By using solid silver Selmer have taken the Series III to a higher level and the most immediate feature is the tone. It has authority and richness -  punchy, bright, sweet and oh so full. Like a Steinway grand piano you have an intuitive sense that the instrument is very, very special and feel privileged to play it.

I find the standard brass Series III slightly resistant, but the solid silver really opens up the sound and it's amazing how easy and free blowing it is. It plays with the instant response that one expects from the best Japanese Saxes but with all the character of a Selmer, and surprisingly it responds even better than a Yani. The rest - harmonics, multiphonics and all that funky stuff are sooooo sweet! I’m not sure why silver has these phonic qualities; I believe it's something to do with silver vibrating at a different frequency to brass. I'd forget all the physical analysis and just enjoy playing it.

The action is light and more free than the standard Series III, as if the sax wants to work with you whatever your playing style. Like the other Series III models the intonation is excellent, a significant improvement on the Series II.

Aesthetically it has a rather understated look with no fancy engraving, just the classic "Selmer Paris) stamp with the "series III" logo. The look of gold keys over a silver body is a question of personal taste and it's not my favourite combination but like a great sports car it’s performance that really counts and this Selmer goes like a Ferrari! - TC.

I had the lucky chance to play test 10 References at the Paris factory, and to my surprise they were all very consistent, but without losing any of their individual character. An impressive feature is just how free blowing the Ref is when compared to the slightly resistant series II and III. The tone, (bring it on!) is just fantastic! Well centred throughout it’s range, rich - yet with loads of clarity and juice. It's nice and big at the bottom but still full at the top. Although it is a new horn, it evokes a real sense of history and an intoxicating vintage tone. It has the authority of a vintage Selmer but with all the intonation problems resolved. I worked it hard and the only thing that didn't impress, (yes, the only thing!) was that it didn’t resonate as much when blowing sub-tone, but this could be resolved with set-up.

What did impress me the most was the projection, it could equal the Series III no problem and get out the way Guardala! I found that I had to pull back a little on my playing to compensate for instant ‘back of the room’ sound. Action wise, it's just what I like, a little resistant but with plenty of fluidity, balanced and fast. It has nice touches: the front F pearl, smooth top E key, rounded low Eb/C keys and vintage style body brace. To look at, it is just exquisite, dark gold lacquer with original MK VI engraving patterns, there is nothing quite like it. Additional accessories are the excellent new Super Session (E) mouthpiece (which I am very impressed with) and specially designed "Reference" shaped case.

There is something about this sax that I can’t explain. Call it what you want, shazam, magic, the X-factor, this sax certainly has it. You can see, feel, hear & sense the history and pedigree coming. If you're having a love affair with an old Mark VI but are fed up with niggling intonation & reliability problems this is the answer. This horn builds on the legendary legacy to the meet the demands of modern players, it will surely become a history maker.

(Now available in Antique Matt finish)

(p.s. since writing this review I've treated myself to a Reference alto). -TC.

Selmer Series II clear lacquered with engraving. Picking this up I immediately could feel the quality. Selmers seem to have a nice soft feel to them; they look very round and solid. The finish itself is quite understated with simple engraving, and I thought that this was reflected in the way that it played.

On the whole I really enjoyed playing this, especially a selection of classical studies by Guy Lacour. The response was excellent and playing felt very easy and comfortable.

Selmer Series III clear lacquered with engraving. This is Selmer's latest reincarnation of the Super 80 Series of saxophones and has had a few modifications. The most important development is the addition of a venting key to improve the tuning on the notoriously out of tune C#. There is also a new model out which has an extra harmonic G key mechanism. The venting key definitely works and is a welcome addition to the saxophone. I found this worked really well and intonation on this horn is excellent. It has been a criticism over the years that Selmer horns are difficult to control but I didn't find this the case. Control and ease of blowing was very good; I was able to concentrate on playing the music knowing that the sax would take care of itself. The overall tonal colour was slightly darker and it seemed to deliver more volume than the Series II. My only criticism is that I had to put a lot of effort in to get the best out of it, but that is not necessarily a bad thing as it shows that the instrument can respond when you need to blow hard.

The two Selmer horns are both fantastic saxophones worthy of any saxophonist, but of the two I would have to favour the lightness and smooth sound of the Series II.