Selmer Reference 54 Tenor Serial Numbers
The best Selmer saxophone currently in the market is easily the Selmer Reference 54. Whichever size you go for – alto or tenor, the quality is the same, although price slightly differs. The mere fact that the inspiration for the sax comes from the Mark VI is enough to put this sax in first place in our reviews today. Full Serial Number Chart; Selmer Serial Number Ranges By Model. Although, as the chart below illustrates, the Mark VI was produced until (roughly) serial #378000, this applies only to the Sopranino model. The Soprano, Baritone and Bass Mark VI saxophones were produced until serial #365000 in 1984, and Alto and Tenor Mark VI production ended (approximately) in 1975 at serial #239,595.
I love the sound of a good Mark VI or an SBA. However, due to cost, I’m looking at a modern horn that will get me close to the quality of sound that you get with those icons. I’ve tried the Yamaha Custom 875EX and Z.
I like them, but I don’t think they necessarily sound like a VI or SBA. I also tried a Selmer Series II, which I liked, but of course it was $8k.Now, I found a used but mint Selmer Reference 36 for under $5k that I would have to order online (reputable seller) without play testing (30 day trial period though). I’ve read opinions that the Ref 36 is more like an SBA or Mark VI than other Selmer offerings and better overall than the Series II (which again I thought was pretty nice). I know this is all opinion. I like hearing your opinions, so I have no problem separating that from fact.I may pull the trigger for this Ref 36.
What is your take on this horn? Will it give something akin to an SBA or Mark VI. Does it stack up against all the other new offerings? Or am I better off just finding a higher serial # relacquered VI or SBA and just skipping all the modern stuff? I won’t be able to spend $12k on a highly desirable VI or SBA, but could maybe get to $8k if it was worth it.Thanks! I play a 1953 SBA tenor and only once play tested a new Reference 36 in a shop.
For me it couldn't stand in the shadow of my SBA. I missed a character in the sound and the feel of my SBA was also much better, same for how the notes responded.
Testing middle D is always an important test for me and the SBA was way more responsive and strong. Not sure if that is a valid general conclusion for all Ref 36 horns, because I only tested one horn and as you also know setup is very important and things can differ between same model horns. I also tested a Ref 54 and I didn't like that one either (preferred the Ref 36). Of the modern Selmer tenors, the Ref 36 is my fav.
I owned both a Serie III and a Ref 36. It is neither an SBA or a Mk VI, although I’d say the Ref 36 is closer to the SBA, and the III is closer to a Mk VI. I experienced a wide variation in Ref necks - mine was great, I played a dozen others that were considerable less interesting.The mechanism of the modern horns comes with fairly high spring tension.
You can have it set lower, but it will never have the feel of the SBA or Mk VI because of its design.That said, the Ref 36 is a good horn, and with a setup by a good tech, can be even better. I still like ‘em, and would be playing them if I hadn’t found my Borgani. Or am I better off just finding a higher serial # relacquered VI or SBA and just skipping all the modern stuff?
I won’t be able to spend $12k on a highly desirable VI or SBA, but could maybe get to $8k if it was worth it.As one amateur to another, let me say that I understand the desire to find the most pleasing horn possible. (Check out my running thread comparing Selmer altos.) However, sticking to a reasonable budget really should be the top priority, especially if you are only playing at home, as your sig indicates. A hard ceiling of $4-5k will still provide access to a world of great tenors.In this case, I would say that as long as you don't mind shipping back a sax that disappoints in some way, go for it. A 30-day trial period is excellent. A quick play test in a shop will never come close to providing that kind of opportunity for evaluation. I may pull the trigger for this Ref 36. What is your take on this horn?
Will it give something akin to an SBA or Mark VI. Does it stack up against all the other new offerings? Or am I better off just finding a higher serial # relacquered VI or SBA and just skipping all the modern stuff? I won’t be able to spend $12k on a highly desirable VI or SBA, but could maybe get to $8k if it was worth it.Have you played enough horns to KNOW that a Selmer is the One and Only for you? If not, and you have that kind of money, I suggest you take a long weekend at TenorMadness, or similar, and do a deep dive into tenors.
I have played many dozens of vintage Selmers, and would not consider paying market price for most of them. The “collectible” part just doesn’t matter to me - I just want a good horn.
Be honest with yourself, and think about whether you are buying a horn or the name. I play two tenors.Ref 36 and a Yamaha unlacquered 82Z.
For the past few months, the 82Z has stayed in the case and I've been playing the Ref 36 exclusively. The Ref 36 is a slightly bigger bore and has a lush, full tone. I'm playing small combo jazz right now rehearsing the standards and it is ideal for that. For more modern tunes (like the 80's revue stuff I played a couple of years ago) I tend to pull out the Yamaha when I need a more.what I call.'
Brilliant' tone, rather than using the word 'bright'. Not sure what set-up you use but I play a moderately-high baffle Link-like older metal Bahia and both horns respond nicely. Compared to the 82Z, the Ref 36 has a more 'complex' tone to my ears and I can still make it bark when I need to.I've played/owned a couple of Mark Vi's years ago (like, latter 90's though early 2000's) and they were good (and in good regulation), but I battled intonation a little more than the Ref 36. I settled on the two horns I have 10 years ago and worked out my sound concept on them. (I'm sure I could have done the same on those two Mark VI's if I had kept them, but.I tried Ref 54 but it didn't do it for me, also Series II, Series III.)Anyway, to the OP question.I.
think my Ref 36 stacks up to the couple of Mark VI's I've had but it is a different horn from them.never tried an SBA although I would like to.and Ref 36 is IMO one of the best modern horns our there. Not to throw in any confusion but I recently played in a Buble' holiday music review with a tenor (I was on alto) player who got a powerful but beautiful big sound out of his black nickel Keilwerth SX90R with a 10MFan Robusto.
Whatever you get, work with the set-up to get the sound concept you want. Took me quite a while but I don't mind, this is a journey for me. So many horns out there and so many musicians who sound good on them. As one amateur to another, let me say that I understand the desire to find the most pleasing horn possible. (Check out my running thread comparing Selmer altos.) However, sticking to a reasonable budget really should be the top priority, especially if you are only playing at home, as your sig indicates. A hard ceiling of $4-5k will still provide access to a world of great tenors.I have started playing in a group, and will always love to perform, but not playing to make a living. That’s what kind of rebooted he search.
I’m looking to find my horn of choice. My current tenor has two problems: 1) it’s not what I would choose to play if I didn’t already have it, and 2) it’s an absolutely stunning time capsule - I’ll go out on a limb and say it’s the best condition of its kind in existence (could be wrong of course). I have immense guilt about playing it, much less outside the home. It’s really something I view as an heirloom.
I would rather buy a dream horn that I want to play the daylights out of. Have you played enough horns to KNOW that a Selmer is the One and Only for you? If not, and you have that kind of money, I suggest you take a long weekend at TenorMadness, or similar, and do a deep dive into tenors. I have played many dozens of vintage Selmers, and would not consider paying market price for most of them. The “collectible” part just doesn’t matter to me - I just want a good horn. Be honest with yourself, and think about whether you are buying a horn or the name.This is a great suggestion, and absent time, family and work pressures, this is exactly what I’d be doing. I’d love to go to TenorMadness and pick an axe.
But in my situation, I think it may be a case of buying and trying until I find something I really like. Doesn’t need to be the greatest thing alive. I’m not on a pilgrimage to find a horn I can be one with or anything But I’m a good player and at least at a level where I want the best gear reasonable and know the difference. Money ultimately isn’t that much of an issue, but I have a marriage to preserve. I have started playing in a group, and will always love to perform, but not playing to make a living. That’s what kind of rebooted he search.
I’m looking to find my horn of choice. My current tenor has two problems: 1) it’s not what I would choose to play if I didn’t already have it, and 2) it’s an absolutely stunning time capsule - I’ll go out on a limb and say it’s the best condition of its kind in existence (could be wrong of course). I have immense guilt about playing it, much less outside the home. It’s really something I view as an heirloom. I would rather buy a dream horn that I want to play the daylights out of.Then buy an ol' Buescher that's been refinished, stripped of its collectible desire, and left only as a player's horn. I found this on FleaBay for $2k. Pick up a used Selmer Series III for 3K, here on the forum or E-Bay and never look back.
Great value and a killer horn. The 36 or 54 respond in slow motion compared to a III. I've owned them all. They are like a modern VI IMO.They have the same mechanism. If response was the issue, then the difference is in the neck, leaks, and setup.
I had my Ref 36 rebuilt by Randy Jones, and it responded as quickly - or better - than my III, but with more body to the sound.Just thinkin' aloud, you can get a pretty fine full pearls King Super 20 for $5k.(I had that 320xxx tenor).Also in Ref 36 territory, consider a Buescher TH&C. Modern appointments? Borgani Jubilee. Looking for Creme de la Creme? Borgani Jubilee with a Matt Stohrer overhaul.
And you still come in right 'round $5k.Happy Tenor to you! In your sax testing travels, try a Conn tenor.
If ergonomics were not an issue for me, I would still own a Conn New Wonder second line tenor. Amazing horns, great response and a tone like no other. New Wonders and 10M's are great horns.You also can buy a good second hand Selmer Serie II for well under $4000.00. Someone has one on ebay for $2900.00 at the moment. No idea of condition.Try a King Super 20 for sure.
If ergonomics agrre with you its a great horn.Thats a Buffet Dynaction in my avatar. I was saving up for an SBA, until I tried the Buffet. I connected with the Dynaction right away, and did not go further saving for the SBA. If you can, try lots of vintage horns, just to see what they are like. For what they offer, they are inexpensive.
And a blast to play. George, I love Super 20's, I own a Pearled 330k which is my favorite horn.
Unfortunately, not all S-20's are created equal, I can attest to that. Where as newer Selmer's are pretty consistent.As a person whose day gig is to evaluate engineering structures with attention to aging artifacts, I have to wonder about that. Certainly there were variation within the various series of Super 20s, but of the full pearl Super 20s, for instance, I think they were created equally well. One thing that springs to mind is how they have been treated during a long lifetime, and how well they were set up in the last 5-10 years.Similarly, I did encounter enough variation among modern Selmers that on the horns that I chose as players, I had them properly set up by techs like Randy Jones - it still makes a significant difference.Bottom line: Budget for those tweaks in whatever horn you find, unless it has already had a recent top-notch overhaul/setup by a good tech. Good pads (properly seated), excessive play eliminated from the mechanism, and appropriate soft materials in the correct places, makes a huge difference in the feel and response of a horn.Happiness is a great tenor. I have tried quite a few ref 36 horns.
I play one personally l. They are inconsistent like hell.
Some of those I tried were stuffy, bland sounding. I remember tying one that reminded me more of bassoon than a saxophone. I even thought it was a more classical oriented horn. I found an exceptional one after a month. I have been playing mine for 6years now and I could buy an other tenor and I will definitely ( an Eastman 52nd st); but mine will never leave my side. Apparently as it has been said before they favour greatly from a good set up. Well yes and no.
First after spending so much on a new horn I am not gonna spend more taking it to the technician to do more to it. Even if plays exceptionally after the set up. Second some of those I tried actually had Issues beyond key heights. Or even necks. My advice try the reference 36 if you like it straight away, don't think twice. If there's a single doubt in your mind about the horn just run away and never look back.
It won't get better than that with time. It could get more free blowing and responsive with a set up but if the sound is bland, it won't be night and day the difference. Specially that middle D. The reference 36 is still a selmer with that centre thing but I don't find it similar to a BA. For me it's more a hybrid between the SBA, a Vintage American horn and something else more modern. It's for my tastes one of the best selmers, even compared to vintage.
It's not a BA wanna-be even if marketing says it's. It's got something of its own.
Selmer Paris saxophones: a professional rangeSUPER ACTION 80 SERIES IIFoundation of the SELMER Paris range, this series is to date the most complete, offering the entire saxophone family (from the Sopranino saxophone in E flat, to the Bass saxophone in B flat) in a large array of finishes.It has acquired a thoroughly well deserved and hard-earned reputation with musicians across the world: prestigious masters from the classical, jazz and pop worlds have brought it high acclaim over the years.It knows an ever-renewed success thanks to the improvements regularly brought to it. REFERENCEThe 'Reference' range has emerged out of the accumulated experience gathered over the course of one century of instrumental making and from a ceaseless exchange with the musicians of legend who played the 'Mark VI' and 'Balanced Action'.The 'Reference' design integrates acoustic and mechanical characteristics from the most celebrated Selmer Paris models, in instruments which benefit from today's manufacturing techniques.The tenor 'Reference' saxophones exist in two versions: 36 and 54.' Reference 36' develops a rich tone, open, in the spirit of the 'Balanced Action' series launched in 1936.' Reference 54', more centered, readopts the design of the celebrated 'Mark VI' dating back to 1954.The alto Reference only exists in version 54. Personalizing your instrumentAre you looking for a specific sound pallet, adapted to your style and the multiplicity of the repertories which you play? Selmer Paris offers the solutions to your needs, with a range of personalized options:- a wide range of base FINISHES, each of which confers on the instrument a specific sound color.- a range of complementary NECKS offering different types of emission, richnesses of timbre and varied ergonomics.- a new 'BOOSTER' design integrated into the neck, for a centered sound rich in harmonics (does not exist for all the range). FINISHESBrass, the material from which the saxophone is manufactured, is a fundamental acoustic element for the instrument.
Selmer Serial Numbers Sax
The various treatments carried out are crucial; encountered either in the course of manufacture or applied as a finish, they make possible a wide spectrum of sonic responses.Selmer Paris offers a collection of finishes, which move beyond the simple visual aspect and open up a whole world of possible sound colors.All Selmer Paris saxophones are available with the following treatments. THE NECKSSelmer Paris has created a range of necks for saxophones, making it possible to personalize your instrument by meeting specific needs in the search for sound and playing comfort. THE BOOSTER Developed by the R&D department, the 'Booster' offers an altered neck configuration (through precise placement of a spiral furrow on the internal surface of the neck tenon).
Selmer Reference 54 Tenor Serial Numbers Lookup
By being channelled differently, the turbulence created by the airstream is directly influenced by this difference in surface state, providing:- a centered sound, more developed on the left hand and in the overtones- a rich and broad timbre.Included as part of the Series III soprano saxophones (on straight and curved necks), the Booster is offered as an option (in varnished finish) on the models Alto 'SA 80 Series II', Alto 'Series III', Tenor 'SA 80 Series II', Tenor 'Series III ' and Baritone 'SA 80 Series II'. THE HARMONIC KEY SYSTEMThe harmonic key system facilitates the emission and provides greater velocity in the high register.The harmonic key can also be homogeneous in the sound color, a result all the more perceptible in low dynamics.The harmonic key kit, developed in collaboration with Christophe Bois (Diastema), can transform a standard saxophone, Super Action 80 Series II or Series III into a saxophone with harmonic key.The kit, composed of three elements, only fits onto a saxophone equipped with a harmonic key neck.