SELMER REFERENCE 54 ALTO VS MARK VI PROFESSIONAL
SELMER REFERENCE 54 ALTO VS MARK VI FREE

The Reference 54 tenorвЂ™s action was very similar to my Selmer Mark VI layout but there were some differences. I did find my Mark VI to have a more complex tone, but believe the Reference 54 is the closest that Selmer has come to re-creating the вЂњMark VI soundвЂќ that so many players are after.

SELMER REFERENCE 54 ALTO VS MARK VI FREE

I did not find this horn to be stuffy at all and found it to have the right amount of resistance so it was not super free blowing but at the same time, it gave me something I could push against which made playing dynamics very easy. The response was quick and had a nice edge and resonance to the sound. I found the overall tone of the reference to be a bit brighter compared to my Mark VI throughout the horn. The matte finish model unlike the standard lacquer 54 had a light grey hue in certain areas. This вЂњvintageвЂќ finish gives the Reference 54 a different look in comparison too many of the вЂњun-lacqueredвЂќ or вЂњrawвЂќ finish saxophones seen on the market today. The Selmer Reference 54 Matte finish was the first modern Selmer model I ever saw offered with a matte finish and no engraving. Selmer Reference 54 Tenor (matte finish) Selmer Reference 54 Tenor (matte finish) Appearance I found the 992 to be a very versatile horn and with the right mouthpiece and continual practice (as always), this horn will last you years and years with few trips to the repair shop. OverallД¬ompared to my 991, the Yanagisawa 992 tenor saxophone would work well for classical as well as jazz musicians due to its warm tone. The 992 I believe has a warmer tone due to the bronze finish and I found a bit easier to play in tune than my 991. I do have to say that on my 991, I found that, since itвЂ™s a brighter horn, I had to adjust to the brighter sound when fine tuning in the upper register. I went through my overtone workout smoothly and could not find any notes in particular that were excessively sharp. I believe the attention to detail with regards to fine-tuning is the reason these horns play so well out of the case and require essentially no adjustments. The Yanagisawa 992 was well-constructed and was very easy to get around, especially in the palm keys. I would say the Yanagisawa embodies the free-blowing-ness of a Yamaha, but with the action more in-line with a modern Selmer. I found while moving into the altissimo register it was almost too easy and this was something that I have to practice more on my Mark VI tenor. I played this horn right out of the box, and had no difficulty playing from low Bb to High F#. I felt that the metal resonators really enhanced the core sound of the 992 and did not take away from the dark lush tone. Overall, my Yanagisawa 991 tends to be on the brighter side througout the horn but while trying out the 992, the bronze finish gave this horn a darker sound and with the metal resonators (on the 992 not on the 991) this tenor had a bigger, punchier sound. The 992 has some nice features such as metal resonators, which I would definitely consider in my next horn purchase. I personally own a Yanagisawa 991 tenor which I absolutely think is a great modern tenor. The Yanagisawa 992 saxophone looks great with its bronze body and gold lacquer keys. Yanagisawa 992 Tenor Yanagisawa 992 Tenor Appearance

SELMER REFERENCE 54 ALTO VS MARK VI PROFESSIONAL

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Selmer reference 54 alto vs mark vi