Selmer Alto Mark VII

[Peter Hoenen]

I Can buy this type for aprox. $1000. Is this sax worth the money? It sounds
good!
Thanks, Peter

[K Abbott]

I love mine and paid a lot more (1800) ten years ago. Check the condition.
Look for bent rods.

--

"Peter Hoenen" <peter...@home.nl> wrote in message
news:RevG6.92612$D9.5...@dbsch1.home.nl...

[rob]

I think it's cheap, the price is good and if you are not sure take it to a good
repair tech and let him check it out.

Rob

[ClickRec]

>I Can buy this type for aprox. $1000. Is this sax >worth the money?

Absolutely. If you decide you don't like it after a while you'll have no
problem getting your money back.

[Paul Lanfermeijer]

Peter,
Zeker kopen!!! Neem iemand mee die kan zien of die niet helemaal scheef is!!
al het andere kan voor redelijke prijs altijd gerepareerd worden (indien
nodig!!) Misschien is die al behoorlijk in orde!! heb je er op gespeeld??

Translation: BUY IT for that price!!!; take someone with you that can see
(and hear) if it's OK . Most of repairs can be done easily. Play on it!!!

Groet,.
paul
Peter Hoenen heeft geschreven in bericht ...

[Peter Hoenen]

I played a week on it and actually bought it for NFL 2200,- ($800)!!!
Great sound, very soft and deep in the lower regions. All the tones from
high top to deep low are there immediatly.
Thanks for the advices!!!

Peter
(sorry for the bad English).

[Brian Clements]

I acually heard that the Mark VII's were a mistake. that they were acually
made to be a student model sax in Eroupe or something.Than in the late
60's -70's someone brung them into production over here. BUT, like all
saxes, play it, if it feels good to you, and it sounds good to you, than go
ahead and do what you feel you should do.

[Brian Axelrod]

Now that really sounds like some unscrupulous dealer (can you imagine that?)
coming up with a fantasy to suit his own purpose! Don't believe it for a
moment. Selmer's Mark VI tooling was worn and they had to tool up so it was
new model time.. that is the crux of it. They already had and still do ,
plenty of student and step up models.
"Brian Clements" <brcle...@earthlink.net> wrote in message
news:%N1H6.682$G77....@newsread1.prod.itd.earthlink.net...

[jon]

Sounds like bs to me...true, they weren't very user-friendly (I had one for
almost 20 years), but it was definitely no student horn

Brian Clements <brcle...@earthlink.net> wrote in message
news:%N1H6.682$G77....@newsread1.prod.itd.earthlink.net...

[Brian Clements]

Oh really? it's not a mistake? But weren't they a huge dissapointment or
something after the Mark VI's?

-Brian

[Brian Axelrod]

Only fodder for folks that were either too cheap or could not afford to buy
a Mark VI when they were still in production, also consider those thinking
that by bad mouthing the VII they would make their VI more valuable. the
early numbered VII saxes were wonderful players and were assembled using VI
parts for the most part, Selmer NEVER threw away anything it was all used.
As to how were these horns I guess those of you that still knock them knew
better than players oh say like Lockjaw Davis just to name one Mark VII
user..

"Brian Clements" <brcle...@earthlink.net> wrote in message

news:Jk4I6.5942$Rm1.3...@newsread2.prod.itd.earthlink.net...

[Steve]

All very true.... If you get a "good" Mark VII, you've got a fantastic
horn. (Yes, I happen to have one -- a 242xxx 1975 vintage.)

Worst part of the VII, though, is the placement of the left pinky table, but
you get used to that, I guess.

Yes, for the first couple years or more, the VII's were full of VI parts --
body tubes included. The design of the VII was not bad, and fixed some of
the chronic intonation problems of the VI. Also, the machinery that made
the VII's had tighter tolerances than the (by then) worn out VI machinery.
The whole idea of the VII, though, was it was manufactured by "assembly
line," as opposed to by a single craftsman. This was potentially both good
and bad. So, yes, there was some inconsistency -- true also of the VI, for
sure.

People who knock the VII (as I used to!) probably never tried or heard one.
Or maybe they tried or heard a bad one. And yes, I used to think it was
Selmer's "dog" horn until I had a chance to try one when I was in the market
for an alto. I was quickly convinced it was the horn for me. And like most
VII's, the price was right.

If you have the chance to buy one, you owe it to yourself to try it. You
might be quire surprised.

Steve

"Brian Axelrod" <sa...@mindspring.com> wrote in message
news:9db6l2$r2k$1...@slb3.atl.mindspring.net...

[Markus Baldingen]

Steve Coleman plays a Mark 7 Alto, and he has a beautiful sound, plus an
amazing technique (please listen to his "Curves of Life", one of my all-time
favorites).
I don't think Mr. Coleman would have trouble finding a first-rate Mark 6 if
he really needed one.

Markus
m.bal...@gmx.net

[Heiko Stegmann]

Steve,

this is very interesting what you say about Selmer changing from
single craftsman to assembly line manufacturing back then.
I have a Mk VI tenor that already falls into the Mk VII period
(239xxx, so 1975 most probably).
Would that imply that my horn was made the 'old way' from a single
craftsman aside from the regular assembly line production - maybe on
special request? And if so, is it likely that it was made by one of
Selmer's experienced old MkVI hands that maybe specialised in making a
nice VI every once in a while? Or is it more likely that they had some
MkVI body tubes left over and had an apprentice mount the keywork to
it?
I'm curious about that since my horn is *very* good soundwise but has
some minor quality deficiencies (some slightly off-centered key cups).
What do you think?

Heiko

On Sun, 13 May 2001 23:36:44 -0400, "Steve" <steve...@erols.com>
wrote: