The Selmer style plastic dome resonator pads would probably be the way to go on the Mark VI. They're excellent pads. The shop that I had relacquer and overhaul my horn put them on my Conn 10M tenor and they sound really good. Actually, I would probably go with the same style pad on the King stencil also. I play a 1950 Conn 6M alto, and it's one of the sweetest altos I have ever played. I like the way the horn plays, but then again, I am used to a Conn tenor and have fairly big hands. Someone who is used to the action on a Selmer might find the action a little cumbersome at first, but it's a very good action, and they do stay adjusted well. The earlier models with the rolled tone holes have a nice, warm sound. The later models (after 1948) without the rolled tone holes are a little brighter and seem to resonate better. I also think the intonation is a little better. I also have a 1952 Selmer SBA alto. The 2 horns are very different. The action on the Selmer is a little more fluid. The Conn does play very easy. It's a free blowing horn with excellent projection and sensativity. Both horns have excellent intonation, but I actually find the intonation to be more consistant on the Conn than the Selmer....with the right mouthpiece. Selmer mouthpieces and Conns do not work too well together. You need a wide chamber mouthpiece like an Otto Link Tone Edge. They have considerably more edge than a Selmer. It's a fuller sound with much more resonance. They really project very well, and with the right set up, they really scream. It's one of the best altos for jazz and bop, blues and classic rock, but probably not the best horn for classical music. If you play mostly jazz, swing and bop, try one and I really think you'll like it. They're also made very well. If I was buying a horn for a band student. I would strongly consider buying a 6M because they'll take more abuse that most others I have seen. Good Luck, Jim