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Selmer mk VI versus mk VII tonehole size

Steve

Clarinet CE/Moderator
Staff member
CE/Moderator
I've always meant to measure VIs going through my hands and compare to my VIIs. But I never had the time.

But for your speculators out there thinking there's no differences between VIs and VIIs (other than the keywork) here a nice pic of the Bow which clearly show the tonehole size differences. I was shown these years ago at a Ferrees dent class.

I personally think they are mis-marked as my VII has much larger toneholes than the one marked in the pic and they are more placed with the one with the larger toneholes - but maybe they changed them .. M versus N tubes ??

http://www.ferreestools.com/N.O.S.%20Se ... 0parts.htm
 

pete

Brassica Oleracea
Staff member
Administrator
I don't think there's any doubt that the VI and VII are completely different.

What I'd like to see is a convincing article that ...

a. There's a specific serial number range of VIs that are "teh best"
b. That there's any real difference between horns with an "M" serial or "N" serial
c. That the low A alto/bari is junk
d. That the silver-plated VIs are junk
e. That removing your lacquer from a VI makes it play better
 

Ed

Founder
Staff member
Administrator
I've always known there's some pretty big differences between the two horns. The bore seems to have remained similar but the tone holes and the ergonomics make for very different horns.

To Pete's piece of it, I'm not sure if anyone has ever been able to tell the differences between the M and N serial numbers. We need to get Dave Kessler to ask Jerome Selmer that question!

I've played all of one or two Low A altos. I thought they were nice enough.

I've seen a couple of lists that talk about the various ranges of serial numbers for the Mark VI and that makes some generalizations that are basically correct. I'd have to look for it.
 

Steve

Clarinet CE/Moderator
Staff member
CE/Moderator
From time to time I've been trying to (ebay) buy a backup horn. An 'M' series alto or a 'N' series tenor. Then I could (having all the time in the world) measure things up.

Until someone measures it I think people will keep asking the question no matter what even Jerome Selmer would say.

I used to have, but lost, an analysis from Selmer Paris while they were working on the Selmer Ref horns of which lacquer "assists" in giving certain tonal qualities

pete said:
a. There's a specific serial number range of VIs that are "teh best"
depends upon ones term of best. There are documented differences/changes they made to the necksand such to keep evolving with peoples tastes

pete said:
d. That the silver-plated VIs are junk
and .. what's wrong with a SilverPlated VI ??
 

pete

Brassica Oleracea
Staff member
Administrator
Yes, there are obvious changes to the VI's neck, bow and bell over the years, not to mention keywork tweaks. I've played a large variety of VIs from different years and I can't really say one was "better" than any other one, although some people insist on that "5-digit" Mark VI because it's oh so good.

The statement on the silver-plated horns is that they're allegedly very stuffy -- and that the low A horns are not only stuffy, but suffer from intonation problems. All of these statements, which I've heard from other folks, are not things that I've ever been able to verify in real life.

In other words, if you have a VI of any pitch kickin' around and you don't like it for some reason, send it my way. Same with the VII.
 
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