The engraving evokes a sense of universality. All key guards (low B and Bb, side F#, Eb, C, and the pant guard) and the bow reinforcement have been redesigned in harmony with the instrument. It evokes fluidity of play through sleek lines and roundness through the softening of angles. Suzy’s 54 Kookaburra tenor (pics in this post) is every bit the horn my VI is. Then I played Jim and Suzy’s Reference horns a couple of weeks agoMy mind has been changed. The global aesthetics of the Supreme has been reconsidered. I had played a fair number of new Selmers in the last few years, and they were OK, but nothing special. Furthermore, numerous innovations have also made it possible to optimize the ergonomics and mechanics of the instrument, contributing to an unprecedented enjoyment and ease of playing. In-house research has enabled us to push back the physical limits of the compromise between tuning, timbre and response.
#Selmer reference 54 tenor 售價 series
The Supreme has all the qualities common to the models that preceded it, meeting the desires of all saxophonist profiles: beauty and care in the creation of the Balanced Action, the legendary suppleness of the Mark VI, the ease of the Super Action 80 Series II, the precision and elegance of the Series III, and the power and roundness of the Reference. No acoustic, mechanical, ergonomic, nor aesthetic detail was neglected. To better free themselves from musical genres and imagine the universal instrument, a team of saxophone testers of various genres was formed. A saxophone whose ease and evidence of playing would induce a direct and immediate relationship to sound.
A saxophone adapted to all kinds of music, playing styles and sound types. A saxophone that would rise above musical genres. Eight years ago, we set ourselves a challenge: to design the best saxophone ever made.
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