Pete, et al: Interesting discussion, at least for me. I went to the links you provided. Much of the discussion seems to address the larger saxophones, e.g. alto and tenor. But do the comments also pertain to straight sopranos?
I offhandedly mentioned in my e-mail to Mr. Kessler that I rather don't think that the bore changed at all on the soprano, based on comments from Ed. I'm interested that the keywork did, at least.
GENERALLY, when you're talking about model changes, you get the alto first, then the tenor and then, maybe, the other pitches. The only horns I had seen that were identifiably different were the NLB alto and tenor. The C melody, for instance, had no change.
Is all the talk about "largebore", "new largebore" (implying there used to be "smaller bore") etc., in reference to marketing names (Selmer Model names) or actual bore sizes for sopranos? I noted your comment about not yet measuring any.
Yes, this does partially get back to my obsession with bore-sizes but I think the question is valid. Are we assuming there are bore-size differences merely because Selmer hinted at that in naming their models . . . or are there real differences, especially in sopranos?
Bore size. Groovekiller was the one that provided more of the info on the NLB horns and he says that there is an obvious difference in bore size between the 26 alto and the NLB, as there's an obvious difference between the 22 and 26's bore, too (we'll set aside the Modele 28 and the dozen people that have one of those).
I'd like to actually compare the bore sizes of a soprano
stamped "Modele 26" and the horn Mr. Kessler's talking about. As I said, my opinion is that you won't see a bore change, thus it'd be more accurate just to call it a "Modele 26-Series" horn.
Oh. Because I didn't post it here, but did in the letter I sent to Mr. Kessler, we are talking about "series" of horns. The Mark VI is the sixth series of saxophones from Selmer:
* Modele 22 Series (low B and low Bb versions)
* Modele 26 Series (26, 28, NLB)
* Selmer Super Series (Super, "Cigar Cutter", Radio Improved, Jimmy Dorsey)
* Balanced Action (lots of neck and keywork experimentation)
* Super Action (keywork, bow and bell experimentation)
* Mark VI (keywork, bow, bell and possibly brass composition experimentation)
Have the earliest Selmer sopranos changed much over time? I note that besides the placement of low C#, the earliest soprano models have the dreaded in-line palm keys just like the VI's. I've seen the same thing on the Balanced Action-era sopranos and the soprano shown in Dave Kessler's link (the in-line palm keys).
I wouldn't be surprised to finally learn that there is little difference from the Modele 22 to the VI. Just my suspicious nature, I 'spose. DAVE
Ed insists there is very little change on the bore of the Selmer soprano. I'm non-committal. Remember that Selmer also denies they ever made a curved soprano, much less a Mark VII soprano, and that's also something that should be checked.
There are obvious keywork changes between the soprano models. That makes a degree of difference, but only a degree. I tend to say that the bore makes a major difference, but we should also look at the placement of the toneholes.
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