The prices for our vintage instruments depend on the condition and substance of the instrument, the age, the original varnish, the effort of the Revision and accessories.
Ein derart tolles Selmer Alto Mark VI in solch fantastischem Zustand ist heutzutage eigentlich unmöglich zu finden. Der Lack ist original und das Instrument hat die lange Zeit ohne Schäden überstanden. Der Sound ist offen, dynamisch und das Volumen nahe bei einem Mark VII. Wir lieben dieses Funky-Horn, das mit der perfekten Mark VI Mechanik ausgestattet ist. Auch Omri Ziegele schätzt den Power von den hochnummerierten Mark VI Altos.
Two decades of saxophone history: 1954 to 1974
The Mark VI was available as an alto, tenor, soprano, sopranino, baritone and bass saxophone. The instruments sold in the USA were also assembled, engraved and lacquered there, with Selmer producing the individual parts in France and shipping them to America.
For many musicians, the Mark VI is the best Selmer saxophone, if not the best ever. So it is no wonder that many great jazz musicians such as Paul Desmond, Lee Konitz, John Zorn or Maceo Parker played a Mark VI.
Since the 1970s, a number of companies have been more or less openly copying the Mark VI, adopting both the scale and the keyhole net as well as the key design.
With the Reference 54, Selmer itself has also returned to the concept of the Mark VI, thus approaching the typical slender, velvety sound of the originals.The Mark VI was introduced by Selmer Paris in 1954 and produced until 1974: serial numbers 55,200 to approx. 234,000. To speak of a uniform model seems to be an exaggeration, as Selmer has constantly made changes and improvements. The bore and the S-bow, for example, have changed again and again over the years.Early Mark VIs (up to about 90,000) tend to have a darker sound and are very sought after, but the models with the higher numbers are dynamic and modern saxophones with perfect intonation.
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