But the logs show these horns do exist (or did at one time).
Selmer was still producing Mark VI sopranos and bari's after these numbers (I've seen a Mark VI soprano # 324164), so much of this is conjecture until I see one in person. As far as the sopranos go, the Selmer records do not show those 3 instruments as having sold or shipped, so they could be prototypes for the upcoming Super Action 80. I have not see any of them in person (if anyone has one out there, please contact us!). Whether these were actual fully redesigned Mark VII models, or simply a Mark VI with Mark VII stamping, is anyone's guess. Now, obviously these numbers are very late in the run of the Mark VII, in fact they fall into the run of the Super Action 80 at the end. There were exactly 3 Mark VII soprano saxophones made, in between numbers 315347 – 315350. This happened again late in the run, with 72 made between numbers 311888 – 311988, and again from numbers 315086 – 315144, 25 more were produced. From numbers 297991 - 297995, four bari saxes were produced that are officially listed as "M7". Officially, Selmer only made the Mark VII model in alto and tenor saxophones, but looking over the official Selmer records, there were a handful of Mark VII bari and soprano saxes. The Mark VII was the first Selmer that came with high F# as standard, before now it was only available as a special order.
SELMER REFERENCE 54 VS MARK VI FULL
It was in production for approximately 5-6 years, being replaced by the Super Action 80 (announced in 1980, in full production by 1981). The first Mark VII produced was an alto, # 230839, and the first tenor was # 231087.
The sax was designed by Michel Nouaux and Frederick Hemke, under the direction of Jean Selmer. They do feature larger table keys which can be cumbersome for players with smaller hands, but otherwise they are comfortable instruments, with a slightly tighter more focused sound than the Mark VI. The Mark VII isn't a bad horn, in fact like all Selmers, most are good and some are great. After the huge popularity of the Mark VI, any sax that came after was set up for failure. Unfortunately for Selmer, it was no longer called the Mark VI. In the Selmer brochures and catalogs of this time, they extol faster execution, a more refined tone, better intonation, and a warmer character. The Mark VII was heralded by Selmer as a successor to the Mark VI when it was introduced in 1975.
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