Selmer Paris Serial Numbers Bass Clarinet
Note: Selmer Paris harmony clarinets (sizes other than B♭ and A soprano clarinet) are mostly called by their model number rather than a name, but there are, for example, RI bass clarinets and Series 9 alto and bass clarinets. A wonderful condition 1953 Vintage Selmer Paris Bass Clarinet, serviced in our Official Selmer Paris ProShop! Includes 2 necks. Financing Available!
This is really one “A” model that would benefit any player. So well controllable across the entire dynamic range with a nice full tone very similar to the Bb. Normally an “A” can, in some words, sound duller to the comparable Bb. But the CT “A” is a joy to play all the time. I certainly recommend one if one can be found. But be careful. The large toneholes require some getting used to as if you have smaller fingers they can be a problem in covering.
There was also an earlier emblem, up to somewhere in the 4000’s, that has a winged globe over the H SELMER A PARIS oval. I have heard that the winged-globe emblem indicates the era when Henri Selmer himself still tested and finished the clarinets but that’s purely anecdotal, there’s no reason to assume it’s true, but he was primarily a clarinet player and i’m sure he tested many of the clarinets produced in his factory – why not? Wouldn’t you!!
P CT top, R CT mid, 9 bottom – keywork variations. P CT top, R CT mid, 9 bottom. 9 has a higher register vent.
Re: Year of Selmer Bass clarinet Author: Date: 2008-05-29 03:30 FYI, there is a Selmer serial number list on this site: Best regards, jnk Re: Year of Selmer Bass clarinet Author: Date: 2008-05-29 03:49 I think (but not sure) they started making the the 35 (and 37) model in the 90s, around 1995. If I remember right the models before that were the 31 low Eb and 33 low C (or was the 33 low Eb too?). I think the Series 9 was before that, but I'm not sure, and I'm also not sure when they started making each model (though I think it would say Series 9 if that was it).
Take a look Selmer 10G Clarinet Z Series: 1976 Z1100 1977 – model 10 SII is launched Z5200 Selmer 10G • “G” stands for Gigliotti, a principal clarinetist in the Philadelphia Symphony • Selmer made the 10G as a copy of Anthony Gigliotti’s personal Buffet R-13. Though being machine made they were accurate up until a point. Hans Moennig apparently hand tweaked the 10Gs to be more like AGs R13, but only in the serial number range of Z6835 through A1200 • • 10S followed the 10G in production A Series: 1978 A1000 B Series: 1980 & 1981 1984 – Recital series launches Selmer A clarinet Signature SELMER SIGNATURE Recently I had the opportunity to setup a set of Selmer Signature clarinets, both the Bb and A version of these instruments. They both had wonderful accoustics and playing capabilities. Their projection seems wonderful, and the overall balance from top to the bottom of the clarinet was very smooth and very tonally centered.The Selmer Signatures are a specially designed clarinet.
Full sounding, and a full deep woody tone. Not as deep sounding as say an Artys but pretty good. The upper register sings clear all the way through altissimo. The large toneholes don’t restrict the tone at all and all notes become clear from top to bottom. Now if one really likes big bore clarinets then one would really like the “A” variant of the CT.
Killed a lunch hour! Here are a couple 'for what it's worth' comments that'll hold you over until someone more knowledgable about Selmer bass clarinets comes by: T that has a serial number about 1000 off of yours. Also note the lower keys on the right side of the horn above the bell: the eBay 67 and your horn have a couple of 'fine tuning' screws.
Selmer Signet Clarinet Serial Numbers
And an emblem of HS is below the oval similar to the BC for Buffet-Crampon. Also above is a music lyre The import/bell emblem was also changed as below in the K series. The two bells here show that the US Import stamp was done separately from the Selmer logo as they are both in different positions – notice the space or lack thereof from the Selmer Paris wreath logo between the two. L Series: Old Selmer Emblem is Buffet-like (many makers had Buffet-like emblems) • Transition during the L series • The saxophone emblem was changed in circa 1926.
Also, inside it shows the thread and nut protruding into the bore. This large nut gave the instrument some significant resistance – not my favorite Selmer by a long shot. 1946 M8000 N Series – Later N series were also known as BT – Balanced Tone – both identifiable by a large domed speaker bush (the body octave hole) with two holes to remove it, and a removeable speaker tube. 10/1/46 N100 2/1/47 N1000 1948 N2800 1949 N4900 1950 N6600 1951 N8100 P Series – Centered Tone series – identifiable by a large hexagonal speaker bush (the body octave hole). Benny Goodman made these instruments famous.
The stopper material used for the throat A key and the register key is a synthetic rubber. This rubber is a nice stopping material but very hard to adjust, ie to thin as the register key was just a bit too closed and by thinning the stopping material one is able to open up the register Bb.
After some extensive though minute setup items the Bb simply sang from top to bottom with a consistent backpressure that provides an excellent feedback to the player. The A was also very good though the low A was slightly stuffy. If one slighlty expands the opening on the 3rd tonehole then the slight stuffiness goes away and the tone becomes more powerful and full as with the range of the instrument.
* with a Model 822, 822a, 823, and 823 low C (page 10). The catalog's from Selmer London. (, regarding the pricing, 'A 'guinea' is an old British term for one pound plus one shilling, pre Britain's change in 1971 to decimal currency.
Also, inside it shows the thread and nut protruding into the bore. This large nut gave the instrument some significant resistance – not my favorite Selmer by a long shot. 1946 M8000 N Series – Later N series were also known as BT – Balanced Tone – both identifiable by a large domed speaker bush (the body octave hole) with two holes to remove it, and a removeable speaker tube. 10/1/46 N100 2/1/47 N1000 1948 N2800 1949 N4900 1950 N6600 1951 N8100 P Series – Centered Tone series – identifiable by a large hexagonal speaker bush (the body octave hole). Benny Goodman made these instruments famous.
Serial Numbers Rolex
The Clarinet emblem was changed in the 1930s • • 12/1/1931 L1000 1932 L2100 1933 L3250 1934 L4300 1935 L5500 Manufacturing Pic – click for full page 1936 L6600 Catalog Pictures – click on each page for full screen 1937 L7750 1938 L8800 1939 L9900 M Series 2/1/39 M1000 1940 M2400 1944 M3400 1945 Selmer 55 1945 only (?) M6000 Emblem of sn # M70xx Below- M 61xx. This shows the large register nut associated with 55s. Also, inside it shows the thread and nut protruding into the bore. This large nut gave the instrument some significant resistance – not my favorite Selmer by a long shot.
But in this case this rubber material is like an anti-sanding material. On a negative side, the middle tenon is metal. The cork on metal will slide easily while playing and I found myself constantly realigning the joints.
Yes, I might do a write-up on all of this because I do see that a lot of people are asking about what model Selmer BC they have and, so far, I think only the Series 9 had a model name stamped on it. From one of my ebay Bidders. [h=3]This model Selmer Paris bass dates the the mid 1980's. The design of the two keys below the right thumb rest dates this instrument.
And Benny Goodman is known as a jazz player, thus the CT was known as a jazz clarinet.But there are two versions of the CT. Earlier versions had a cylindrical upper joint, where as later versions had a tapered upper joint which continued on with the Series 9 model.One can go here for pictures and a quick comparison of a late CT and an early Serie 9 by For me, a tapered instrument provides a bit more balance by providing a more consistent backpressure through the entire instrument especially with this “large bore” clarinet. With cylindrical clarinets I feel as though the resistance lessens as one plays down the instrument. With the tapered bore it becomes more consistent and controlled. The CT also has large toneholes. The large bore and large toneholes allows the player to blow as much as they want with the mouthpiece reed combination really being the point of resistance. In other words, if you need to be as loud as possible, the CT was the clarinet to have especially if you don’t have a mic.
The playing balance top to bottom allows for easy emission for very nice control of the tone. On Selmer’s website it states “The tone, a right compromise between roundness and presence, is a subtle mixing of sweetness and energy. A wide dynamic range facilitates pianissimo and unsaturated fortissimo, with a perfectly homogenous tone over the various registers ” Interesting description and sounds fairly correct except for the unsaturated fortissimo. But one can take that a f versus a ff. Fortissimo isn’t a problem just that the back pressure increases significantly which can be much easily accomplished on other instruments of other design. I personally do not like so much backpressure as compared to say the Buffet R13. The keywork is superb silver plate, and smooth as silk motion.
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I do not know why they discontinued the Artys other than it probably did not sell as well as the other models or there was too much of an overlap in characteristics of another model. But they certainly are a wonderful clarinet that should not be overlooked in the used market. Not only is the craftmanship first class from Selmer Paris but the instrument offers the capabilities that I look for in a clarinet. This Artys clarinet offers a wonderful tone in addition to allowing me to get the instrument to offer some exceptionally well balanced and sounding dynamics. In other words, one could also use this in a jazz situation, in which they would have the ability of playing louder easier than with other clarinets, assuming a moderately open mouthpiece.
Free Serial Numbers
At that time they had the Odyssee, Saint Louis, Recital, Signatures and Privilege (did I miss any?). 6 models of clarinets can certainly get confusing. In the old days there was one or two models available.
Also, inside it shows the thread and nut protruding into the bore. This large nut gave the instrument some significant resistance – not my favorite Selmer by a long shot. 1946 M8000 N Series – Later N series were also known as BT – Balanced Tone – both identifiable by a large domed speaker bush (the body octave hole) with two holes to remove it, and a removeable speaker tube.
The overall sound and tuning qualities are particularly homogeneous through all the registers and shades; a great flexibility and a remarkable control complete the global acoustic performances.”My lack of descriptive words would say that their own description of the Artys is pretty accurate. From the deep resonant tone to the flexibility and remarkable control. This clarinet is a Selmer Centered Tone with slightly more resistance and control and the tonal flexibility of a Buffet R13, though lacks a significant “ring” of an R13.
I can't find clarinet serial numbers after the B series in 1981, but there is Steve's comment about E series serials in 1991. Which is kinda odd. I would expect Selmer, based on their past serial number history, to use a new letter prefix every one to two years. Indeed, a Model 67, with an M-series serial number, was made in 1993.
• ← Previous • 1 (current) • • • • • The clarinet is a musical-instrument family belonging to the group known as the woodwind instruments. The clarinet has a single-reed mouthpiece, a straight cylindrical tube with an almost cylindrical bore, and a flared bell. A person who plays a clarinet is called a clarinetist (sometimes spelled clarinettist). The cylindrical bore of the clarinet is primarily responsible for the clarinet's distinctive timbre, which varies between its three main registers, known as the chalumeau, clarion, and altissimo. The tone quality of the clarinet can vary greatly with the clarinetist, music, instrument, mouthpiece, and reed. The differences in instruments and geographical isolation of clarinetists led to the development from the last part of the 18th century onwards of several different schools of playing.