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The Selmer Mark VI is a saxophone that was made from 1954 to 1974. The Mark VI was introduced in 1954 and was available in sopranino, soprano, alto, tenor, baritone and bass saxophones for nearly 20 years, until the introduction of the Mark VII model in 1975. There were no Mark VII sopraninos, sopranos, baritones, or bass saxes, as these continued to be the Mark VI design until introduction of the Super Action 80 saxophones. There are reports of a select number of baritone saxophones labeled as Mark VIIs but these horns are of the same design as the Mark VI. The entire line of Selmer horns was not updated until the introduction of the Super Action 80 series in 1980. All Mark VI saxophones were manufactured in France. After manufacture, instruments designated for the British/Canadian or American markets were shipped unassembled and unengraved to their respective markets for completion. The style of engraving on the bell of the instrument is an indicator of the place of assembly. The French-assembled Mark VI engraving is usually of a butterfly and floral motif, and the engraving typically extends to the bow. Some French-assembled Mark VI's lack any engraving other than the brand stamp. Nickel or silver plated keys with a lacquer finish body were offered among the French-assembled horns. The British/Canadian Mark VI's often have a symmetrical medallion engraved on the front of the bell, and a design reminiscent of the chambered nautilus along the sides of the bell. American-assembled Mark VI's have floral or scroll engraving, not extending to the bow. The design of the Mark VI evolved over time. Switching over from its predecessor, officially named the Super Action, but also called the Super Balanced Action, Selmer's earliest Mark VI models were transitional, incorporating design elements from both the preceding and the current saxophone. Tonally, early examples are considered to have a "dark" tone, while later examples are thought of as having a "bright" sound. The bore taper, bow, neck designs, and some mechanical features changed throughout the history of the Mark VI. The changes were not documented by Selmer. The length of the bow was increased on altos during the 90K serial number range to address certain intonation issues. In subsequent years the short bow was reintroduced. Some altos had baffles soldered into the bow to correct intonation issues. At least three changes to neck design were made on the tenor during the 1950s and 1960s, and once again in the 1970s. Some contend that the neck design changes account for the different tonal and playing qualities between earlier and later Mark VI's. Others contend that Mark VI's produced after about SN 180,000 had harder metal as a result of a change in the metalworking process. Latter-year Mark VIs gained a reputation of being lower quality than early versions (possibly due to Selmer's higher annual production output of the popular saxophone), leading to a greater demand of early-year Mark VIs with a five-digit serial number. A description of the assembly and quality control process at Selmer USA during the 1960s indicates that different quality Mark VIes were sold through different channels; the top tier was offered to musicians under contract to Selmer ("Selmer Artists"), the second tier went to pro dealers in major markets, and the third tier went to the general market. The best assurance of the quality level of any given Mark VI may correspondingly be its original point of sale. The high F key also shows up on various serial number ranges, though some players believe that instruments without the high F key have better natural intonation. There are also somewhat rare low A alto and baritone models. The timbre on this instrument is very nice. The low A baritone is especially sought after, whereas the low A alto model is somewhat less desirable (which presumably suffered intonation issues). Nonetheless, Ornette Coleman played a low A alto. The quality and ergonomics of the keywork design of the Mark VI can be observed in current saxophone designs: most modern saxophones have keywork that is more-or-less identical to the basic Mark VI design. ==Urban legend== Some claim, offering completely no evidence, that early postwar Selmers were manufactured using recycled WWII artillery shell casings, accounting for the tonal qualities of those horns. A variation of that story involves recycled churchbell bronze being used for shell casings (never mind that bell bronze is a different alloy from brass, unsuitable for shell casings), and eventually finding its way into Selmer saxophones. Jerome Selmer has stated that such stories are not true. Postwar Selmer saxophones were manufactured from the same industry standard "cartridge brass" stock as most other saxophones. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Selmer Mark VI」の詳細全文を読む スポンサード リンク
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