Selmer Super Action 80 series I Tenors

[sessionsax]

Whats the consensus on these horns. Are they good! What are their strengths and weaknesses.

[sessionsax]

Is there no one that owns one of these?

[BobD]

I don't own one but I heard a guy named Tim Mayer play one at the Regatta Bar in Boston. He is with the Rusty Scott Quartet and Bill Pierce(on a VI) was a guest player. While the two tenors sounded different they were both amazing. Tim Mayer held his own up against Bill Pierce. I talked to him after the show and found out it was a Series I that his parents bought him as a high school graduation gift. He seemed very happy with it.

[Buster]

I owned a SA80 I a few years and only sold it because I was hit with a massive tax bill. I owned it for a long time from almost new and picked it out of a formidable bunch ( but no MkVIs or SBAs). It was well made, comfortable and it had a very good tone. It was a major step up from the MkVII - I owned one of these for a while and found it poorly made, uncomfortable and OK for RnR but difficult to get a range of dynamics or sounds ( I sold it quickly- at a loss). I play a very nice Yamaha now but would recommend the early SA80s and would consider picking up another one some day.

[Cameron Wigmore]

I work at a music store and a guy brought his dads horn, (a selmer super 80 ), in to get it appraised for value, and see if it worked. It was in great shape, and it blew really nice. I play a MK VI, so I'm used to this type of horn. It was much more free blowing than my VI, and that's all I know about that.

[DanF]

I bought mine used a few years ago. It was made in 1983 according to the serial number. A real player, very responsive, sounds great. A little brighter than a Mark Vl but I wouldn't trade it for any other including the new Ref 54's. I'll keep it till they pry my cold, lifeless fingers from the keys.

[sessionsax]

Does anyone else have a problem with the altissimo notes, expecially A -- being flat on these horns?

I really enjoy my series I -- my only issues are the flatness of the altissimo notes -- everything else is pretty well in tune, and how low the palm keys feel to me.

Tone is great, keywork is a little stiff, but its getting better over time as it wears in.

I was under the impression that the Series II tenors were much better, until a read a few posts on this forum.

In short, I think its a great horn -- you just don't hear much about it. Its always VIs, IIs, and Ref 36 and 54.

No one seems to stand up for the Series I's. They don't have as bad a rap as the MarkVI though.

Any other opinions on this horn?

[Canadasax]

I have played a SA80 series 1 for a while now and I like it very much. The only frustration that I had was finding a mouthpiece that worked for me. I had a problem with my intonation on the High C and up. I ended up with an otto-link 8* and my problems went away. Very free blowing. I agree that there hasn't been a lot of information out there about these horns.

[Joe]

The Series I tend to be a little more resistant and darker than the later Series. They are also fairly inconsistent. I remember when they first came out, I heard they had gotten in some tenors at Ponte's in NYC. I went that day and tried them (they had three). Two were very unimpressive but one played incredibly well with a huge, gorgeous singing sound. I went to my bank that afternoon and arranged for a loan to buy it the next day since it played better than the VI I had at the time.

The next morning, I was talking to friend of mine who had happened to stop by Ponte's the day before and try all three tenors. He felt like I did, that two were very forgettable but one was to die for (this was Doug Lawrence, BTW). We went together that afternoon, knowing that one of us would leave with the horn. When we got there, Ponte only had two tenors left. You can guess which one had sold. (Note, if you ever run across a great horn in NYC, never count on it being there the next day)

I've tried a lot of other Series I's and have even taught at some schools that had them for their school tenors. They have all ranged from OK to pretty good, being generally better classical than jazz horns, IMO. I've never run across another Series I that had the huge, live amazing sound and incredible response of that one tenor at Ponte's. I have played a couple of Series II that were somewhat similar, though lacking a some in body and color by comparison. So, if you happen to run across that occasional fluke Series I, it can play as well as any tenor on the planet.

[sessionsax]

Sorry,

"They don't have as bad a rap as the MarkVI though"

I meant to say Mark VII

[tox]

Hi Sess
I had one from new and it was shipped from France for me in 1984.
I got a 1960 Mk 6 some years later but couldt part with the 80 until recently. I had to swap one ten for a sop. It took me ten years to make up my mind which to swap, so it shows how close it was. I have to say i thought the 80 neck was a little tame and used a Mk 6 neck . There were no intonation probs at all with either neck.
For some reason my 1960 neck was too big to fit hence i had to buy one of last production necks.

It may ease your mind if i tell you that the guys in the band always knew when i blew the 80 without looking. They would always comment on the tone. Its brighter and has a much bigger bottom end. Off mic it fills a space better than the 6.
Why did I keep the 6 then? Well Ive got the sop i wanted and i have more chance of picking up another 80 in future, without paying silly money, than another 60's Mk6. I still miss it badly.
Tox