Category Archives: Vintage Mouthpiece Tips

Advice and musings of a long term vintage mouthpiece hunter and restorer

Selmer MK VI #85000 EU Satin Silver Engraved Massive horn, ONLY ONE!

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This is an amazing rarity; 1960 Mark VI tenor, the exact serial 85000, made in celebratory satin “sable” (sand finish) silver plate and glass accents, an expensive special order option.  This horn lived an active life and does show wear indicating just how great it was (is).  I have done many special restoration projects on this horn, soldered the bow to body, resoldered the failed neck receiver, replaced most of the worn pearls and then finally a vast overhaul.  It originally came to me with black ‘roo pads’ in it, and plenty of key slop.  I did many special jobs on the horn but resisted taking those pads out since they were not old, but the horn always lacked some resonance, sort of a deflating kind of feeling rather than the power we might hope for in 85k.  I finally did surrender and did a whole job on it with my treated pads and special setup.  Now it is blasting, bright and powerful as expected.  Moral of the story- please don’t use roo pads.  They suck.

Aside from that, this is just that amazing actual 85k tenor the only one with the perfect number (HAH!) and it plays every bit as amazing as we imagine.  I did somewhat of a silver polish on this after I allowed it to turn black over several years and it was already a lot of work.  I will just let it go black I guess from here on in.  I took a quick set of pics before it turns totally black again.

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Excellent Early Berg Larsen Type (mixed?) Font Tenor 105

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Here we have a very nice find, early Berg Larsen 105/1/M.  This piece has the original denim table milling marks and a wonderful delicately finished tip rail and baffle quite likely faced by Berg Larsen himself.  This is the style all the early ones are done in, by, I think, himself.  Unusually this piece actually measures right at .105 on my tools.  The slant signature Bergs and pieces near that time period usually measure exactly as stamped but slightly later ones (like this should be) trend .005 smaller. This one is accurate to the stamp, no idea why.

The font on the shank seems to have SOME of earlier serif font. I believe someone has replaced the biteplate with a modern marbled rubber.  I see no evidence of any other work done.  This piece plays rather huge and fat.  It is pretty accurate for a #1 baffle being brilliant while also not excessively bright or at all shrill.

There are many of destroyed, later model, etc Berg Larsens to be found but the Serif Font denim table originals are few and far between now.

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Otto Link Double Ring NY .100 Marinated & Excellent Rarity

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Here we have a very rare and wonderful tenor piece; Otto Link NY double ring with the outlandishly long biteplate.  Who’s idea was the long biteplate?!  That long biteplate is the reason these pieces are the least common to be opened up to large sizes (or any sizes) by ambitious refacers.  Of course that can be a good thing, meaning there are still some originals left out there, or at least some pieces that are not huge sizes.  it is pretty common for people to mess them up or just tear them all open to huge sizes because currently only a few people know how to play 5-6 facings like the old days when these were made.

I very careful restored and optimized this to .100 (7) from the original dinged up 5 and it’s really quite a player.  Slightly darker and wider than a FL double ring, it has a beautiful complex tone and an ease of play that is extremely satisfying.  Good luck finding early (New York) double rings that are not totally destroyed or play in any kind of near decent way.  This is definitely among the best!


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Selmer “Super Sax” 14xxx Baritone, beautiful early Bari (on hold)

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Wonderful early Selmer Bari, “SuperSax” in fine condition.  I cannot say if the lacquer finish is original or not but it’s a nice color and looks correct.  This horn has seen some life, easily at this age, but it is also in quite good condition for its age.  It has some normal dings, not very significant.  Someone, sometime in the past fabricated really nice extra supports for areas on the upper bows.  These supports appear to me to be silver, or nickel silver and they have quite nice rounded contours.  It appears to me that these were preventative rather than the result of any damage, just due to the size of them and the high quality of workmanship.

The original neck is present as is the case.  The pads are OLD and will absolutely need work.  I would not call this ‘playing’ at the moment at all, but everything is present, and in quite good condition.  I think most folks know these early Selmer Bari’s have a specially great warm tone.

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Selmer MK VI 105xxx Original US Lac. Excellent Horned Toad Overhaul

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105xxx Selmer MK VI, this is a sweet spot vintage of MK VI right after 100k.  Most everyone who is experienced agrees that these are especially good; punchy, focused, on the brighter side yet still complex sounding.  This is one that I restored years back and put a lot of meticulous care into.  It has large domed brass resonators and (gold) painted pads with a really beautiful tight concise feel.  In the years since I set this up I feel it has not changed much, still plays like a new horn. I recently received it back on a trade and was happy to get a chance to play it again. I’ve gone through and updated one pad and done a little adjustment.

This horn has that wonderful dark lacquer, some normal blemishes for a played horn but is in very good physical condition.  It plays very powerfully with a fundamentally dark core and very cutting edge.  It is a very fast and precise horn.

 

 

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Gear Nerd Summit

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Had a really wonderful hang with Josh Redman, fellow tone & subtlety aficionado; inspiringly great player and exceptionally good, smart and fun person to be around. Being able to share that level of appreciation for detail in sound is why we do this, but some people are just plain cool.