Selmer Paris saxophone mk VII 7 History from mk VI to SA80 Super Action 80

[@kccarl7447]

My tenor VII is engraved, SN 253300, and my alto VII is engraved with SN 255010. I think both were born 1976. Love the way they play. Got the tenor in 1982 and found the alto about 6 years ago. Played lead alto with it last night in a big band.

[@gottalovetheknowledge4749]

I bought my alto VII new in 1982 (not engraved and bright yellow lacquer) ... a few years after production ended. I bought it mailorder from NEMC. It's still my main horn and has 98% lacquer remaining. I'm lucky as my skin oil doesn't adversely affect the lacquer. It's heavier (weight) than my VI but I like the way it responds just a bit better and keywork being heavier sprung I like the way it feels under the fingers. Nothing wrong with the VI either. The SA80 Series I is the VII just without the big table keys. I recently sold my 1984ish Couf Superba I. I'll be selling my Yamaha purple logo 62 alto sooner or later too. Just keep my two Selmers.

[@heaneymusic]

Adding on, regarding Dr. Fred Hemke’s involvement. I had spoken with Fred on the subject of the Mark VII and he emphasized that his involvement was in a very hands-off advisory capacity. Jean Selmer occasionally sent a few production samples over the course of the horn’s development. Selmer’s objective was to create a horn with more even scale and tone across the range in addition to improved projection, and to offer keywork modernizations. The controversial ergonomics were often assumed to be attributed to Fred due to his large hands - this was incorrect. Michel Nouaux was the primary testing and design consultant while Fred served more as an American liaison with Conn-Selmer. This relationship dynamic is also referenced in the Conn-Selmer marketing pamphlet for the Mark VII, entitled “Frederick Hemke Appraises the Mark VII Saxophone”. Dr. Hemke recalled cautioning Jean Selmer that the radical keywork changes may be uncomfortable for some players, funnily enough. Incidentally, Selmer also developed a new mouthpiece to accompany the horn: the now-famous Selmer S80 series. Again, Dr. Hemke is often attributed for this model but credit belongs entirely to the French team. As a matter of fact, when asked about the choice of a square chamber, Fred recalled Jean Selmer saying the choice was sonically arbitrary but allowed for the use of of a mortiser in mouthpiece chamber production, which helped with automation and reducing costs. Evidently the old horseshoe chambers required a lot of hand work and were expensive to manufacture. Dr. Hemke played his round chamber metal C* for many years but eventually adopted a metal S80 C*, which was a prototype model gifted from Selmer.

[@gottalovetheknowledge4749]

Thanks for the insight. I know when I went to school @ UM, Dr Sinta and his 2nd did not like the VII. They didn't like my VIIs either. I ran across #2 (I just can't recall his name) about 15 years ago at a music store near here and he remembered and still didn't like the 7. Although if I recall they adopted playing it at some point. I have a couple videos of technical differences of the 6 v 7. I know the 7 was their attempt to automate more processes. I figured the square chamber was from the mortice from mpc production especially watching some old videos.

[@kccarl7447]

I got my VII tenor in 1982. Circa 1976 #253300. Found my VII alto in 2018 #255010, circa 1976 as well. Both are engraved. Still really like these two horns.

[@gottalovetheknowledge4749]

I bought my VII alto new in 1982. The catalogs had the VIIs along with the SA80s and some VIs were still available. Back then, I figured a 7 is better than a 6 and wasn't sure of the SA80. In 1970/80s newspaper for sale ads you'd see VI, V, IV all for sale even with typos.

[@emilybalcerak7861]

Always loved the sound of VII's, but as someone with smaller hands, it can be quite a workout to get around those keys 😂

[@gottalovetheknowledge4749]

I have really small hands too. The major problem is my inside palm part of my left hand hits the wide table keys. If you keep your pinky in the center of the table keys you get the best leverage and don't need to move your finger much. It's wide but no reason to use the extreme parts of the keys. This also depends how you curve your hand. I really like the palm keys as they are just below my palm.