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Your SML Story...

26K views 64 replies 39 participants last post by  Rocca 
#1 ·
I’m now the proud owner/player (not collector) of three SML saxophones and thought it would be neat to share the story (and hear your stories) of how I found out about (and was converted to) SMLs.

For about 15 years I’ve played almost exclusively tenor. For most of that time I had a Mk VI tenor, an old Selmer intermediate alto (that was my horn in high school), and a fairly cheap soprano for playing in church. A few years ago I had the opportunity to pick up a Super action 80 alto for a decent price, but have never really played alto even though I’ve had a good horn. A couple of years ago I also decided to upgrade the soprano to a Yamaha Custom.

A year and a half ago I was at a friend’s house and he remembered that I played the saxophone and said he wanted to show me an old saxophone he had just been given. The story is a bit mysterious – an older friend of his died and left this saxophone to my friend. Neither the giver nor my friend play the sax, but it was supposedly given to him by someone when he was “young.” (he was probably about 60 and I’m thinking it was given to him as a teenager?) The horn had been in the case for decades, so it had that musty, crusty thing going on. At first glance, I didn’t know what SML was, but I knew that Parisan vintage horns were usually good, so it was intriguing. I couldn’t figure out the neck ring, so I couldn’t get the octave key to line up, nor could I get a sound out of the small tip 5 digit, excellent condition Brilhart Tonalin that was in the case with old reeds. I was so intrigued that I borrowed the horn to do some research and figure out what it was and what it was worth.

I quickly found the Sax on the Web articles about SML and got even more intrigued. Tonally, I’d be more of a Getz/Desmond type and have always gravitated towards warm, dark, etc. so the description of what this horn would sound like seemed to fit me perfectly. I took it to a local tech and got it *somewhat* playing for under a hundred bucks (new cork, a few leak adjustments, etc.) just to see what it would sound like. I immediately noticed the warmth yet power, especially on the low end. The upper end was a bit weak, but it would be because the mouthpiece I was using (Vandoren Java) wasn’t a good fit for the horn.

After a few months of thinking about it, I decided to offer my friend a fair price for the horn and get a complete mechanical overhaul from Tenor Madness – then to sell my MK VI to pay for it. Randy said it was the finest SML he’s seen – perhaps 98% original lacquer, remaining largely unplayed for a very long time. After a repad and Randy’s magic, it is the most beautiful horn I’ve ever heard or played (except maybe for a custom gold Conn that had Selmer keywork from Randy’s shop, but that was well over $10k!).

The origins of the horn are still somewhat of a mystery, but it looks like a real player owned it for it had the Tonalin, a couple of reed trimmers, and Tenor and clarinet reeds in the case. I friend let me know that the Tonalin was actually quite a find too, and encouraged me to send it away to have it opened up to something more comfortable for me (I had it opened up to the same tip opening as my Java T75, .104). It’s a wonderful match and is beautiful for small combos and intimate ballads. Later I picked up one of the first new “vintage” metal Links from Tenor Madness in an 8 – that is beautiful as well.

A year later, I was searching eBay on a whim for SML sopranos (though they are quite rare) and happened upon one in decent condition that was made the same year as my tenor. I purchased it thinking that I couldn’t pass up the chance to see if it lived up to the hype. Tonally, it does – it has the most beautiful, smooth, warm sound, esp. compared to the modern horn I had. It leaves something to be desired as far as intonation (and that’s after Randy Jones worked on it) but in time I’ve gotten much better. The mouthpiece I settled on for this horn is a Vandoren V5 S35.

A month ago I saw an alto on eBay that was in my price range and happened to be made in the same year as my other two SMLs. Even though I don’t play alto much, it’s nice to be able to sub in for a big band now and then, and the thought of having three SMLs made by the same techs in the same small shop was pretty exciting. I’ve got the horn but haven’t had it set up yet, but it’s not too bad. It does have a beautiful sound, but I’m waiting to hear what it will sound like with a little bit of work. I’m still searching for a mouthpiece and am currently trying a Vandoren V16 9M. The closest other contender was a Yani, and I have a Ponzol coming from WWBW soon).

So I’m a full SML convert, having sold or in the process of selling my Selmers, and I haven’t looked back.

So what’s your story? How did you find your first SML and what made you decide to stick with it?
 
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#2 ·
I found my new Reynolds contempora, which is a gold medal I stencil for 300 bucks on craigslist. sure it needed pads, but the lacquer is around 95 percent and I figured I would take a chance on a repad. This is the best alto I have played in a long time. I don't think I can do better without spending 4-6k and even then, It would not be worth the extra dough. I did the overhaul myself and spent a lot of time doing everything right. This horn has the French sound with more stones than most selmers have, especially in the bottom end. Why aren't these horns sought after? I also just finished a tenor of the same vintage and though it is different, it is a very good horn as well. I prefer a smaller bore than the SML tenor, but the alto is a perfect match.
 
#4 ·
Pending....

I get my new SML Gold Medal tenor back from my tech tonight! The plan is that it's going to be my "poor man's Mark VI."

R.

ps. So Dward are you using the STM on your SML tenor?
 
#5 ·
Somehow I didn't get an email that there were updates - sorry guys! I'll try to take some pictures later and upload them to share. On tenor I'm switching between a new "vintage" STM and a true vintage Bilhart tonalin. On alto I'm switching b/w a rubber Link TE refaced by Phil E. and a Vandoren V16. On soprano I've settled (for now) on a v16.
 
#6 ·
I bought a Contempora alto on eBay. It was disappointing in sound and intonation. Sold it quickly. A year later, i found a pristine revD alto in a local store for the amazing price of $600. I couldn't pass that up. We replaced about half the pads and it sounded wonderful. Actually, it was the best sounding alto I've ever heard.
 
#7 ·
Guys,

I posted pictures at http://www.flickr.com/photos/49427840@N02/sets/72157625137714813/ I used a cheap camera, and needed the flash to take pictures in focus, and with the flash the finish doesn't look as nice as to the naked eye. I also didn't wipe or polish it. In the pic you can see a couple of mods Randy did for me - a new strap ring and left hand G key modification. The G key sticks out so far that it's difficult to reach the G# spatula with the pinky, so I had him bend the key down and build a new "pearl" so my finger could be placed farther into the key.
 
#8 ·
If an SML can be considered a poor man's VI than so can a lot of American saxes like Buescher Aristocrats and King Super 20s; because after owning several SML tenors I think they are quite a bit different from a Mark VI. And I don't really agree that they sound "dark" as the ones I've owned have played brighter than most Selmers I've played--more along the lines of the brightness of a vintage King. And they also have more of a gutsy low end than the Mark VI that is reminiscent of the old American horns, though they do possess a focus that is consistent with their French pedigree. And admittedly they usually have truly excellent intonation, which can be what seals the deal on these for many.

All in all, I think folks may get a little too gushy about these due to their rarity. They're fine horns to be sure; but the LH platter action can be tight and tough to manage, and is really no better than you find on a Buescher Aristocrat which can be had for a lot less.

I guess what I'm saying is don't read these reports and expect SMLs to perform like Mark VI's or SBA's because they are "high quality" and "French." And don't expect them to perform better than a lot of the American horns of yesteryear either, which again, I think they are just as similar to in many areas as they are to Selmers.
 
#10 ·
If an SML can be considered a poor man's VI than so can a lot of American saxes like Buescher Aristocrats and King Super 20s; because after owning several SML tenors I think they are quite a bit different from a Mark VI. And I don't really agree that they sound "dark" as the ones I've owned have played brighter than most Selmers I've played--more along the lines of the brightness of a vintage King. And they also have more of a gutsy low end than the Mark VI that is reminiscent of the old American horns, though they do possess a focus that is consistent with their French pedigree. And admittedly they usually have truly excellent intonation, which can be what seals the deal on these for many.

All in all, I think folks may get a little too gushy about these due to their rarity. They're fine horns to be sure; but the LH platter action can be tight and tough to manage, and is really no better than you find on a Buescher Aristocrat which can be had for a lot less.

I guess what I'm saying is don't read these reports and expect SMLs to perform like Mark VI's or SBA's because they are "high quality" and "French." And don't expect them to perform better than a lot of the American horns of yesteryear either, which again, I think they are just as similar to in many areas as they are to Selmers.
Very sensible reply! I love my SML soprano, it has a great sound and superb build quality. But it's not because it's rare that it's necessarily the best. Certainly with the soprano the differences in key mechanics between brands will have less impact on playability, and it is only the lack of an articulated G# in SMLs that is occasionally a bit annoying. However you have to be prepared to look at the situation objectively, in the context of your playing needs and expectations.

For example I'm also a great fan of vintage Buffet's, another horn which is regularly described as the 'poor mans VI' (even though they were more expensive new than the Selmers). These Buffet's are much closer to Selmers than SMLs in terms of design and I have been guilty in the past of overlooking some of the problems of the Buffet - again, particularly the heavy lefthand pinky key setup. Both SMLs and Buffets are great horns with which you can achieve a lot. However they are not VI's, and depending on your expectations this should be borne in mind.
 
#9 ·
I really like my SML Gold Medal 1 stencil. These horns have a big, rich sound. My issue is that I can't use the same altissimo fingerings that I used for the Super 20s and Selmers that I played for so long.
If I could rely on the altissimo being in tune, this would be my main horn. HOWEVER, I've read that the King Marigaux tenors had shorter necks than their SML labeled counterparts (per King's request).
I have yet to hear from any King Marigaux owners whether or not this addresses the altissimo issue. anyone? anyone?
 
#11 ·
I have a Marigaux silver alto and different stecil tenor- Both are great horns and I had a Rev D Tenor that sounded exactly like my 5 digit Mk VI- Some or all of the Gold Medal Series 1 had rolled tone hole ( look up the 22 improvements on SATW later they dropped a couple of the 22 feature and none of the King Marigaux horns I have seen have rolled holes- great horns but the left hand table is quite a bit different than Selmer and I agree that you need to find some different altissimo fingerings that said these are awesome horns- I saw a mint silver Marigaux tenor sell for $150 on Graigslist within the last year- I tried like hell to get it but someone else knew what it was! I still think they are incredible bargains ( unless you're selling one!)
 
#13 ·
As an aside, a lot of SMLs are inaccurately advertised as having "all 22 features." For starters, in order for this to be true they must have "elaborate full bell to bow engraving," including engraving inside the bell rim. However, only the earlier Gold Medals and (perhaps a few late Rev. D's?) have this. Also, not all SMLs, including the King Marigaux, had adjustable bumpers. I just thought I'd mention this since I a lot of SMLs on ebay are incorrectly described as having the full 22 features, when they are often missing one or two. Either a lot of these sellers have never taken the time to actually read what these 22 features are, or they think buyers are gullible enough to believe whatever they say. :bluewink:
 
#14 ·
Hello All! I hope you'll get a kick out of my story. I played alto as a kid off and on through college, took 14 years off, and then started playing again with the community band a few years ago. I've been using a student horn I bought on ebay, but have been looking to move up to a better horn for the past year or so. I did a lot of research on different instruments and starting haunting ebay auctions, but all the horns I liked were too expensive for me. I figured I'd have to save up a while. Then on a whim I stopped in an antique store to kill time before picking my children up from school. I found a saxophone in the back of the store, a make I'd never heard of before. It was beautifully engraved with rolled tone holes, so I thought I might have stumbled onto something special. I called my brother on my cell phone, and asked him to look it up on the internet. He did and said, "Buy it now!" I paid less less than half of what I spent on my student horn. When I got home, I did my own research. I was amazed by what I discovered and very excited. The sax was missing the octave key pad, so it wasn't really playable, but in very good condition over all. I had to wait for six long weeks while the horn was repadded and turned up for me. As soon as I played it, it was love at first note. I've been playing it for a couple of months now. The sound is beautiful, rich and full, especially at the lower end. I have not played any other horns of this quality, so I don't have anything to compare it with. However, it is easy and fun to play, and the sound is great. And that's how I got my 1965 two tone SML Gold Medal alto.
 
#15 ·
My SML story: After playing piano and guitar for a while I just knew I had to play saxophone (30 years ago...) and started to look around for one. After a while I heard that a 'friend of a friend' was selling his sax, so I went to see him and he showed me a nice alto. I didn't know anything about saxes at the time (this was long before internet...) and neither did he, it turned out. He could hardly get a decent note out of the horn, though the horn was in good condition, no leaks or anything. It was an SML Gold Medal and I bought it for FL 600,- which is approx. 275,- euros.
I started playing trying to figure out myself what all the keys were for and two months later I had my first proper lesson. My teacher told me it was a good find. A decent horn for a low price, which didn't need any work at the time. A few years later I happened to meet a French saxophone player who was surprised to see my SML and told me it was a very good saxophone.
Six years later, after having a lot of fun with this alto, I switched to tenor (Selmer) and the alto went back into its case for a very long time. About five years ago I decided to bring it to my tech for an overhaul and now I pick it up every once in a while to play it. It still plays great and I've even used it on some of my recordings (if you like to hear it follow the link in my sig and have a listen to 'Hornography'. The lead horn and solo at the end of the song are the SML alto). I'm glad I bought it then and didn't sell it when I got my tenor. I bought a soprano and another tenor since then, but the alto stays! :)
 
#16 ·
When I started playing sax in the 6th grade, my parents bought me an SML alto. Yes, I'm old and that was in the Dark Ages. But I loved the horn. Played it all through high school. And then I dropped out, sold the horn a few years later for $300 and moved on with my life. But i never moved away from music.

A few years ago, I decided I needed to make some music and I started searching. It was then that I realized just what a special horn I had as a kid. That's when I came back to the sax.

I now have a SML alto, gold plate (freakin' beautiful) and a tenor that has become my main sax. In my opinion, these horns, with their little quirks, are the best ever produced! If you have little bitty hands, maybe you will have problems with the LH pinky platter. But just live with it. Playing the best sometimes requires sacrifice. :bluewink:
 
#17 ·
Altos have been the instruments I changed more often, since I am not mainly an alto player and I often need money. Alto is the first to go.
In my life I owned and played several altos. The winners were:
A cigar cutter
A silver plated SA80II
A MkVI

I am usually looking for big sound, flexibility and of course tuning and playability, since I often sit on the 1st alto chair and you cannot mess around.

One month ago I spotted this SML gold medal at my repairer's.
In the past it went through some horrible accident (mauled by a cayman?) and is not the straightest horn you can have.
But it plays like a dream.
So far it beats all the Selmers i tried and sounds really "personal".

My fellow bari player described its sound as "tenory" that is exactly what I want.
At the same time I have a 1948 sml at home on approval, but its sound is not as complex as the gold medal and you can say that at SML they made some real improvements at some point. It sounds loud, though.

I am after a tenor now....
 
#18 ·
my story, Andy Farber has always said the Gold Medal 1 is the biggest freeblowing tenor you can buy...Ive just never found a good deal on one.....or found one I could lay my hands on to try firsthand for that matter.....
 
#19 ·
Started playing alto, then tenor and bought a 5 digit silverplated Selmer mrk. VI tenor, then I found a silverpalted SML Gold Medal, and the mrk. VI has been resting in it case since. Then changed to play baritone in a big band, started on a Buescher "Big-B", then changed to a Conn 12 M, and then this summer I found a SML "Gold Medal" baritone (Low Bb) It was an estate find in poor condition and it cost me the tip of a jet fighter to have it restored, but what a sound !!

Very very pleased SML owner

SML revision D alto saxophone
SML Gold Medal series II tenor saxophone
SML Gold Medal baritone saxophones

+ some 75 more saxophones in my collection, but that is another story :)
 
#20 ·
I wasn't aware they made any Gold Medal Baritones! Any pics???
 
#21 ·
I got the Bari bug a few years ago. I'm mainly a tenor player - I had to have a Bari so I rented a few horns to learn about Bari saxes before buying one. (A highly recommended process because its hard to sell a Bari sax if you find out you don't like it). It usually takes me months to really know whether I like a horn or a mouthpiece.

I ended up rescuing a low Bb SML Bari from a great little companies rental stock. It had been through the war. A re-lacquer with a slightly bent main tube. Lots of professional solder repair work etc. but a sound I really liked. I could solo on this horn. It played rather well. I compared it to a couple of modern Asian horns and a Selmer Series II. Both of these I had rented for a couple of months. The rental company did not want to sell me their SML from rental stock. So I told them - go out and buy a new Asian horn - send me the bill and give me the SML. It worked.

One key aspect of the SML sound is the upper register. It does not go thin and nasal like many Bari saxes. The top end of the horn plays much more like a tenor that other Bari saxes. It suited me just fine as I am a tenor player mostly. Check out the SML Bari review on Stephen Howards web site. I agree with his assessment. My Bari is from the mid 50's, brass and I use a Morgan vintage Bari mouthpiece. The Morgan warms up the sound nicely. It's not a perfect horn but works for me.
 
#23 ·
I own 3 gold Medal 1's 2 tenor and 1 alto. My main horn gold medal is a most amazing example of the breed. Magic sax with decent intonation and a really full Sml sound. The other two are good horns with all the sml traits just not Magic.

Magic horn has all 22 features and has about 98% of its lacquer. Other lack the in bell engraving. Combined with a metal Robusto 8 I get complimented on the sound coming out.
 
#24 · (Edited)
I know what you mean about magic. When I pick up my tenor after weeks of neglect, it seems to read my mind. It can fill in the gaps in my talent and still sound beautiful. That horn makes me BELIEVE I'm a good sax player. :bluewink2: If you read my earlier post, you'll see that I started on an SML alto in 6th grade and took a 40 year hiatus from sax. I now play the tenor exclusively, even though I have a beautiful Rev D alto that I will be putting on the market soon. Sadly, I have not played it in over a year and I don't have the luxury of keeping things around that are not being used. Maybe with the proceeds, I can scrape together the funds to do a proper overhaul on my tenor from Curt. :)
BTW, when I broke down and got a Phil Barone Jazz MP a few years ago, it literally almost changed my life. I know that sounds over the top, but it was as though I could finally stop fighting the MP and just let the sound flow.
 
#26 · (Edited)
Hi,
My name is Stefan and this is my first message on this forum. I still own a SML Strasser-Marigaux alto and a Selmer baritone. I also used to own a Selmer tenor and a SML soprano. Because this is the SML forum I first want to confirm my love for this brand. In my youth I used to play in the Grani Big Band located in the Helsinki metropolitan area. At that time I was taking flute lessons from Erik Dannholm, the late great horn man. At some point he suggested that I should buy his alto, which used to belong earlier to Eero Koivistoinen, one of Finlands best sax players ever. The serial number is 23110, so you can check the model if you are interested, but it is obviously made 1973.
Of all the saxes (or flutes) I've ever owned, this is by far my favorite instrument. The sound is so full and rich that it makes you feel a much better player than you are (I'm using an Otto Link mouthpiece). Somebody compared it to Paul Desmond and if any instrument makes that imitation possible, this is it.
For the last 35 years I live away some 4000 km from Finland. When my son wanted to start sax classes, I took this instrument for service to redo the pads. The service guy was almost in tears when he saw the sax. Not because it was in bad shape, but he had studied instrument building at Strasser-Marigaux. I think he gave the instrument special love. My sons sax teacher said that he was the best equipped student he ever had. Unfortunately my son switched to bass, but my grandson is now taking up alt sax, so maybe he will inherit it. I'm not ready to part ways with it just yet so I bought him a beginners model at Amazon.
The story of my soprano is an interesting one as well. That used to belong to "Paroni" Paakkunainen, one of Finlands great sax players as well. I sold it to my good friend who sadly died two years ago. I'm thinking about buying it back from his widow.
Once in a while I find myself reading these tales of the great SML brand of saxes. This time I decided to share some of my personal experience. One thing is for sure: It is hard to beat the sound of these instruments. They may not be as ergonomical as the Selmers, but they certainly give you the sound that is second to nothing.
 
#27 ·
Stefan, thanks for your fascinating story.

First of all, it is very interesting to find another Finnish SML owner. Secondly, your connections to famous Finnish pro sax players is mind-boggling. I think Eero Koivistoinen is the most known internationally.

Welcome to this Fenno-Canadian saxophone forum!
 
#29 ·
Stefan, thanks for your fascinating story.

First of all, it is very interesting to find another Finnish SML owner. Secondly, your connections to famous Finnish pro sax players is mind-boggling. I think Eero Koivistoinen is the most known internationally.

Welcome to this Fenno-Canadian saxophone forum!
Thanks Harri!

During the years I have tried to find every possible source on the internet on the SML brand. I have to say that it is not easy, so I felt good to finally encounter these pages (and in my native Finland!). Of those Finnish sax players I only knew Erik Dannholm well. Sometimes he was not in the "mood" for a flute lesson, so we just listened to jazz records (his and mine). He also once came to play with the Grani band. Absolutely breathtaking. What an undervaluated musician.

The soprano once belonging to "Paroni" I bought from a band mate (2nd tenor) in the Grani band. I still have a decision to make about buying it back and if I do buy it back, I'll keep you updated. Meanwhile I try my luck in posting a couple of pictures of the alto.
 

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