theme song recording?
I've been playing an alto Selmer Super Action II for more than 20 years. The instrument is not my own (it's property of my wind orchestra), but it feels as my own, as all the scratches on it are mine. I've never even played another instrument before. Now I'm looking for an alto I can really call my own. I watch your review videos with great interest, Dr. Wally, they are very helpful. Thank you so much! I also love your podcast btw, they light up my day. :D
that's most kind, thank you (I'll tell Sue as well)! So glad you have a Selmer you love, happy practicing this holiday season!
I tried one of these at a conference. It played and sounded fantastic. But of course, the conference one was probably set up flawless. I came back the next day to do a video comparison between it and other top end horns but by that time the horn was gone.
Anyway, the sax played great but I am still a Yanagisawa person.
Good honest review, Dr. Wallace!
Great review. No one more objective and honest than Dr. Wally.
Now you’ll need to do a video on the new Selmer Signature!
Fun review, as always. Watching your body language in playing both horns brought a question to my mind as to whether there is a possibility of bias toward your MkVI, as it looked like you were making love to it, whereas with the Supreme you looked like you were driving your date home and couldn't drop her off fast enough :)
first off, gross. second, I agree. Good observation.
Almost 20 years ago, I picked a Selmer SA l because it sang more than the SA lls. It's always been better than what my playing deserves. There will be no other alto for me.
That's kind of the magic of a "good" selmer, they just "fit" the player and last a lifetime. Happy practicing my friend!
Got a SA I in 1993 and have been playing it ever since. Even got a great deal on a VI a few years later I thought I’d replace it with, but ended up selling the VI and keeping the SA I. Only change I’ve made is using a series III neck, which is less resistant.
This is 100% what my saxophone teacher said, during my music majoring. If the horn is set up without any major issues, that’s more important than owning a Mark VI or whatever.
I made a risky move, in 2015, shopping for a professional level alto, yet all the boxes checked out on the eBay purchase of a late 80s YAS-62 shipped from Japan to WV. The horn is nearly flawless, and I may have had it adjusted for leaks once. It’s slightly darker than preferred, yet flexible enough to play anything conceived!
Thank you for the insights on the Supreme. Very interesting. I have been playing a black series III for 7 years, and very satisfied. However I experienced the same issues on setup, and cork falling off. My local repair man set it up and replaced much of the cork with synthetic “cork” and has worked flawless since. 😊
I'm glad it's holding up! I'm not surprised, once you get a Selmer set up they will certainly play great for a lifetime!
Black Series III club!
The 6 sounds slightly warmer. I enjoyed the Supreme with the second mouthpiece. Great review!!
Very much agree. Sue Fancher (my podcast co-host) thought she would need a different mouthpiece for it as well. Thanks for watching!
Thanks for the review. I'm having similar set up problems with a new Supreme tenor. Thankfully my dealer is giving great after sales support. But I agree. At the price paid I expected more. I've had an SA series 2 tenor for many years which is really great - but it requires lots of work & love to keep it that way.
I had the exact same feeling about the sound. I think this is because the Supreme is based on the Series III which was inteended to produce a certain type of sound. But yes, you sound great on anything!! :)
I bought a 2nd hand silver plated Supreme a few months ago. My impressions of it at this point are similar to this video - listeners say it has a really, really nice sound while my feeling as I'm playing it is it sounds quite nice but doesn't seem to really sing. Mouthpiece I'm using at the moment is an older Selmer E with a round chamber (can't find any other id on it). I plan to try a different mouthpiece and reeds when my finances have recovered a bit. The original owner was a sax/clarinet teacher and payed good money to have the instrument set up when he first bought it. Overall my impression is it's a nice instrument (definitely pro level, which I'm not) but it doesn't really grab me, so I'm finding it difficult to justify the expense.
Thank you for such a great review. It was honest and insightful. I play a few different saxes and I like them all. My alto is a Super Action 80 series II in black lacquer that I found in a pawn shop in the 90's. It's a phenomenal instrument for me. I have experimented with different necks, but ultimately came back the factory neck that came with it. I haven't found another horn that plays as well as it does for me, and I have tried a lot of alto saxes, but keep coming back to this one. I also have a 1940 Selmer Balance Action that had intonation issues. I finally found a Warburton neck that fixed that for me, and that's my regular tenor I play. I own several other saxes such as a Yanagisawa 901 Tenor, a 1963 Martin Magna Tenor with a silver neck, a 1975 Vito Bari that was made by Yanagisawa, a H. Couf Superba I alto, like the one Grover Washington, Jr. played on his last albums. I like them all for different reasons, but keep coming back to the S80 II alto and Balance Action tenor as my "Go-To" horns. They feel right in my hands and sound right to my ears. Instruments are such a personal preference. What I love and play will not be good for someone else. I know that. I tell all of my students they have to be able to play the instrument before they buy it to really know what they are getting. For my younger students I make sure they get a mechanically good instrument with good intonation and good tone quality, but I tell them all that sooner or later they will have to find their own saxophone voice, and it may not be in their first intermediate or professional instrument they buy.
VERY true. I'm hoping to review a Yanagisawa AW01 soon, might be the ultimate option for a student looking to step up at a great price. Happy practicing!
It makes my Yanagisawa TW02 increase in value, thanks Selmer... :)
hhhaaaaa!!!!!!
Back in the day (early 2000's) when I was making the decision to go from playing vintage horns to modern, my tech steered me toward Yamaha. His feeling was that like in this video, Selmers were not set up properly from the factory. He also claimed that Selmers cost for parts were too high and took to long to get. Since then I have purchased three Yamahas and all were ready to go right out of the box. I did bring them in for inspection after purchasing and the only adjustments I had done were for personal preferences such as key tension. Anyway, I totally agree with Dr. Wally, always try before you buy!
Another problem with the Selmers that you didn't mention here (athough maybe it's just understood by everybody) is that they're also more expensive to keep functional, not just get functional intially. I especially find this with the larger saxes. The rods, springs, etc. on my horns need to be "tweeked" about every 1-2 years depending on how much playing I've been doing. A sax player friend of mine compares this to keeping a Mazzerati vs. a Honda running well. One requires more constant care and fine adjustment on a regular basis.
That being said, this comes back to the other point you made: how does it FEEL to play. While I might have sounded disparaging to Selmers above, I'm a devoted fan. A Selmer (that is properly set up) just plays. I don't have to think about it or force it or worry about a certain key responding correctly. I'm in the music, and the ONLY thing I'm thinking about is the music, and the horn responds like my fingers or breathing...effortlessly. To feel that connected to a piece of metal...like you mentioned: you could just stand there and play for hours because...it's just "right".
Compelling content as always! Speaking from my place of expertise (although I shouldn's dismiss my serious playing of the sax as well) - it is almost impossible to "even" the resistance and pitch of a clarinet out without losing some (or all) of the "ring" in the sound. I suppose it is a mandate to keep on trying - and over the course of the years there has been steps towards it - there is a "magic" that goes away. You sound great on the supreme, and had you not edited in you playing a VI - I am sold on that being the right horn for you. However, there is a way that to my ears at least, the VI is somehow brighter AND darker at the same time. There is just more sound in it. Around my parts, the guys I work with have been going backwards in time and playing cigar cutters. Last night I sat next to a great player playing a radio improved. I just keep playing my flawed but beloved VI's.
Inspired and inspiring work Dr. Wallace! thanks for doing it
Thanks Jay! Just had this conversation with Brian at getasax, the maddening balance of intonation slotting and "ring," you're right on! I've seen the rush to older horns out here as well, it's a hoot! I'm actually looking at the springs on my mark vi and getting nervous. I love the feel of vintage horns, but as working pros, do we need the headache? What's the feeling in the clarinet world?
@@drwallysax I have had numerous springs fall off in the past few years. Usually after not playing a particular horn in a while. At the same time, a pad came out of my soprano while playing a Broadway show…and that horn is merely 30 years old. Sheesh how did I get soooooo old? Classical clarinetists don’t typically play old horns. The bore gets weird and things go crazy. My Bb is a few years from being put out to pasture…
I had a “golden era” Bb for a while. It hadn’t ever been played much, great sound - crazy pitch
That is what my Selmer is-a Radio Improved-the big difference is I am a old bloke started 15 months ago and do not unfortunately fit the description "GREAT". See my reply in comments.re new Selmer.
Great review. Very honest and insightful. I like that you did not pull any punches when describing the setup issues; when an instrument costs that much $$$ you would think it would be set up perfectly out of the box (as most Yamaha horns are). BTW: I sold my Mark VI tenor after I got my hands on a Yamaha Atelier tenor earlier this year. The Atelier tenor is an incredible horn. I look forward to your review if/when Yamaha introduces an Atelier alto.
Quite expensive but a very nice sounding saxophone. I love the engraving on it, especially on the black lacquer version where it stands out. To me the sound of the Supreme is more even than the Mark VI but there is not much in it as they sound very similar,. It is like the Supreme sound is a cross between a Mark VI and the Reference 54. I am really surprised you mentioned they were not set up correctly, especially at that price. I have heard that Selmer do that so that the dealer can set up the saxophone how the player wants it before they get it, but I do agree it should be set up well from the factory and only need minor adjustments if the player wants them. My Yanagisawa AWO2 was set up perfectly from the factory and still plays and feels perfect and the only thing I had to do with it is have the spring tension lightened.
I think Selmer is releasing a tenor version next year, and I am looking forward to finding out about that and how that sounds and plays.
I tried the AW02 and AW020 when I bought my AW010 - they were all just fantastic out of the plastic. Hope they improve the quality control for the tenor!
Thank you so much for the review !! I'd love to see you review more saxophones, special request for Selmer Paris Axos Tenor please !
Thanks Can, I'll see if I can dig one up!
I believe you love that case because it was made by BAM!
I bought the Supreme Model 2022 and I think it is even more beautiful - the matte and black details are gorgeous! Of all the saxes I played I felt this was the most comfortable and most beautiful sounding even when I was just tuning!
Is it made by BAM?! That makes sense!
How you been David? I think someone hacked your instagram account!
@@drwallysax I'm like 99% sure it's made by BAM.
I'm doing well! My account for sure was hacked haha I had to make a new one.
I hope you're doing well and Happy Holidays to you and your family!
I was told first hand by Selmer folks that BAM is indeed manufacturing the Supreme case
Check the interview to Phill Woods about this anecdote with Charlie Parker. Forget about your equipment, is it decent, just practice the right stuff with discipline and forget about the setup, the important part is the guy in the back playing.
Nice job Mr. Wallace. I've played for 50 years. And these new horns are a bit brittle sounding to me. An excellent attempt with modern metal mixes, but nothing like WWII brass. I'm playing on a copper horn myself.In high school I had a MK 6 that Sinta picked out and I like the way you put it... Here's the sound enjoy it. My MK7 tenor same thing. I play on a Chateau S90 and King Silver Sonic tenors. I get great feed back from both. Best of luck to you.
Thanks ted, I appreciate the perspective!
I played a MK 6 for 18 years. When the Yamaha custom Z hit the market the Selmer went on eBay. Most 5 night a week players had a standing Friday afternoon date with the repair man to replace cork and fluff pads. I never gave up on Selmer, the Series 3 came close but the Z was half the effort to play and one could easily adjust the keys. I played it 10 years before it needed to go to the shop, less the neck cork.Thanks for the review, I still haven’t given up on Selmer but they need to look at what the Japanese are doing. Who wants to cut and sand and glue key cork when all you do is turn a screw on other horns. The wait continues. Peace
I played 15+ professional level horns at a store when I was on the market for a saxophone that would get me through college. I was never a big fan of Yamahas, even though their intonation was spot on and the key action felt great, they just didn't sing the way I wanted them to. Any Selmer instrument I tried was actually great, but I never felt connected to the instrument in a way that all musicians should feel. I eventually came down to two kind of oddball horns, especially considering classical saxophone is my specialty. One of them was an unlacquered Cannonball horn, sang beautifully and the tone made my heart melt, though the intonation was somewhat difficult, especially on trouble notes like every octave of D. It also didn't feel great in my hand, it was bulky and heavy and it just didn't set right with my embouchure.
The horn I did purchase is a Theo Wanne Mantra 2. Sure, it has some intonation problems, but I've worked most of them out by now. When I first played this horn, I wasn't expecting much, especially when there were horns $3-$4k more expensive sitting right next to it. But it sang better than anything I've ever played. It truly was a spiritual experience for me. It fit in my hands just perfectly and I really could not put it down. Altogether just loved it and couldn't wait to buy it. After a year of playing I noticed a couple quirks that I hadn't noticed before, most likely due to my lack of experience on the saxophone. The lower stack rod had a screw that really liked to come loose, and it cause a lot of tension in the F key. My local repair shop couldn't do much about it, but its better than what it was. The other thing was the G key rubbing against another rod, making me have to squeeze my hand really hard to get it to sound. The repair shop took it apart and ended up shaving off some metal to make it more functional, eliminating the problem altogether.
Long story short, its not always the functionality of an instrument that matters the most. Every instrument is going to have its quirks and problems, some you may have to work harder to fix than others. Its mostly about how you as a player connect to your instrument. So yes, I get a lot of criticism for playing a 3rd stream horn, and everyone thinks I should switch to Yamaha, but I simply don't feel like it.
Anyway, I would really like to know, has anyone played a Theo Wanne Mantra 2? Any thoughts on the horn? I would love to hear.
Great review! The sound works for me with a Claude Delangle mouthpiece but, when I bought the Supreme, I first used the Concept mouthpiece for a while that I had used on my Yamaha 875EX. So, I didn't feel as though I needed to change mouthpieces to get the classical sound I was looking for. The issue of build quality is real. I know that some things can settle in with new horns and that they can require some adjustments after a period of serious playing. However, after paying $7250 in March 2021, I had a felt fall off under the key arm for the middle C before a concert in Dec. 2021. I've since had to have another replaced and, more seriously, I'm taking it to my tech in January to have some pad work done. I've had a Yamaha tenor and soprano since 2004 and have never really had much serious work to do on them since purchase. I think the Supreme is a well designed horn but Selmer needs to up their game in build quality to match the Japanese horns.
Oh man, Patrick, that's super frustrating. Once you get your Supreme sorted it's going to be an amazing horn that lasts a lifetime. But very much agree, Selmer needs to up their game!
According to Brian, the pads put in this Selmer were "too small". Not sure if that may be something you encounter with your tech?
@@drwallysax I don't think I'll have a verdict on the pads until he gets a chance to take it apart. He said that, oddly, it appeared that some of the pads had swelled (like flute pads can) as though it had been manufactured under very dry conditions and then not properly shellacked. But he'll need to take a closer look to really diagnose that problem. With the felts, Selmer didn't properly glue them on but relied on adhesive backing on the felt itself. Most of the time that can work just fine but he was surprised to see that used on such an expensive horn.
@@patrickschlesinger3374 do you prefer 875ex?
@@op14435 for me, it was very close but when it was new, I preferred the Supreme. I’m hopeful to get it back to that state with a little work from my tech. The sound was a little less resistant and the Supreme’s low end response was incredible.
@Patrick Schlesinger thanks. I have supreme, went to try 875ex and liked how it sits and responds and not sure if it's worth the extra 2500$
Fantastic review. Wally is an amazing educator and content creator👍
I honestly believe you sound much better on the supreme with the first mouthpiece. It’s a very perceptible difference to my ears. I’m inclined to say that he prefers a slightly more spread /fat sound rather than a focused /nimble sound.
Just a side comment, well 2 comments.
Watching the review makes me that much more happy that I got a great 1941 Conn 10M and a (now) great '37 6M back in high school 20 years ago. Not that they are the end all be all, but I'm glad, as a hobby player, I don't need to search for a different horn.
Comment 2 is both of my horns were poorly setup by someone who really should have known better. The 6M was always hard to play (air leaks) and the 10M didn't have a good low register (air leak). Setup properly, they are wonderful. It's sad that the first step for a factory horn that expensive is a workbench for setup, rather than for verification.
Thanks for the review!
I bought a Demo model Selmer Supreme and really love the horn. My main horn for the last 50 plus years has been a King
super Eastlake Silversonic that I chose over the Mark VI of the time because it was less stuffy, fingered better and had a better tone. This supreme oil a great horn and was set up very well and does a great job of playing whatever style music that I throw at it.I won't tell you the purchase price but it was a whole lot less than what you were quoted. I will put this horn against all the old and new horns for intonation and ease of playing. the middle c vent does give me a different sound that I have had to learn to ignore but the intonation is so much better than any other horn that I have played, and I have a P Mauriat Baritone sax and a P. Mauriat soprano as well as a low serial number Mark VII Alto and a reference 54 tenor. The supreme if the best horn of the bunch for my money. I may have gotten lucky and maybe the dealer I got it from spent a bunch of time setting it up. The horn has quite a different character depending on the mouthpiece
Thanks for the straight forward review of the new Selmer Supreme. These days new technology is mostly about ergonomics and styling. The sound will vary with each player. It’s a beautiful horn but $8K is a lot of money. I think I’ll take lessons an then, Go Practice!
Wow! Army issued saxes! How cool is that!
You would absolutely have to go on the mouthpiece hunt. The factory set ups from Selmer are really bizaare to say the least.
I dig the sound on all the TH-cam reviews I have seen though. Good review Doctor!
thanks bob! Kind of brings the question: if you have to change mouthpieces, is it a good horn for you?
11:56 I experienced this when my friend let me try his Yamaha yts 875EX tenor with a Boston sax shop heritage neck. I had been using a purple logo 61 tenor but when I hopped on the modern Yamaha, I didn’t want to give it back🤣 the best tenor I’ve ever tried
Last summer I tried one in Marseilles,France, with a Yamaha 62 and Yanagisawa awo10. That’s what they had in the store. The supreme wasn’t supreme at all😅. It should not cost that much. The best I liked was the Yanagisawa. Tried them with vandoren 5s+ which is amazing mp.
Yanagisawas are built soooo well :)
@@drwallysax btw I love the way you play ballads:)very desmondish😊
I tried the Supreme in my local shop as well and everything you say in this video I agree with. I ummed and ahhed about the Supreme and in the end I went for a Yamaha YAS82Z/MK3. Intonation on the Supreme, amazing and it also had a richer, darker midrange in the instrument but the 'feeling' of it was wrong. It felt disconnecting to play, particularly on the front E, F and fork F# needed a shit ton of air where's the yamaha they popped out and I could do all sorts of things with the instrument across the entire range. Maybe the set-up was an issue because it just didn't play amazingly compared to some other new horns but for $12,000AUD I was expecting it to be the best of the best and it simply wasn't.
…….”it doesn’t sing the way you want it to”………well, then must the search not continue? This video is candid and informative, while educating us all on the nature of saxophone itself, very nice!
The search must continue indeed! My mark vi sings, but I care not for the rusty springs. That rhymes, I'm that good. Happy practicing Yvonne!
I haven't gotten my hands on a Supreme yet, but every modern Selmer sax I've played has been stuffy and, as you said, just doesn't have the sparkle or ease of playing. Also, every modern Selmer I've ever played has this weird vibration when I play a high C - it feels like a disruption where the note is fighting itself. Nice breakdown of the Supreme!
Great review! I do not think it's a good value, and it upsets me that I've heard from so many that Selmer Paris isn't ready to go out of the box. I was recently in the market for one and was talked out of buying a new Selmer Paris because of that.
I ended up finding a 1964 Selmer Mark VI that really speaks to me for $5,000, ready to go, in perfect playing condition and sounds better than the Supreme, to my ears. It's certainly "players grade" and not shiny and new, but I love it and it sounds incredible.
I closed my eyes for the section where you compared the Supreme to the Mark VI and would pause it whenever I heard one that I loved. Each pause was on the Mark VI. To my ears it's just a little more interesting with more harmonic content. The Supreme sounds like it's record ready and has been run through a pro audio compressor; very even constant. To me it's too even and makes it sounds a little "blah" and not as interesting as I would like it to sound.
Congrats on the new (to you) horn, you made a great decision! Happy practicing!
To my ear, your MK VI sounded much more mellow and complex. The Supreme had a bit of an edge to the sound which was not as pleasant. Great review!
Thanks my friend, very much agree. Hope you have a happy practice filled week!
Awesome review. Very true statement that vintage horns give back a kind of feedback to the player to express as the player wants. I don't know why but most the modern horns are missing that texture and resonance. Played some but I keep coming back to Mark VI, its kinda players horn.
Great review and explanation…completely understand what you’re saying…I do feel that Selmers are very mouthpiece/reed sensitive…I own a Mark VI and had a Series III and both were very fickle until you found the right reed/mpc combo…my Yamahas, I could throw a trumpet mouthpiece on it and it’ll still play very well…Given I own a Yamaha 62 (mark 1), and a Mark VI (silver), think I’ll be looking for a Yani for my next…on the looks, not a fan of the boxes…a little odd…while music is a very mathematical language, when you speak it (through your horn), it’s all art…the boxes don’t really convey that…
Great video, Wally. I purchased a Selmer Serie III alto for $4k about 10 years ago. I was coming back to saxophone and clarinet after decades of being away from performance/practice and I notice that the horn is 25-35 cents flat in the lower octave and even or 5 cents flat in the upper octave, despite being pushed in as far as possible, with any mouthpiece I try. Seriously considering shortening my neck or trying to find a shorter neck for this horn.
The possibility of finding a horn better in tune for me is very tempting, but I don't know about $8k tempting.
I also have the problem of spending half my time in a community band on clarinet and half my time on baritone saxophone in a different band. Completely different embouchures.
Every pro I’ve heard demo the Supreme all seemed to sound bright on the Supreme even those who have a dark/warmer sound on their usual horns.
I preferred your tone on the VI.
It's subtle. But the Supreme sounds a tiny bit more focused than the VI, which I like. But it's all subjective.
Oh btw Doc, in my humble opinion, the saxophone with the best value for money is hands down the Trevor James Signature Custom RAW or RAW XS models. Amazing tone color at a price point that's really hard to beat. Hopefully you can do a review on that someday if you haven't already had a chance to! :)
I'd love to try one, I've heard good things! I'm somewhat limited to 1. What my Dealer carries 2. What companies are willing to send me. Hopefully I can work something out in the future!
I have the RAW alto. its so good. I've played Mark VI altos, and they're great but something connected with me on the Trevor James and for the price... you can't beat it
@@IOnRoCkS can you get one in the states?
@@mprenn1547 yes you can! however there are only a few dealers in the states. Trevor James has them listed on their website.
So, went to Chuck Levins in DC and was able to test the Supreme side by side with the AWO20…both great horns…Took a little bit to find the right reed/mouthpiece combination that I liked…I will say unlike my Mark VI, this one was more mouthpiece friendly. Compared to the Yani AWO20, the AWO20 felt like a more substantial instrument (could be the brass?). Ergonomically, both were excellent, but the Yani felt like I was fitted for a set of gloves. The Supreme felt much like my Mark VI with the additions I have on it (front F and side Eb). You can’t go wrong with either, but for me, since I already own a Selmer Mark VI, and the price difference between these two, I don’t think the Supreme is that much better, if at all, than the Yani…I’ll go back again with my Mark VI and test it along with them, as well as against a AWO2 as well…we’ll see what I wind up with…
Most of your conclusions are the same I have. The other alto player in the big band I was playing in had one. There were some things I like about it (with my Theo Wanne Gaia3 mouthpiece) but it did not have the “colors” in the tone like my 5 digit MKVI. The intonation was incredible. In fact, as you also noted, the C# was so in tune compared to my MKVI it was “scary”. Couldn’t believe I did not have to adjust for the middle C# -D transition. The altissimo did not seem to pop out as full as my VI. The low register (the horn as a whole) did not vibrate as well as my VI. I have also heard through a dealer who sells them that Selmer has been having complaints about lacquer wear on these. That was shocking (although I can’t verify the complaint).
I also had others in the big band say that my VI had more “pop” than the Supreme did. Although there were a few things I did like about the horn and wanted to consider buying it, it did thrill me enough in playing it.
Spot on. It's soooo close to the perfect saxophone, but missing the X factor. My mark vi is a late 5 digit as well (1960), just so much more fun and responsive (despite a few intonation battles).
@@drwallysax “Intonation battles” for sure. My tech put some crescents in several of my tone holes and that REALLY my intonation in my VI in the palm keys and my middle D.
Sadly one of the crescents recently fell out and now I have to compensate for the couple of pitches it affected. Have to plan another trip to Wilmington, NC to get it right again. LOL
Fellow 875EX fan here. I’ve had it for 6 years and I’ve had no issues, and I get what you mean when it comes to that little something special about it. I’ve tried Yanis and the 62 but they just aren’t the same. Good, but different. I’m going to try a supreme today just to satisfy my own curiosity.
Keep me updated, I'd love to know what you think!
Although I absolutely love the series II alto, and it’s what I used through college music education, I actually love the Mark VII. I know the VII’s get a lot of hate, but I love how beefy and full it feels In my hands. These new supremes are beautiful though.
I also have a Mark VII (tenor). I would love to see a review on this one from dr Wally
Thanks a lot for your great review! Very good!
Most comments say the mark VI is warmer, i think the Mark VI sound brittel and colder, so i think the supreme sounds much better than your mark VI, i know what you talking about very well and i also tend more to have this possibility to shape my sound, but the supreme brings out your lines absolute perfect, intonation and before all your phrasing and dynamic reacts absolute perfect to your playing. Cristal clear not in a cold way, very musically. But yes, it feels boring to play such a perfect horn. I know this.
I have also a Mark VI but play a Buffet Crampon super Dynaction. Very happy . Maybe you should try the "senzo"
all the best and i wish you a wonderful christmas time. Please go on to make such wonderful videos, very helpful!
Interesting perspective! I know what you mean by the "clarity," and listening back I appreciate it more than when I played it!
I appreciate Dr Wally's review. These things can be subjective I know. But I disagree. I'm a Berklee alumnus circa mid-1970's. Played professionally for a decade. I've owned a couple Mark VI altos. A 57 and a 71. I recently bought two Yamaha's, an 875 and 82ZII. Both were fine instruments that played and sounded well enough. I would say the action on them was "bouncier" than I like. I then bought the Selmer Supreme Alto DL. In my humble opinion, it's head and shoulders above the Yamahas in terms of having a fuller sound and tighter action. Truly a consummate professional instrument. It really was reminiscent of my Mark VI's but with better intonation. I say, if you can afford a little more, go for the Selmer. You will not regret it and it should serve you well for many years.
I suppose it comes down to a couple of things.
1/ What is your price range.
2/ How it feels in your hands.
3/ How it sounds and how it sounds when you record yourself. (as you stated)
What would interesting is to play the equivalent priced Yanagisawa or Yamaha.
Thank you Dr Wally, the right saxophone is subjective and personal.
But how do you know when you can tell that your sound is good? Only after you can play reasonably good, and when that? When you can sound reasonable good. A very circular problem.
It's an interesting question! It's a constant guessing game, but I suppose it's all part of the fun! I own the equivalent Yamaha (875EX) and the Yanigisawa (AW010) - I prefer both to the supreme!
@Saxophone Academy i recently bought supreme but was thinking to trial the 875ex in a local shop. Not sure if its worth keeping supreme or just changing it to 875ex.
I know that feel/feedback that the horn gives the player is a personal experience. However, asa listener, I preferred your sound on the Supreme with the orginal mpc, to the Mk VI or the Supreme with the 56mpc. It WAS a little darker, but to me more focused and round. Very pleasing in my headphones.
Interesting, and I certainly appreciate the perspective! Listening back I think I might agree. I played it again this morning before returning it to Getasax.com, and just couldn't fall in love with the way it felt while playing! Who knows, I might regret it Xavier ;)
I love your videos. Your savings joke was hilarious ! Lol ! 😂
Will you be reviewing the Signature? Will love to hear your thoughts.
wow - confident there is justification for the price - if this is a classical standard, then for jazz it may take modification by the player, but wow what a beautiful horn (if only in 2D)!
Thanks for the in-depth Supreme video, Wally ✌
Hey Jordan, thanks man! Hope your holiday break is going well, student juries all done?
@@drwallysax juries = done! All the best to you and your fam, Wally ✌️🌲⛄️🥂
I agree with you, the Supreme sounds almost identical to your vintage horn. With the second mouth piece the Supreme sounded even better. As far as feelings go it's very subjective and what one person likes may be unacceptable to another. Overall I would say the Supreme is an outstanding horn right out of that nice case.
It's certainly not outstanding out of the case! My dealer had to do MAJOR work ($450) to get it playing as it should. Once set up, the I agree with you very much!
@@drwallysax I own one myself and it was setup then shipped to me from England. The company I purchased it from didn't say a thing about any issues with the setup process not that there weren't any.. It's a fine instrument in my estimation and overall I'm very pleased with it.
I have a suprème DGL and I simply love it. I play also with a Claude delangle mouthpiece and this sax really sings. I have to admit that my sax was overhauled by a specialist even changing the oem pads with better ones. Indeed for this price the saxes should be perfect from factory but this is not the case. When I tried three Supremes at the shop only one was ok…. This is an issue that I agree upon. For classical playing I love the suprème. I believe you can play jazz also. There are a lot of good cheaper saxes on the market, is it a must to buy a suprème ? I would say no. But if you can find a good one that you like, it is a good sax. And unique looks.. but pricy! I baught my suprème early, now the prices are risen extremely on this short period. Doctor Wally I LOVE YOUR VIDS 😉
Hey My friend, glad you got one at the lower price! Theres a lot to love about them, happy practicing!
This was really...tight!!! On and on, to my taste, i d go for the Mark VI...!!!!!!!!!!!!!
For the money, I am beyond pleased with my Cannonball Big Bell alto. It has that X factor you were talking about where I feel like it’s giving back to me as I play. Almost symbiotic. I feel the same way with my Phil Barone tenor. Contrast that with my Singers Day bari which I feel like I’m constantly fighting (but which given its price point I’m okay with).
Totally know what you mean. If the horn is $2,000, I'm willing to fight...a little bit ;)
At $8,000? It better negotiate peace treaties for me.
Glad you mentioned the Canonball! I have the brute finish alto...it was love at first blow, perfect set up, ended up jamming with the cute salesman in the store in Miami and did not want to put that horn down. No way I could get it home tho...
Finally bought one in Canada...took weeks to make friends with that one, and I knew nothing about setting up horns. It wasn't until I had it cleaned and checked and tweaked 2 years later that it actually felt like my horn at last. I also have a little old 1961 Selmer Bundy special that was my first horn, and I fell in love with that out of the box, so I've been lucky. Really enjoyed the review Dr Wally, you're so right, an instrument just has to fit, and instinct will do its job if you let it!
I've had my SA80 II for 20 years. I also have a soprano SA80 III.. hey are of decent qualifty and decent enough for me not get another horn. I have aJody Jazz Jet mouthpiece that is also decent. I'm tempted to get their metal mouthpiece but the prices sure have went up over the past few years (just like saxes-glad I hve mine).
$7850 + 7% state sales tax equals $8399.50, a number that makes my hands too numb to finger a middle C#, and it makes my embouchure unstable, too.
Ha! It's hard to read music when you're being served with divorce papers...
Seems like a great horn, but Selmer is pricing themselves right out of the market..... in my opinion! I've been on Yamahas since the late 70s, but I do very little classical playing on any sax, with the exception of the soprano. For that, I prefer the Yamaha 62 to the Selmers. I will say that the Selmer mouthpieces produce a better tone quality for classical playing. Yamaha does better with a Vandoren classical mouthpiece. Nice review, and I'm sure it's a great instrument!
I think the Selmer S90 works Beautifully on my Yamaha!
what a great video dDr. Wally!! by the moment I don´t have money to get a better horn (I play a Conn shooting stars mexican manufactured) and I am so happy with my vandoren java t55 cause is not too dark and not too bright, anyway I had enjoyed your videos to practice and develop more my sound and is so true what you said about to find the right instrument. Regards from Germany!!!
I've been playing Selmer for most of my life, and I nie play a 80 superaction serie II, but I have never been totally convinced. I reasently baught a cheap Yamaha and find the intonation much better. So now I'm thinking about buying a Yas 6204 .
I’ve played this sax, and many others! I’ll stick to my Corton Deluxe !!! Unbelievable, but I just haven’t been able to find a better sax! Corton Deluxes are not made anymore and is what later became Yani’s, good saxophones, but the Corton Deluxe is a clear winner!
Merry Christmas dr. Wally.
8:20 i think i could make a guess as to what you are talking about! i am willing to bet that it is because of the weight! i recently played the new eastman 650 tenor at guitar center and it had a very flexible quick sound and it was also the lightest weight compared to a 82z and system 76 II....... good review!
Oh man you got that Zoot Getz Desmond vibe nice lush smarty-pants brah you're hired .