Hej Lyndon .First seen this this honest discussion . The one i bought from you is very much in tune and far more easy to play than my selmer mark 6 .I think what you can improve about saxes are the neck which I changed to one done in sterlin silver .So I"m very satisfided with one I got from you which is in tune much easyer .Bedst from Denmark

Wonderful video Lynden & great insight on the benefits/pitfalls of both. Been incredibly blessed to have both a modern & vintage 1933 tenor cigar cutter. The intonation & spatula key is not easy on the latter, but the thought of “legacy” is so cool. Whatever you have, it will always be about how much work you want to put in to find your own sound. Cheers

I recently purchased a conn 6m transitional lady face circa 1935. It plays lovely.

Thx for your position on this subject. On my side I started saxophon because I found a teacher that said me: "because you are a pianist, you never tried saxophon? But I have a saxophon on C. I can teach you...". I started on his Martins CMelody 1923. I never could give it back to him. I bought it 😂. But the tune was really hard to obtain. Then I bought a 2023 C Melody from Thoman/Aquilasax. Sure it is easy to be in tune on all keys and I use it in the band. But at home, for mouthpiece training and because I love it, I always use the Martins. So lovely ❤

I have a selmer tenor SBA serial no. 40xxx. With original case , original selmer mouthpiece. No dents, original neck. Silver, matt body with shiny bell and keys. Silver coating worn in some areas, but it was always kept with care and plays very well. 13:59 I will consider sell it if well valued. Excellent sound no need to explain! Aurelio from Malta.

I think that a few decades ago, vintage saxophones were desirable simply because so many really good professional level instruments were manufactured from the mid 1930s to the late 1950s. After that the market was populated with a lot of student model instruments. Today the reality is that there are a number of really good, affordable instruments being offered and vintage saxophones are getting really old, with most having fallen victim to neglect and shoddy repairs, so that few of them actually play near their potential. Finding a good one is a challenge. That said, I'll never give up my old Martin. It just sings, and, having learned on a Martin Imperial student horn, it feels like an old friend.

Personally I'm in love with even older saxophones. The alto I am currently playing as I'm taking lessons is a 1927 Buescher True Tone in silver with a gold washed bell. My curved soprano is the same from 1925. I'm fine with the ergonomics. It depends on what you are used to.

I love the tone I can get from my 1957 Keilwerth New King which I had restored after finding it in a local junk store but I need all the help I can get from the ergonomics of my modern horn. The Goldington replica looks and sounds great.

Great presentation and thank you for sharing. I have several saxes from sopranos to tenors - vintage to newer models. I find the older, vintage horns have a much more sweeter, soulful tone quality. The Selmer Mark VI's in particular at least to me ..... sound amazing! Nice smooth tone - easy to move from top to bottom. The newer ones to me and of course this is just my humble opinion - sound tinny. For example - When I play my 1957 Selmer Mark VI is sounds very soulful, expressive and just a gorgeous sound that I can play all day on - However, playing my Yamaha YAS 62 - alhough it does have nice tone quality I'm qucik to put it down and pick my Selmer. As for your demonstration - your Selmer Alto sounded to me, by far better - the Chinese horn sounded somewhat tinny. I remember many, many years ago having a discussion with Sonny Rollins backstage at the Blue Note NYC and Sonny told me "Look kid, it does matter what kind of horn or mouthpeice you play with - what matters is what you put into it" I said in return to his comment "True, however, why then are you playing a Selmer Mark VI with a Berg Larson mouthpeice?" He smiled with that beautiful warm smile of his and said to me "Now you're learning kid" Again, great video - thanks for your time for posting .... Play'on my Brothers .....

I play on a sax I've had since 1978 and got it new then. I very much recognize the differences in modern horns that are significant, such as ergonomics and intonation, but sound wise it's at best a tie and I have yet to play a modern horns that was better enough to spend big bucks on. I love the modern Keilwerth and Eastman horns but ....

I play since many years Tenor sax. Later I got trouble with the Hands. I restored a '32 René Guenot and as I played it for controling the tune I realised I got no pain after 2 hours of playing. In my opinion the Selmer Mensur was a good Ideal, but not for everyone. Try one Vintage, test it. My one fits althoug perfect to my style of playing. And the Sound was perfect. The same Thing to Alto failed... An old Pierret '24 is perfect for my Handys, but from the Sound I prefere an Meinl which maybe an Amati Stencil from 60's.

Great video. I love my Selmer Mark VII alto but also love the Goldington Tenor.... I did hear a softer sound with your Selmer but not a lot. A good test would be to turn off your video part and play one without telling which one it is and them play the other right after.

For me: The Conn inline setup is faster than Selmer offset. Really the old American horns are superior to the Selmer modern horns in every area. Tuning just for example. Now the new horns fex.JL Woodwinds,Yanagisawa are improvements on the mark VI tuning.

Good afternoon l agree with most of what you said it should have an original mouthpiece and case. Firstly l would never use a mouthpiece that is not mine.Secondly most modern saxophonists use after market contoured cases. Very good and informative otherwise. Keep up the good work.

My Selmer Mk VII alto purchased in 1980 is considered "vintage"? Makes me feel old! LOL

Chinese sax has a brighter sound....selmer is more mellow...not that eiher sound is more desireable...