Mark VI Again!!!

I've been working in a brass and woodwind store for over a year now, and previous to that, I worked in one for several years in the 90's. I have had the opportunity to try out many horns from many manufacturers, old and new. I'm in charge of the sax displays, and I try every horn that comes and goes from this shop. I have formed definite opinions of everything I played. Of course, when it comes to discussions of sound, it's subjective, as we all have our own individual standards, at least most of us do. However, I have found that any good saxophone, and especially one that has been properly set up will give me my sound, relatively speaking, given variables in finish, mouthpiece, etc. We sell mostly new horns, but we also have a selection of vintage horns, all in great playing shape, as they get completely overhauled, if necessary, in our shop before they are displayed. Among our vintage selections are a Buescher 400 Tenor, with the Top Hat and Cane Engraving, a 1936 Conn 6M lacquer, a The Martin alto from 1950 with original lacquer in great shape, a 1970 Mark VI alto with the lacquer stripped(not by us), and a Selmer Balanced Action tenor from 1936, and a 1960 King Super 20 tenor. All of them are good horns, yet the Mark VI is not the best of them, from a sound viewpoint. Of course, that's subjective, as I said. The Buescher 400 is one of the ballsiest tenors I've ever played. The Conn and Martin just sing. The sound of both horns just grab you. Very rich and complex. The King is another horn that has balls, yet it can sing if you ease up on it. I have played literally hundreds of horns in my time, so I have a good idea about sound and quality. Again, it is my opinion. The thing that bugs the shit out of me, and continues to, is that so many players, or pseudo-players, come into the shop and immediately ask for Mark VI's. I ask them what they are playing now. Often, they already have a Mark VI. The thing that cracks me up, but also annoys me is that at least 80% of the people who tell me they own Mark VI's do so with a swelled chest and a touch of arrogance, as if to say, "I have a Mark VI, get out of my way!" It has become a joke in my shop with all of my co-workers, because we notice the same reactions so often from Mark VI owners. The other annoying thing is that they come into the shop to try out horns that they will never have any intention of buying because they are playing it against their Mark VI as if they must validate the enormous sums of money they overspent on it. They will hand back the horns to me, and say' "it's not as good as my VI". Well, I knew you felt that way before you tried out the other horns. Why are you wasting my time, and my co-workers time? Rather than go on comparing your overpriced Mark VI to other horns, maybe you should be spending more time practicing the horn. It was meant to be played, not compared constantly to something else. We also hung a sign in the shop that says "Please do not tell us that you had a Mark VI and sold it cheaply because you didn't know the value of the horn, because we've heard it many times." No, I think you sold it cheaply because at the time you were desperate for money and maybe it was not in the best shape. Now, I have played a lot of very good Mark VI's. Personally, I think the Super Balanced action is better as far as sound goes, but that's me. I especially think that the Conn 6M that I own, and The Martin alto I have are as good or better than any Mark VI out there. Granted, the ergonomics are better on a Mark VI, but that does not translate into better sound. Whenever I play my 6M, the Mark VI players jaws drop. They can't believe the sound and projection. They have to try my horn, but complain about the ergonomics. I'm used to it, so it's not a problem for me. Sound is more important than anything. Besides, I've had the keywork adjusted so that it has a quick, rapid-fire response. The other thing is that now, there are a number of new horns that have some of the qualities of old horns, including Mark VI's, and better ergonomics. I'm impressed with P. Mauriats, especially the vintage lacquer rolled tone hole models, 66 and 67R. Yamaha has better keywork in my opinion than Selmer, and soundwise, they have gotten much better, especially with the Custom Z's and EX's. Yanigasawa is an excellent horn, and they sound great. I especially like the bronze bell model. It's almost like my Conn. I'm still not convinced about Cannonball. For every one horn that sounds great, 10 are so-so. Again, that's just my opinion, which is subject to change without notice. Keilwerth is another horn that is hit or miss with me. One model is great, another so-so. Of course, this isn't to disparage owners of Mark VI's who really can play, and consider the instrument the best tool for their musical expression. That is what having any horn should be about. Not about an ego trip about having the "ultimate" horn. It becomes the "my dick is bigger than yours" syndrome. music is not supposed to be about that. Anyway, if you play a Mark VI and think it's the greatest horn ever made, that's okay, as long as you're getting what you want out of it. The main thing is to practice and play. The horn was made for that reason, not to boost your status in the saxophone world. If you come into my shop, and when I ask you what horn you play, and then before you tell me, you stand straighter, square your shoulders and puff out your chest, then say "I own a Mark VI", I may just laugh at you.

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