| Archive for Forum of the Saxes A saxophone forum discussing everything sax-related |
| CMelodyMan |
Selmer Super Action 80vs. Selmer La VoixIYHO, which do you think is better, the Selmer Super Action 80, or the Selmer La Voix? (JP I know you're gonna have somethin' to say )
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| JPSaxMan |
Now a question...Super Action 80 or Super Action 80 Series II?
I've played a Super Action 80 tenor and I wasn't pleased with it. It was my directors and I felt it was just too choked. Anything below a F forget about trying to play it quiet. I've never tried a Series II but I would have bought it over my LaVoix if I had the option (I really didn't...that's why I got the LaVoix)...however I am not dissapointed with my LaVoix, and quite frankly don't intend on giving it up anytime soon! :D If you're in the market for a new sax and money isn't an issue, get a Series II if not a Series III or a Reference horn, but if money is an issue, you don't have to go Yamaha or cheaper, just get a Selmer LaVoix! |
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| CMelodyMan |
Series II. | ||
| JPSaxMan |
Alright, let's do some comparisons:
Selmer Serie (correct spelling) II: Made in France Patented spring loaded hinge rods to eliminate key play; as far as I know still uses the traditional needle springs Body to bow connection for an airtight seal Bow and bell engraving Pearled fork F# and G# keys Auxillary F# key Plastic right hand thumb rest Selmer LaVoix: Made in Taiwan (or known as Selmer USA) Asthetically similar to the Serie II which means; all the keys look similar to that of the Serie II Basic metal ring connection Metal thumbrest New metal alloy which consists of a higher copper content resulting in a warmer, more robust sound Table arch over the G#, G and A keys to prevent any possible damage while in case or any impact straight on A new bell known as the "Ultra Bell"; this new design is used to project the sound of the horn even more. _____________________________________________________________ That's about it. Which horn you would choose is now up to you. Play well! 
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| Thomas |
I've never played a LaVoix, but since I own a Serie II, I would say Serie II. 
My Sax - Clicketh Hither |
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| altosax4ever |
So III've played both, and IMHO, the Serie II is the far ssuperior horn in tone quality and response. |
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| reisio |
Neither, of course. | ||
| JPSaxMan |
Then what reisio?  ??:
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| reisio |
A Bundy, of course. :p
No, but I would only buy Selmers from Mark VI and before (though the early ones quickly get bad) and Ref 54 and later (later being not much atm). |
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| altosax4ever |
really?Are you crazy? The later selmer's are GREAT! I'll admit the IIIs are a bit bright, but I've never played a better horn than a II, and I've played a lot of them. |
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| JPSaxMan |
And what's wrong with a horn being bright? ??:
Reisio... 
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| altosax4ever |
Well...Nothing, I suppose, but I don't like a horn too bright. I love a jazzy sound, but I want to be able to play classical and blend in a band as well. If you want jazz, add a metal piece.
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| reisio |
I really didn't like the IIs at all.
To me, they're just another in the long line of crap they got into when they decided to jump far from the Mark VI (with the notorious Mark VII). Only now with the Reference horns are they getting back to what most people knew as the right path. |
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| altosax4ever |
Well...It's fine if you don't like the selmer line, but let's not bash them, ok? A lot of people love selmers in this froum, and people will only get mad if you start calling them crap.And why, in your opinion, is the selmer line not good? Just wondering how you got this opinion. |
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| reisio |
I love the Selmer line - they just messed up when they decided to jump away from the Mark VI design (a mistake they've clearly recognized and are trying to fix). | ||
| JPSaxMan |
Yea...
I always wondered how hard it could be to re-create the Mark VI. Take some measurements, add the same hand-crafted precision of the VI, and voila. What's so hard about that? ??:
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| reisio |
It's quite simple...unless of course you've been promoting a different design for a quarter century and feel that you would most likely lose your job if you now told your superiors that this different design sucks in comparison to the old. :p | ||
| Altosaxophonerules |
I actually think Selmer wanted to Re-create the Mark VI and make it even better with some modern designs. | ||
| altosax4ever |
And they did a darn good job!
BTW, you say you loved the slemer line until they went away from the Mark VI. So you stopped loving selmer in what..the 70s? 
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| reisio |
Hrmmm? | ||
| altosax4ever |
Well, the Mark VI stopped being produced in 74, so you stopped loving Selmer 30 odd years ago? | ||
| reisio |
I do not care much for Selmer saxes made inbetween Mark VIs and the Reference horns, no. | ||
| GAS_Wyoming |
Seems like I've read this just recently in another post Reisio. 
NOW, back to the subject. I have a Serie II alto and I love it. It was my first purchase from ebay and I got a good (maybe excellent) deal on it. Of all the altos I've played in my 44 years, this one plays more evenly throughout the 2 octaves than any other...by that, I mean that when I support the low C and take it up the scale I get a good even mezzo piano sound all the way up. It doesn't get brighter as it goes above G2 like some horns I've played. When I push it to forte I get the same forte all the way up. THEN, it starts getting a little brighter, but that's me, not the horn. If I'm conscious of it, then I can produce a very mellow C3 through the palm keys. But I usually want it brighter in these notes. I love it. I played a LaVoix last weekend just for kicks...it was set up on a stand in the music store's window. This one was a black nickel tenor, so now I'm comparing a tenor to alto. However, I played a '75 Mark VII for about a year in high school (and I loved it), I have a 1965 Selmer/Bundy and a new P. Mauriat rolled tone hole tenor. Despite all that, here's my opinion comparing the 4 horns: Selmer/Bundy - reasonable intonnation, good low end, bright above G2 (but can be tamed), hard to maintain volume through 2 octaves, but can be compensated 
Selmer Paris VII - a very dark horn which had good intonation throughout the scales, but had a weird C# in the low end playing with a standard C*, the spatula was a little weirdly placed but I have big hands, so it wasn't a problem. Played very evenly, like my Serie II 
P. Mauriat - Great intonation, gets bigger with the same air stream as the notes go lower! This horn is easily tamed with my Geo. Bundy mpc and speaks easier than any horn I've ever played
Selmer LaVoix - Brighter horn (but not as much as the Serie III), a little 'tin-y/metal' sounding, good but not excellent intonation, keywork is just like the Serie II, volume was harder to control, and this one wasn't very tight past D1. The dealer said he needed to adjust the horn, that he'd just got it out of the box the day before, and that he could make it seal well. Of these, I prefer the P. Mauriat 66R, but I would put the Selmer II and III at a close 2nd and 3rd, respectively. The LaVoix is better in tune than my Bundy/Selmer, but would take a little getting used to! |
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| selmer4evr |
I have owned and played many a sax from cigar cutter to a few markVIs to SA80s to Series IIs and I have tried some series IIIs but a VII is unique .
Let me tell you about a discussion with Londeix . The last time he came to Montreal for masterclasses I spoke with him on this particular subject. Unhappy with my Series II I asked him if he could pick out a horn for me the next time he was at Selmer Paris ( I studied with one of his prize students and I had good connections here). I had tried some of his horn picks ( for his students) and they are amazing. I also told him that I always preferred my VII to any horn I had ever tried and that i would like to get some VII features in a SERIE II . He responded this way: "All Selmers saxes from BAs to SBA, to VI, to SA80 to Ser II are all, in his words "beautiful mares". The MarkVII is more of a "thorough-bred stallion" wild temperamental and difficult to tame, but when you can tame and harness it,,,, nothing comes close. Anyway I still love, own, and play MarkVIIs even though I try just about everything . One more thing of interest ,,you have to know what you are doing when you pick a horn. All the horns he picked for his students were never liked at the beginning they were all too difficult to play and very resistant . This was especially true of the VIIs, they showed their potential after six months or so !!!! My teacher's horn ( 1977 ) took one year to develop and lose its original resistance ,,I have tried to purchase it on many occasions no dice!!!! He plays classical to jazz and it works on everything. The horn slices through any section. By the way I tell everybody that VIIs are not a good horn and to stay away!!! This keeps the price down and me happy,,So far i have owned 3 VIIs and I am constatly searching for the perfect VII and if only it would be silver!!! |
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| JPSaxMan |
And this has what to do with the Serie II OR the LaVoix USA?
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