Well the Selmer Series III baritone, model 66AF, has finally arrived at Kessler & Sons Music in Las Vegas. OK, so it’s only 6 months late, but it was worth the wait. Or was it?
Selmer has been teasing bari players with this horn for about 10 years. So now that it is finally available, what are the features that make this sax one of the most expensive baris on the market? Well according to Selmer’s glossy, new brochure on the sax:
The Series III baritone is the expression of a new acoustic and technical approach. Its warm voice and generous personality reveal themselves through several key improvements:
- With unparalleled tuning balance, its tone colour is remarkably even, including in the extreme registers.
- The sound, rich in overtones and embracing a full range of tonalities, is accessible to all styles of music.
- The reduction in size of several soldered parts (ribs, bow guards…) and changes to the neck have been designed to optimize resonance:the instrument is immediately responsive to the musician’s slightest touch, without any loss of energy. It offers increased possibilities with great playing comfort.
Thanks to the outstanding ergonomic design of the Series III, the volume of the baritone no longer seems imposing.
- The general design is particularly well balanced: pure refined lines, elegant mechanics and perfect keywork alignment.
- Compact keywork and a close grip enables enhanced dexterity and velocity approaching that of the alto saxophone: playing through registers is made easy and further facilitated by natural handling.
- The key clearance is shortened for improved response and more accurate playing.
- Finally, a lighter overall weight and the peg system attached to the bell frees the musician from handling constraints.
Source: Dave Kessler
According to the Kessler & Son’s website, the Selmer Series III baritone’s specs are as follows:
| Country of Origin | France |
| Body Material | Brass |
| Body Construction | Partial “Split Rib” Body Construction |
| Range | Low A to High F# |
| Finish | Clear Lacquer |
| Springs | Professional Steel Needle |
| Pads | Professional Leather |
| Resonators | Domed Metal without rivet |
| Engraving | Hand Engraved |
| Pearls | Mother of Pearl |
| Mouthpiece | Selmer S80 C** with Selmer Ligature & Cap |
| Case | Form Fitted with wheels |
| Setup | Professional level setup performed by Chuck Kessler prior to shipping. |
| Warranty | 5 Year covering defects in workmanship & material |
Dave Kessler has taken many photos of the new horn, and also of its unique case. You can see them all on Kessler & Son’s website.
A number of months ago, Dave Kessler wrote a blog article about the new Series III baritone. In case you missed it, you can find it here. In the piece, Dave discussed the features the sax has, and his view on both their strengths and limitations. The article is an interesting read.
If you are curious what players are actually saying about the sax, a thread was recently started on SOTW. To date, this is the only player’s review I’ve seen, and it is only from 1 player. Until we get more bari players trying the sax, and writing their thoughts about the horn, we won’t really have much to go on, other than Selmer’s advertising hype.
Don’t get me wrong, I think it’s exciting that the Series III is finally here. I would just like to read some impartial, non-biased players’ reviews about said saxophone. I also personally can’t see myself dropping 10K on a horn, let alone one that I wouldn’t have the opportunity to play test before I buy, and one that I can’t read reviews on before ordering.
Actually here in Canada, it’s going to cost players more then $10,000. I’m going to Long & McQuade tomorrow, and they’re an authorized Selmer dealer, so I’ll ask them what the Canadian price is for the Series III. I’ll just make sure to someone standing behind me in case I faint at the price. 
If, and this is a big if, it’s in their computer system already, I suspect it will be around the $12,500 Cdn mark. (That is if they offer it a “sale price”, and don’t go with the MSRP.)
Choices are always a good thing. I chose my Mark VI over a Series II baritone, but if the Series III had been available 10 years ago already, perhaps I might have chosen differently… Who knows…
I know if I lived closer to Las Vegas, I’d be taking a trip to Dave’s family’s store, and trying the Series III out for myself. Unfortunately, I suspect it will be a long time before we see a Model 66AF bari in this neck of the woods.
BTW, re: the price, I was surprised to see that the Series III wasn’t the most expensive baritone out there. As I was looking at the Kessler website, I saw the Keilwerth Shadow bari, Model JK4411-5B2-0, was priced at $10,549. That’s $1,000 more than the Selmer.
Oh, but then there’s the fine print…
I noticed that the Series III is available in other finishes. Although not listed on Kessler’s website, they are listed in the glossy brochure. You can get the new Selmer bari in: brushed lacquer, silver plate, and black lacquer. Wonder what those options are going to cost? More than $1,000? Well the silver quite possibly, so perhaps Selmer is going to hang on to the title of the most expensive new baritone saxophone on the market.
I can’t remember which side the Mark VI low A is hinged on and which side it is on the S80 II. I’ve played them both, I just have no recall which was which.
It might sound like heresy to some, but overall I preferred the S80 II over the VI. That could be because the Series II was brand spanking new (I took the wedges and plastic off it myself) and the Mark VI had a couple decades on it (though time had treated it well). Just the same, while the Series II responded better and had more “bite”, there was something about the VI that was more viscerally satisfying. I was using an unmodified Link STM 7* on both so that isn’t the difference, and I had not yet discovered synthetic reeds so that can’t be it either.
In any case, the low A on my Dolnet has the axle on the left hand side and I find it excessively stiff. It would have been reasonable if they’d backed the axle away from the thumb rest a quarter inch or so, to give a bit more leverage, and if I ever get the low C# mod done (it’s not articulated, but it could be without a severe re-engineering), I’ll probably get the low A tweaked as well. I also like the shape of the Selmer lever, as opposed to the Dolnet’s art deco — an inch wide rectangular slab of brass, with two corners ground off at 45 degree angles. It’s not a design that feels very good, and the shame of it is that it doesn’t LOOK all that good either. Total waste.
Still I prefer the low A axle to be on the right. It just isn’t as critical as the pinky cluster axles being right over the stack — there’s no perfect solution for “American pinky clusters”. Fortunately Selmer was the first or among the first to correct this design flaw. I am quite glad it has long since become the standard.
I’ve wanted to see the details of the Series III baritone and they are finally becoming available. I wasn’t thrilled with the bracing of the body parts, but I’ll reserve judgement until I see whether it really makes the horn respond better.
I love the Series II baritone. I’ve played 4 of them and the intonation is the best in the world.
Advantages of the Series III – It’s easier to grab the horn near the middle of the body, where the instrument balances best. Also, the low A touchpiece is hinged on the opposite side from the Series II, which is like the Mark VI and more comfortable in my opinion.
It would be interesting to read your thoughts on the Series III bari Randy, when you finally get a chance to play-test one.
Interesting that you loved the Series II. When I play-tested them 11 years ago, I liked them the best of all the new baris I tried, but when I played a Mark VI, my heart was won over by it instead. Perhaps for me it was simple familiarity, since the layout of the Mark VI bari is nearly identical to that of my Mark VI tenor. In any event, the VI won out, and I haven’t looked back. The one I ended up with is a kick-ass horn, with an incredible flexibility that I have not found in any other baritone.
I wish I lived closer to you Randy, since I would love to have you as my tech. Having such a strong & diversified playing background as you do, a love for, and knowledge of vintage horns, all combined together with tech skills, are the makings of my dream go to guy for sax repairs.
Well I did check with Long & McQuade today, and yes indeed the Series III bari is in their computer system already. Their price: $11,995 (Cdn. of course). So if had been a contestant on The Price Is Right, I would have been over by $505, and out of the running for the show case. Damn… :devil2:
I was at the Terminal Avenue store, and apparently they have one on order. They are wondering when it will arrive. :scratch: