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Mark VII Brochure Circa 1979

Helen

Content Expert Saxophones
Staff member
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I am currently in the process of moving, and yesterday, while sorting through the stuff that was under the stairs of my old house, I came across a brochure for the alto and tenor Mark VII saxophones. The brochure would be roughly from 1979, from when I was in junior high school. I was checking out the horns, because I was planning on buying my first pro sax.

Long story short, until I saw this brochure, I had forgotten that I had actually owned one of these for about a week. I guess I didn't like it that much, because I returned it, and got a Super 20. Fast forward a couple of years, and I wasn't allowed to use my Super 20 in university. I sold it, and bought the Mark VI--professor approved I might add--that I still have to this day.

Although my foray into Mark VII ownership didn't last for more than 7 days, I seem to have filed the informational brochure away with a bunch of music from back in the day. Last night I scanned the booklet, and uploaded all the pages into the Mark VII gallery in Bassic Sax Pix.

If you're a Mark VII owner, you'll likely enjoy the booklet. I've purposely kept the pages large enough so that you can read the writing.

Even if you don't own a Mark VII, but have always wondered about the infamous spatula keys, here's your chance to see what Selmer wrote about them, and how they tried to sell them to the sax-playing public.
 
The brochure was an interesting read. This thread begs the question of why the Mark VII didn't live up to those great expectations in the eyes of the buying public. Fred Hemke is certainly a great player and understands the development of the saxophone as well as anyone. I have no doubt that he was sincere in his endorsement of the changes incorporated in the Mark VII. Does anyone know what model he is currently playing?

Helen, you must be a youngster. By 1979 I was in my 9th year of teaching band, and playing my Mark VI of course.
 
Ah shucks... Yup... You caught me... I'm just a wee one. :emoji_smile: (Still in my 40s.) I'm still old enough however, to say when I was a young, I had to actually walk home from school. Even in the snow, and even while carrying my tenor saxophone.:geezer1:Unlike today, when parents drive their kids a block to school. :wink:
 
Yes I've seen that brochure. I think I have a copy somewhere. I also play a VII alto and tenor.

But as I recall at UM Mr. Sinta and his right hand man (who I run across every so often around here) didn't like the VII when they were introduced to it before it's official introduction.

I think the same thing that holds true of the Buffet R13 clarinet holds true of the mk VI. Everyone is used to exactly how it feels, sounds and the keywork design do not like changes. And the VII is quite a bit different from a VI.

Luckily, not only did I have my VII (which they did not like at all) I had a Couf.

I might also add, that is a very bad picture of the table keys. They are not in sync with each other, the G# is back and you can see the little flat felted foot which is pushed down by the C#. They could have at least made it presentable.

Also I believe the earlier 7s they had long paddles under the keywork. This required alot of spacing between the table keys. Something I'm sure people were not very happy about. I think they fixed this a bit in later 7s.

I have an analysis somewhere that I did years ago of a VII table keys and others. The VII keys had the same approximate overall height but had a considerably wider width. The "feel" of them is much more tougher (to me) than a VI table key. The motion feel needs a heavier pinky finger of the horns I compared it to.
 
I'll repost my comment about Steve's VI brochure:

I've seen this before, but it's nice to have the big pics!

I'm still old enough however, to say when I was a young, I had to actually walk home from school. Even in the snow, and even while carrying my tenor saxophone. Unlike today, when parents drive their kids a block to school.
I've had to walk to school in several feet of snow and when it was -30 F outside. Not in the same place, but in the same state. I've also carried a bari home over a 2+ mile walk. On a couple of occasions. With two different baris.

According to both of my daughters, though, because I have a grandchild, I'm reeeeally old.

I think the same thing that holds true of the Buffet R13 clarinet holds true of the mk VI. Everyone is used to exactly how it feels, sounds and the keywork design do not like changes. And the VII is quite a bit different from a VI.
I've mentioned the same thing. I've liked the VII tenor I played.

Fred Hemke is certainly a great player and understands the development of the saxophone as well as anyone. I have no doubt that he was sincere in his endorsement of the changes incorporated in the Mark VII. Does anyone know what model he is currently playing?
Check out http://www.henriselmerparis.com/artists/profile.php?aid=328.

On the big blow-up pic, it looks like it says "Super Action 80" on the bell.
 
here's a couple copies from some previous posts about the mk VII

here's some old pics after the table mod - of pulling the keys closer together.

just the G# key itself after i cut down a tab. the tab was round and stuck out quite a bit more
http://www.clarinetperfection.com/work/VII_Table/VII-01.jpg

finished
http://www.clarinetperfection.com/work/VII_Table/VII-02.jpg

wish i had a before and after. but look at the top flat arm under the keys. you can see it is cut off. it used to be round and really pushed the keys apart.
http://www.clarinetperfection.com/work/VII_Table/VII-03.jpg

the table key is still a bit annoying but so much better than factory. There is a bit more fiddling than just cutting off the tabs as you have to bend the keys into each other - notice the location of the G# key in relation to the others now. and you have to be aware of the tiling mechanism and tab on the C# key and get it all just right.

I believe they made them closer on later models VII tenors. but early models
were wide spaced.

also .. when i find it. I have pics of necks and their various shapes.


and
but if you compare the tonehole sizes they were different, even visually.
see here http://www.clarinetperfection.com/work/selmer6v7tonehold.bmp

and some experimentation I did years ago on my newest VII tenor

The body octave pip diameter I've seen has some drastic variations on mine and other horns. When it is equivalent in size to a VI it's such a stable horn. When it's way too large it's a monster but unstable.
http://www.clarinetperfection.com/saxaqueaky.htm
 
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