I still don't really understand this .... Something about how other saxes fit into the orchestra better, in a more uniform way ... and the C-Melody ended up being the odd sax out? Is that how it went?
It's a loss, imo. They can be great horns. I just picked up, in a trade, a Buescher C-Melody from the 1920's, in matte silver, a real museum piece with the original pads. The horn and the pads are in such a new condition that the pads are all sealing really well and the whole horn plays brilliantly up and down. It has that snappy new feel to the keys. With my tenor mouthpieces, it's a gorgeous sounding horn. Like a little tenor. It doesn't quite have the fullness and big sound of my Mark VI tenor, but it is undeniably a better sounding horn. That's discouraging, I paid an enormous amount of money for my VI, mostly I guess for it's playing characteristics (which are out of this world). Don't get me wrong, the VI sounds great. Beautiful vintage sound with amazing flexibility, but the Buescher is just stellar in sound. It also has an incredibly even scale up and down (like my old Conn new wonder had), with no issues anywhere. As far as I can tell, at least so far, it's also very much in tune with my tenor mps. Maybe not all of them .....
As for the value of the Buescher, I'm not really sure what it is because I traded for it. A low digit VI that looked like this, with original pads, that played well on those pads and sounded great would cost $12 - $15K.
Is the Selmer a six to seven times better horn than the Buescher ???........ Uh, ..... no. Is it even a better horn than this 20's C-Melody? I don't know ... time will tell, I guess. I'm anxious to use this Buescher in my garage band, where I can say goodbye to transposing.