It's mindset too. He's a classical player. Playing with an "interesting" or distinctively personal tone would be anathema to him. He sees his role as a neutral conduit for the composer's musical ideas.
Thanks for your video - - many of these aftermarket necks are just garbage. Selmer puts in a ton of R&D to ensure the neck works well with the horn. Another interesting fact is that some of these Selmer necks are interchangeable with other Selmer models. I heard a Serie iii neck on a Mk VI and it sounded better than the original neck!!!
Perhaps he meant for his sound. Definitely when he said Selmer makes the best instruments in the world, its not really true unless he means its the best for him. I love my series II alto, but i fucking looove my yani WO10 tenor, i think the selmer marketing and the fact that back in the day they made ridiculously good instruments made lots of musicians think that selmers are the be all and end all of saxes
@@TheCabbageMan I might agree with you if it wasnt for the simple undesputed fact that every single modern horn made today is based on the model set by the old Selmer horns.
@@mambojazz1 Ya but thats like saying that every plane is based off of the Wright Flyer because they made the first documented airplane. Like, yes they did, but is an F/A 18 at all similar to the wright plane? Not really except that it uses the same underlying principals to fly. Not to mention that while Selmer set the foundation, you have your Conns, Bueschers, Kings, etc. that created their own mechanisms, sounds, etc. This led to a lot of innovation in the field which means that today, Selmers are still great saxophones, but are certainly not the be all end all of saxes. Not to mention that since horns today are made to very high standards, the quality differences between the big brands are not that noticeable (quality wise). Many people nowadays prefer Yanagisawas for example because they generally have better ergonomics and the mechanisms can be used for longer without the need to service them. This of course depends on the model and company but definitely if you look at what players say about the Mark VI, you will see a large amount of people saying that they are horribly inconsistent with tuning and intonation, as well as since the mechanisms are very complex, servicing it is expensive and challenging.
@@TheCabbageMan I echo your statements and would add that pre Conn, Buescher, etc. there wasn't really any competition. I like Ford vehicles, but between a Taurus and a Toyota Camry, I'm going to take the Camry for better reliability, comfort, dependably and even performance that matters to me. Note: both sit in my driveway -- 2017 Toyota is my personal car & the 2019 Ford is my company's car. Ford made the car first. Toyota did it better. I played a Selmer Mark VII in college. I hated it. I even liked Antigua Winds better. I tries everything between a couple of major metropolitan cities (don't think I missed a viable company). I finalized on Yamaha. The choice was between the 875 (pre EX even came out) and the 82z. I ordered both and played them side-by-side. Ran up to the local Sam Ash that had in stock the SA80 on laq. and one in black, SA80 ii laq. and other silver, and two Reference saxes. (P.Muriat, Yanigasiwa (I already have 1 of their sopranos) - but not the $10,000 all silver one I would like to try someday, Keilwerth (90 ... rolled tone holes and the new Shadow at the time) Cannonball (various stones and big bell, ... models), some vintage King, Buescher, Conn didn't make the cuts. Drove the guys nuts for days. I could get out of the 875 (silver) *everything* the 82z could give, but got even more with the 875. Intonation, ergonomics, sound/volume, tone quality, color, range, evenness, consistency, complexity, flexibility and more ... for me. Saxophone is a personal and individual quest. For me, Yamaha was my pot of gold. I have two V1 necks coming in to compare with my original M1 neck (not so in love with the M1 on alto like I am with my G1 on my YTS-875 silver. Too much inconsistent hand work went into the vintage horns = *all different* and depended on the man making them. The old VI horns were made from spent artillery shells that they say got so hot they glowed white when ejected from the cannons. They used those artillery shells to make the Selmers because raw materials and resources were precious. Maybe that heat put the brass molecules into a special order for the sound. Maybe the neck angle, maybe it was fairy dust. I still like the pro Yamaha saxes better & spent my money on what works for me. If that Chrysler, I mean Selmer, works for another guy, drive that tune. 😉
@@DannyClassics That's true; there is so much good classical music out there however that one could only play classical music and never even come close to being able to play everything that they wanted. I think most people play in one style because it's simply impossible to have the time to play in multiple styles at such a high level. I think tmac knows how to play jazz and has played it before, but simply chooses to focus on classical music
