It seems to still rely on adjustment materials adhered to the key feet. I am sad to see that the rear RH stack bar is still not adjustable.
The fork-style t(a) and t(c) joints survive another day, and they are still adjustable! I much prefer this design to the ball-joint style used on Yamaha EX horns, which can become noisy after a few years wear. The engraving really pops through this darker color.
You used to have to buy a gold-plated sax for that feature! I also appreciate the darker lacquer, which seems to be between the Reference 54 and current gold lacquer shades. Engraving now runs the whole length of the horn… given the price, this is a nice upgrade. This design would not be feasible on a mass production scale with human engravers. The new engraving is ridiculously stunning and shows that there may be advantage to computer/machine engraving. Perhaps this is by design, so that the guards collapse rather than transfer a dent into the body? I worry a little bit about how they will stand up to knocks though, especially the B/Bb guard which features long strips of thin metal.
I am glad to see that it lives on I find it to be slightly smoother in action, appreciate the adjusting capability (which I have used), and find it more visually beautiful.
New 2017 selmer reference 54 tenor series#
The original adjustable Series III-style lefthand pinky spatulas have returned! I was dismayed to see this feature disappear around 2010 when all horns adopted the same Series II-style spatulas. Selmer mention that this key has been repositioned however, so perhaps this is not so much of a problem with the actual horn in hand. I am not sure why they made this choice apart from aesthetics. I personally prefer large you-cannot-miss-it touchpieces in this area, especially for fast passages, and because this style of key is more accommodating of various finger lengths. I am concerned about the chromatic F# key, however, which is has reverted to a vintage style round touchpiece rather than staying oval shaped. Selmer seems to have adopted similar changes in this area as well as the front-F key, which is now keyed with more leverage which should result in smoother/easier action than before. I generally really enjoy these keys on my Series III (especially compared to the II and Reference), but I do somewhat envy the level of comfort that Yamaha EX-II players have enjoyed for many years, especially in the right hand palm keys. I am glad to see that auxiliary keys have gotten some attention. Compared to the II, III, Reference? If they are anything like the changes previously seen from the Series II to the III, I am sure that they will be much-loved. The materials mention “repositioned left-hand keys,” but I am curious to which horn they are comparing. Hopefully this one stays in adjustment longer and is indeed lighter on the octave key action. I have never had complaints with my Series III’s C# mechanism and I am glad to see that survives in a revised form for this new model. I imagine that these smaller pads may be slightly less prone to leaking I also appreciate how the repositioning allows the relevant adjustment screw to be in a more convenient spot. The new position is somewhat higher on the body and seems to utilize a small-sized pad rather than the medium-sized pad from before. Selmer seems to have repositioned the Series III’s controversial C# venting/covering mechanism to be more similar to the mechanisms found on their soprano saxophones. I am curious how the adjustable nickel-silver screw ring will hold up to wear over time. This is not an entirely new idea but was, in fact, originally conceived on the SML “Rev-D” models in a 4-joint form. The new 3-joint tenon receiver looks like a promising way to eliminate play and common tenon leaks. This is by no means a review, but rather a collection of semi-organized thoughts. After reviewing the newly-released materials on this instrument, I have prepared a few musings for your consideration as the Selmer Paris “Supreme” makes its way into the real world.
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