SELMER HISTORY

At the end of XIX century in Paris, Alexandre Selmer and Henri Selmer are both well-known clarinettists as their father Frederick, both with a diploma of Paris Conservatory: Henri was 1st soloist Clarinet of “Republican Guard Band” and for “Grand Opera Orchestra” of Paris, Alexandre began 1st clarinet of “Boston Symphony Orchestra” and also at “Cincinnati philharmonic Orchestra” and then at “philharmonic” of New York.

After Henri resigns from Republican Guard Band founding a small firm making reeds for wind instruments; his brand goes very well, it already in 1890 made also clarinets and clarinet mouthpieces.
Alexandre used, began to advertise these early instruments in Us at the beginning of XX century, for ex. at St.Louis Exhibition in 1904. The great success had in these years also in exhibitions let him to open a small Music Shop in New York at 3rdAvenue 1579, on corner with Street 86th.

One of assistants was just his pupil-clarinettist George M. Bundy; when in 1910 Alexandre returned in France left just to George Bundy as President of “American Selmer Company” after called “H&A Selmer Inc.”. This Factory began soon a famous brand in musical world particularly distributing wind musical instruments of every kind, including Brass-winds and percussions. In 1920 Company moved to Street 46th.
In this period only Clarinets were made in France, all other instruments came mainly from Usa.

About Saxophones: production made in France was really made by “Maison SAX” or “COUESNON”, made in Us production by “CONN” or “BUESCHER” called just “Selmer Usa” or “Selmer New York”; this kind of usage was normal between Us-Brands, big distributors or Musical Store of the age as Carl Fischer, Lyon&Healy, Wurlitzer, these firms bought musical instruments from great Companies as Conn, Buescher, Martin, Holton, King, York, after added their Brand-logo on these instruments.
The “SELMER American Models” (Selmer NewYork or Usa or American), were advertised by many musicians too. Sax models offered were: Bb-/C- Straight or Curved Soprano, Alto, Tenor, Baritone, Bass.

At the beginning of XX sec. saxophones use spread between many musicians, so at the end of WWI Selmer introduced a 1st own line of saxophones,from 1920, to an important collaboration with “Maison Sax” directed by Adolphe Sax’s Son. The “MODELE 22” then, was the 1st sax marked “SELMER-Paris”; in 1928 this cooperation with atelier Sax began a real total acquisition of A.Sax- Brand by Alphonse-Edouard the inventor’s son.

In fact with early models Selmer Co. changed only a Name to saxophones made by Sax, keeping original design/characteristics. But for 20-30 years after very often were still utilized saxophone parts coming by old “Maison Sax” for assembling new Selmer saxophones: really many instruments like the Selmer “Balanced Action” or “MarkVI” of 50’s had different serial numbers on different side of sax, for example on Bell and on back side of body near curved-junction between Bell-Body, and near low C key.
About differences among “Selmer post-20’s” models and the other “Selmer Usa” or “Selmer France”, you can see for evading hard custom fees Selmer-sax were exported in USA disassembled in parts and here assembled, overhauled, lacquered, engraved at Elkhart (Selmer-Usa location), in a second time. All the sax parts including brass plates seems equals to French parts and models, however differences are not important.

Remarkable Models:
“MODELE 22”_ It had an old Adolphe Sax design, so it had tapering keys relating to American models, Bell-keys are both on left side. This sax had a good sound and tone but had a scarce success.
“MODELE 26”_ It was introduced just in 1926 when Usa Company moved to Elkhart in Indiana; this model was also called “peashooter” for narrow canes of any parts. The “modèle 26” brought related to previous models the alternative high F# key. Sound is more fluid, perfected regards at early models.
“CIGAR CUTTER” or “SuperSax”, “MODELE 33”_ Usually in USA called “cigar cutter” the alto models and “supersax” tenors and bari sax. “Cigar cutter” just because the octave-key it looked like to a cigar cutter. Maybe they’re early real Selmer which arrived to sound, design, tone, mechanics, high quality relating to American saxophones. Also on these models often serial number on bell can be different by numbers over curved-junction with Bell, just because often sax-bodies came directly from old atelier-Sax.
“RADIO IMPROVED”_ There’re few examples of this sax, frequently they are gold-silver plated.It show an Octave-mechanism different regards previous models. Also here we find often different serial numbers.
“BALANCED ACTION” or SBA_ the First model was made in 1935, it show several mechanic changes: Bell-Keys to the right side instead of left, with its staffs of connexion that descending on front side of instrument; the Octave-Key was more functionally redesigned and high F# Key kept a definitive aspect. Mechanism and Keys had a more ergonomic arrangement and a more modern aspect. For example the G#-Key is no more round but oval . The same inclination of bell and neck is rounded for 14°, leaving very natural fingers movement, especially for left little finger just on G#-key.
Many “Balanced Action” were engraved by CONN, anyone show also an unusual Octave-key Double Hole. You can see still different serial numbers on sax body. In this model was introduced also the typical Selmer Ring of junction between Body and Bell, more functional for a better vibration of same Bell; it began since today a characteristic element of Selmer design. New is really the Timbre, more actual with a brighter, full-bodied sound regards to dark orchestra sound made by Adolphe Sax-Type saxophones. They were produced for this model Altos,Tenors, Baritones, but after any years also Sopranino, Bb Soprano, C melody models.
“SUPERACTION”_ Made after WWII for replacing the Balanced Action. There’s a change on Keys and Holes between upper and lower side: upper keys are decentralized among them thinking to a natural fingers position, previously on the contrary the holes of upper side were dislocated in straight line relating to lower side holes of sax.
This new dislocation gave to instruments a better performance efficiency with a more fluid spontaneous action of fingers. Then Sax-Head and Bell are never more soldered, but hermetically sealed (“Remova Bell” System). Sound is very similar to Balanced Action maybe with better sharpness. Baritone is the 1st model provided of Low A.
“MARK VI”_ His production begins in 1953 but for his innovations in a few years it began a point of reference for every production and musical company.
Particularly the Neck was redesigned in two following moments, just any models shown problems about note entry especially for low B/Bb keys, for this reason Company called in and changed the necks. Springs are shorter of previous models, upper Keys still more decentralized of SBA. It’s just part of Saxophone history the debate among sax lovers about real differences between MARK VI models made during years:
One of more important debates is on composition of Brass alloy : 73% copper, 27% Zinc since 1955, after these percentages changed. Another debate regards Sax “Cane” measures: since 1963 larger and more conical, on following models lightly flared about first holes. Last discussion subject has been the Thickness of metal plate: smaller since ’63 for 0,625cm. (ca. 1,587”), after till 0,695cm. (1,765”ca.) for MarkVI over serial nr. 200000.
A remarkable fact was the Selmer-Supplier of brass alloy in 1955 changed alloy composition not informing Selmer and then also with his right complaints and requests about remaking previous formula, at the end Selmer surrendered to reply which this formula was definitely lost. A new Neck and new dimensions of Holes relating to previous models certainly influenced the great success and sound quality of MarkVI too. However usually we are inclined give a better quality and value for MarkVI models made before ’63 or with Serial numbers lower to 100000 (five-digit models).

The following Selmer Models after MarVI production:
“Mark VII” and “SuperAction80 II-III” did not repeat MarkVI successes and quality sound. But Selmer professional saxophones production, as once in Mantes thirty miles ca. from Paris, the traditional old Selmer location, the same of all French most important wind musical instruments makers.

(Sumber: Saxtone)