Selmer Reference Tenor Comparison 

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

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

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

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

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

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

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

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

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

Happy to help...I live for this!

@@BMackJazz Thank You so much!

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

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

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

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

I felt the same, spot on comment.

Great horns…

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

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

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

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

For me, I’m going to dominate 90+% of a horn no matter what. It comes down to if I’m moving the needle in the “less-work” direction for what I’m going for. In person, the differences are even more, like the size/presence of the sound. If one is looking for darker, you’re right, I would recommend the 36 over the 54. And you don’t have to win the lottery either, there is always the used market out there. Lacquer wear and scratches won’t make it sound any better or worse, but sure does drop that price! But even if someone wants new, think of it as $$$$ over your lifetime (and beyond), because the quality is built to last and is quite possibly the last horn most people would ever need.

@@BMackJazz I have an eye open. It was somewhat sarcastic. 😉 Knowing what you want your sound to be is half the battle. Then you buy gear that is in that area. I favor dark/warm tone quality myself so buying a high baffle mouthpiece wouldn't be doing my playing any favors. On the other hand a large chamber, low baffle certainly does trend that way.

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

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

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

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

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

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

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

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

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

It's a custom vintage short shank Selmer Soloist

@@BMackJazz Nice tone and what lay? Square chamber

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

@@BMackJazz Thanks, your piece sounds really good.

ummmm....okay?

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

Played a silver III for a few years, and play-tested dozens since then. Great horn, a workhorse of the industry. I prefer them in non-classical settings. Jazz, funk, r&b, rock, etc.

@@BMackJazz Thanks Brian, i may be financially forced to sell my 54k late super. The are under 4k deals on clean serie Iii,s out there. I repaired a silver one for Bob Seger’s horn player and I thought it played well. I had to sell my 58k alto and replaced it with a serie III which plays well. I appreciate your input and enjoy your music and you tube content. Great tenor sound BTW and I didi get an RE 20 mic and love it

These modern horns are worth checking out. If you’re a Balanced/Super Balanced player now, the Reference 36 is something to consider. And one can never go wrong with an RE20...!

@@BMackJazz Hearing yours got me to buy it. Condensers are ok for the pop stuff I do but the EV sounds real. Im sure your sound without a mic is even better. Be well

@@zangsax Most condensers at the price of this ev MIC will capture a more natural sound than the EV. The EV is a great dinamc mic , it is better to have dinamic if your room isn't treated.

Vintage Selmer SS Soloist (.105) mouthpiece ..estaba escrito..

tenes razon

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