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Thread: Roberto's Selmer Room

  1. #21
    Forum Contributor 2008 saxxsymbol's Avatar
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    Default Re: Roberto's Selmer Room

    The late SBA's and the early Mark VI's had metal resos methinks. I believe the SBA has Mark VI keywork and BA body tubes.
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  2. #22

    Default Re: Roberto's Selmer Room

    Quote Originally Posted by Tim Price View Post
    There you go again!!!!!!! Darn- I think your way off here Salty.

    Whats your problem? You got some issue with Roberto?

    He's got a room with great stuff- Aimed at _THOSE_who are into it.

    Again another potshot from you about Roberto.

    NOT COOL.
    I don't think it's a shot at Roberto, I think it's a shot at the insane prices in the VI market.

    Who are these people that are "into it" and have $40k lying around? I really don't know many saxophonists, and that includes some really monster, brand name players, who either have that kind of cash or would be willing to spend it. Like was mentioned earlier, those prices seem to be aimed at collectors, not players, and that's a shame.

    This kind of marketing is what drives some people, myself included, away from VIs. At the price range I consider sane, I could get a 6-digit rotted-up VI with abused keywork that needs an overhaul... or I could get a brand new Sterling Silver Series III with better tuning and action - which is exactly what I did.

    The whole thing is obviously subjective but instead of jumping on someone, maybe have a chuckle and say, "Yeah, those prices are a little bit crazy."

  3. #23
    Distinguished SOTW Member DavidW's Avatar
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    Default Re: Roberto's Selmer Room

    If people pay the prices, the prices aren't too high. I would rather buy a sax that plays well than a sax with a great reputation though

  4. #24
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    Default Re: Roberto's Selmer Room

    Quote Originally Posted by sideC View Post
    The Barrett-Jackson of saxophones?
    Right on, baby...now, all we need are some Muscle-car saxes

    Roberto has never been guilty of giving anyone a 'good' deal, pricing-wise...

    Hell, anyone can overprice product. Much more difficult to give 'em more than they expect.

  5. #25
    Distinguished SOTW Member and Champion of the Holton geauxsax's Avatar
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    Default Re: Roberto's Selmer Room

    Quote Originally Posted by DavidW View Post
    If people pay the prices, the prices aren't too high. I would rather buy a sax that plays well than a sax with a great reputation though
    If they have the money and want to spend it, great. More power to 'em.

  6. #26
    Distinguished SOTW Member/Forum Contributor 2009 warp x's Avatar
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    Default Re: Roberto's Selmer Room

    It's just a saxophone. You won't make better music on a 40K MVI.

  7. #27
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    Default Re: Roberto's Selmer Room

    I don't get it? A guy puts together a collection of minty highly sought after saxophones for all to see right... And, all you guys can do is complain? I hope he gets a million bucks for each one. Good for him. I can't wait to see it for myself. I can toot on one or two and only use my wallet for a box of Roberto's reeds anyway. That's money well spent.

  8. #28
    Distinguished Member and Forum Contributor 2008 saxmanglen's Avatar
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    Default Re: Roberto's Selmer Room

    I don't think I'd even touch one of them on the wall, let alone play one. What would happen if you dropped one of them?

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  9. #29
    Distinguished SOTW Member SuperAction80's Avatar
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    Default Re: Roberto's Selmer Room

    Quote Originally Posted by saxmanglen View Post
    What would happen if you dropped one of them?
    Well, you could either sign your house away...or run like hell.

  10. #30

    Default Re: Roberto's Selmer Room

    I get to have my own MarkVI room in my basement every day and not have to look at over-priced horns. Sorry, but you can find better deals outside of NY. It has always been that way.

  11. #31

    Default Re: Roberto's Selmer Room

    edited

  12. #32

    Default Re: Roberto's Selmer Room

    I'll admit, as I said in the first post on this thread, that the Mk. VI fetish thing seems a little crazy; the horns are definitely overpriced. And yes, prices in New York are higher, for a host of obvious reasons. But since so many other good options exist, including new Selmers, that those who can't afford a VI aren't necessarily losing out. And adjusted for inflation, a new Selmer is about what a Mark VI would have cost in the 60s and 70s.

    As for the super-high-priced horns, such as the $40K one that will no doubt go to a collector, I see no problem. Frankly, I think it's cool that a few of these horns will remain in mint condition—they're part of history, and it would be a shame if, in 50 years, there weren't any left like that. I think Roberto is doing both players and collectors a favor with this collection.

  13. #33
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    Default Re: Roberto's Selmer Room

    I think it's a cool spectacle. It's like seeing the Rolls or Lamborghini exhibit when I go to the auto show. I just hope the same thing doesn't start to happen with all the great vintage horns. I got my 10M for a fraction of what a VI would cost and it's the best tenor I've ever played. (That includes VIs, Super 20s, Yamahas, and Martins.) On the other hand I love the low Bb MKVI baritones and would likely pay through the nose for a great one in mint condition if I had the means. (which I don't)
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  14. #34
    The most prolific Distinguished SOTW poster, Forum Contributor 2014 gary's Avatar
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    Default Re: Roberto's Selmer Room

    Quote Originally Posted by DavidW View Post
    If people pay the prices, the prices aren't too high.
    I might agree with that philosophy if those determining the market price were experienced musicians, people who see the instrument as a means of making music at a high level; who give it its value based on its quality and how needed it is. However, Mark VI prices are also based on mythology and collectors who evidently have money to burn and can drive the market up to an absurd level, in excess of the instrument's inherent value as a musical tool.

    Regarding the statement that a new Selmer is about what a Mark VI would have cost in the 60s and 70s, I can only give my personal experience. I bought a new Mark VI alto in 1970 for $200.00 and according to inflation calculation, that would be around $1,100.00 today, hardly the price of a new Selmer.
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  15. #35

    Default Re: Roberto's Selmer Room

    Gary, I suppose everyone's experience is different, though $200 seems low even for 1970. I paid $1000 for a VI in the late 70s, which in today's money is about $3,800. I agree about the overall issue, though, namely that the prices are irrational.

  16. #36
    Distinguished SOTW Member DavidW's Avatar
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    Default Re: Roberto's Selmer Room

    This is exactly why many musicians are buying something other than Mark VI's. There are plenty of other options for top level saxes at much more reasonable prices

    Quote Originally Posted by gary View Post
    I might agree with that philosophy if those determining the market price were experienced musicians, people who see the instrument as a means of making music at a high level; who give it its value based on its quality and how needed it is. However, Mark VI prices are also based on mythology and collectors who evidently have money to burn and can drive the market up to an absurd level, in excess of the instrument's inherent value as a musical tool.

    Regarding the statement that a new Selmer is about what a Mark VI would have cost in the 60s and 70s, I can only give my personal experience. I bought a new Mark VI alto in 1970 for $200.00 and according to inflation calculation, that would be around $1,100.00 today, hardly the price of a new Selmer.

  17. #37
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    Default Re: Roberto's Selmer Room

    I think gary was referring to a VI that was still in production. Paul B the VI you bought in the late 70's was already a collectors item at that point.

    No I'm afraid people weren't so insane as they are today and the dollar carried more weight. At these prices today you wouldn't have found a beautiful new SBA or VI hanging around the necks of most of the best musicians. These horns were once affordable. Now even the ref horns demand that you have some really good cash flow if you wanted to buy new, something the musicians back in the day could actually do without a side jobs as doctors or lawyers.

  18. #38
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    Default Re: Roberto's Selmer Room

    I agree that the price for VI's has become to high compared to other saxes, although the high price for new Selmers has got a lot to do with the present weakness of the dollar.
    However, as has been pointed out before, they have been relatively cheap in the States compared to Europe in the past.
    The worst thing about the current situation is that some people are either selling them for big bucks and buying something cheaper, or not taking them out of the house because they are so valuable, instead of making music on them, which is what they were made for.

  19. #39
    Distinguished SOTW Member SuperAction80's Avatar
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    Default Re: Roberto's Selmer Room

    Quote Originally Posted by gary View Post
    I might agree with that philosophy if those determining the market price were experienced musicians, people who see the instrument as a means of making music at a high level; who give it its value based on its quality and how needed it is.
    But Gary, those guys are out making music with old Conns, Bueschers, Kings, Buffets, SML's, Jupiters, Yamahas, JK's, or any Selmer OTHER than a VI. Let the collectors drive up the price of the VI. I'm quite content with my Serie I, and I bought it for a very reasonable price. BTW, if I were looking for a good deal on a VI, I would purchase a good player that had its lacquer chemically stripped. Why? Well they seem to go for the prices of most relacquers, and they look a lot nicer too.

    40k for a mint condition VI? I'd pass even if I had the money. I wouldn't want to play the horn and ruin its condition. Let the collectors pay top dollar for the best looking horns. I'll stick to the ratty looking horn that plays well.

  20. #40
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    Default Re: Roberto's Selmer Room

    Quote Originally Posted by Paul B View Post
    Gary, I suppose everyone's experience is different, though $200 seems low even for 1970. I paid $1000 for a VI in the late 70s, which in today's money is about $3,800. I agree about the overall issue, though, namely that the prices are irrational.

    In 1969, new Mark VI tenors went for $750 in the part of the world where I lived.

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