Selmer Varitone

The Varitone electric saxophone system, manufactured by H.&A. Selmer Inc. (aka American Selmer) and introduced in 1965, was known among some enthusiasts and collectors. However, very few of the instruments themselves exist, and complete systems, including the amplifier, are rarely found, leaving its details largely unknown. Its very existence was in danger of being forgotten.

THE Used Musical Instrument Shop acquired a complete American Selmer Varitone tenor saxophone system in pristine condition through an overseas route several years ago. However, the saxophone itself wasNewIt was in near-perfect condition, but the crucial electrical system was over 40 years old, so only a few parts were working.
Although it had been practically shelved, our expert technical staff has finally managed to bring the system back to full operation, and we have now created this special feature page.

In this two-part series, we will reveal the little-known full story behind this pioneering electronic wind instrument.

This is a remarkably detailed explanation of Varitone, a topic rarely found anywhere in the world.

*This instrument is featured on page 83 of "SAX&BRASS Vol.10" (published by Rittor Music) in the section titled "PRECIOUS HORN Cafe".

The Variton electric saxophone, developed by A. Selmer, is a bold and audacious "modification" of the American Selmer Mark VI, a legendary instrument that still shines brightly in the history of wind instruments.

The base instrument is an American Selmer tenor saxophone in the 140,000 series. The body is in superb, pristine condition. Of course, it features the characteristic engraved patterns and natural lacquer finish of American Selmer instruments. The 140,000 series was produced immediately after the Mark VI underwent a minor redesign. The body, neck, and bell shape have not been altered in any way, and it has the exact same form as a standard 140,000 series Mark VI.

There are only minor paint chips and scratches. It may have only been used a few times, or perhaps only inspected and checked for functionality. All the pads installed are also original.

The key action is surprisingly precise and responsive. It boasts rich mid-to-low tones and exceptionally clear, full highs. This is a genuine Mark VI tenor saxophone that can proudly compete with others.

First, let's look at the neck. This is the later model shape, immediately after the minor changes made to the body as the Six. It is in pristine condition, without any damage or defects. A pickup microphone using a piezoelectric element, a new material that was attracting attention at the time, is attached to the neck. Many people may wonder why a microphone would be attached to the neck, which is such an important part of a saxophone, but there was a solid reason for this point (see the system explanation in a separate section).

The Selmer Varitone microphone is positioned 50mm from the end of the neck. It is fixed on a brass base welded to the neck. As a result, the neck cork is wrapped slightly shorter than a typical Six. It is about 19mm in diameter. Including the base, the height is only about 14mm. It was extremely small for a microphone of that era. Naturally, it does not obstruct the player's view.

The cable extending from the microphone connects via a mini-plug to a jack welded to the top of the body. Because this plug is a push-in type, the neck can be easily attached and detached and its angle adjusted, just like on a regular saxophone.

Therefore, although a thin cable is exposed from the microphone to the jack, it passes through a ring on the side of the neck, so it does not interfere with the octave key.

The brass rods protruding from the underside of the body, resembling blood vessels, enclose the microphone cable. This serves both to protect the cable and reflects the design concept that electrical functions should not impose any constraints on the performer's playing. Of course, these brass rods are welded during manufacturing and, along with the body, are given a naturally drying lacquer finish.

The cable is welded tightly to the body, gently avoiding the slight gap between the tone hole and the octave key, so that it does not interfere with key operation at all.

To ensure the straightest possible cable line, the rod is slightly raised, straddling the legs of the key guard. Just before the bore connecting the U-shaped tube, it is bent to perfectly follow the curve of the body and passes through the front of the main body.

The controller measures 100mm in height, 60mm in width, and 35mm in thickness. It is designed to fit the size of the key guard to which it will be attached. The controller's position must not interfere with normal key operation, sound, or pitch, and it must be in a position where the performer can operate it themselves during performance. Compared to the neat mounting of microphones and cables, it may look a bit forced, but the controller itself is lightweight, so it is not noticeable at all during performance.

The cable, which runs from the lower back of the body through the inside of the U-shaped tube, passes through a brass rod and then through the ring on the barrel that connects the bell tube. Low B, B♭It connects to the controller mounted on the key guard.

The cable, which runs from the lower back of the body through the inside of the U-shaped tube, passes through a brass rod and then through the ring on the barrel that connects the bell tube. Low B, B♭It connects to the controller mounted on the key guard.

The microphone embedded in the neck and the vein-like cable cover are initially startling, but the saxophone itself is surprisingly similar to a regular saxophone. There is no evidence of any special neck shape or design changes made to the instrument for electrification. Parts and cable wiring that would interfere with key action have been skillfully avoided. The weight of the controller is barely noticeable. Operation during normal playing is very smooth and compact. The characteristics of an American Selmer are preserved. If the electrical system is not activated, it produces the familiar, very ordinary (and wonderful) sound of an American Selmer tenor saxophone.

Therefore, the key to developing the Variton was to integrate the electrical system, including the microphone and dedicated amplifier, with the instrument itself, without compromising the already highly refined characteristics and features of the Mark VI as an acoustic instrument.

*The following system explanation will be given by Tomita, the person in charge of the popular column "Amp Wanderings" on our website, which boasts an overwhelming number of views, and a specialist who is working day and night to bring this system, which had been in a semi-dormant state, back to life. For those who usually play wind instruments, this will be a very niche and detailed explanation, but it is worth reading as it reveals Selmer's little-known achievements. You will also come to understand just how cutting-edge the development of "Variton" was at the time.

In 1965, H&A Selmer Inc.'s primary concept in developing the electric saxophone was to "maintain the fundamental sound quality and performance of a saxophone." Unlike, for example, an electric guitar, which is far removed from that of a true acoustic instrument, the electric saxophone needed to have electrical amplification and various effects while still retaining the sound of a saxophone. At the same time, the electrical functions should not impose any restrictions on the player's performance, and it should be usable as a regular saxophone without being connected to any electronic devices. Numerous trials were made and discussions with many saxophonists were held to realize this concept.

The first challenge was to capture the sound of the saxophone in order to amplify it. Therefore, Gene Selmer, a technician at H. Selmer et Cie in Paris, went through numerous trials and errors in attaching microphones to the saxophone body. As you know, the acoustic peak points within the saxophone change depending on the pitch and playing technique, making it extremely difficult to capture the entire sound of the saxophone with a single microphone. Ideally, attaching a microphone to each soundhole would have been best, but this was impossible in terms of both operability and cost. Therefore, he collected various acoustic samples and, from the data, determined that all frequencies were concentrated in the mouthpiece and neck. Because even a few millimeters of deviation in this point would render it ineffective, the microphones were not detachable but fixed to the saxophone neck during manufacturing.

H&A Selmer Inc. then commissioned Electro-Voice, a leading audio equipment manufacturer in the United States at the time, to design and manufacture the electronic components. At the time, Selmer also manufactured amplifiers at Selmer UK, headquartered in London, but Selmer UK's amplifiers were mainly tube-type amplifiers for electric guitars aimed at rock music. Therefore, it seems that using the technology of Electro-Voice, a specialist manufacturer of microphones and audio equipment based in the neighboring state of Michigan, was the best choice.
Electro-Voice was founded in 1927 in South Bend, Louisiana, by Al Kahn and Lou Burroughs, around the same time that H&A Selmer Inc. was established. At the time, the company was called Radio Engineer and repaired radios and manufactured microphones, and it is said that their initial investment was only $30.

In 1930, at the request of Knuté Rochney, the coach of the University of Notre Dame football team, the two created a PA system to amplify the coach's voice in the stadium. Rochney called it "Electro Voice," and they changed their company name to Electro Voice.
As a side note, Knute Rockne, the man who named Electro-Voice, was a heroic figure who boasted an overwhelming record of 105 wins, 12 losses, and 5 draws during his 12 years as coach at the University of Notre Dame. One of his most legendary matches, in particular, against the U.S. Military Academy, was later made into a film, starring a young Ronald Reagan. (Knute Rockne: All American / 1940 Warner Bros. / Director: Lloyd Bacon / Starring: Pat O'Brien)

Eventually, in 1934, Electro-Voice rose to prominence as a top microphone brand with the development of noiseless microphones using humbucking coils. In 1946, the company moved its headquarters to Buchanan, Michigan, and expanded its business into audio equipment, primarily speakers. Then, in the 1960s, when the world was focused on space exploration, it was Electro-Voice microphones that flew into space with astronaut John Glenn under NASA's Mercury program. Meanwhile, during the golden age of Hollywood movies, Electro-Voice also won an Academy Award for its microphones used in film production.
Selmer Varitone Thus, Electro-Voice, which was soaring to become a top runner in audio and microphones, received a request from H&A Selmer Inc. The request was to design a microphone that would produce maximum effect from just one sound pickup point, a design devised by Gene Selmer in Paris, and to manufacture an amplifier to amplify it.

Electro-Voice experimented with various microphone designs based on Gene Selmer's ideas. At the time, ribbon microphones (velocity microphones) were known for their natural acoustics and excellent frequency response. However, ribbon microphones were susceptible to humidity and wind pressure. Therefore, Electro-Voice used piezoelectric elements (commonly known as piezo crystals/see the section on piezo pickups), which were attracting attention as a new material at the time. This material, which senses vibrations and converts them into electrical signals, was ideal for capturing the sound of a saxophone. Furthermore, because it could be manufactured in a very small size (approximately 19 mm in diameter and 12 mm thick), it succeeded in obtaining maximum effect at a small pickup point without interference from wind pressure or unwanted vibrations.

A controller for adjusting the volume and other settings was mounted on the right side of the thumb hook, allowing for control while playing. This controller also allowed the player to select several tones and use effects such as tremolo, reverb, and octave (labeled OCTAMATIC). Considering that reverb only began to be used in electric guitar amplifiers around 1963, this shows just how cutting-edge this feature was. Octave, a function that blends an octave lower by halving the frequency of the input signal using a diode divider, was already being used in analog synthesizers at the time, but it was extremely rare as an effect for musical instruments, and in a sense, it was arguably even more advanced than the electric guitar itself.
Furthermore, the amplifier section, which is the output for all sounds, is designed to handle the output from piezoelectric elements and consists of a preamplifier with a specially designed high-impedance input and an output section using FETs. Tremolo and octave effect circuits are also built into the preamplifier section and are activated by signals from the controller.

Preamplifier installed on the ceiling of the enclosure

The optocouplers in the Selmer Varitone tremolo circuit are made by Raytheon, a company also famous as a military equipment manufacturer. Additionally, a spring reverb unit, also designed for high impedance, is mounted on the back of the headstock.

A spring-type reverb unit is built into this.

The unit can be attached and detached from the main body using magnets. The output unit is fixed to the bottom.

The FET is used as the main amplification element.

You can see the EV (Electro Voice) logo on the output circuit board as well.

In the output section, even though vacuum tubes were still the mainstream at the time, the newly invented FET (Field-Effect Transistor) was used, successfully achieving a clear, straightforward tone with minimal distortion and rich volume. The speaker was a single 12-inch Alnico SRO12 speaker, which was considered the highest quality speaker of its time.

The SRO12 was a speaker that began production around this time, boasting an output level of 103 dB, 3 dB higher than typical Electro-Voice speakers, and an incredible peak range of up to 300 W for its time.
Thus, the combination of the new FET technology and the high-quality, extremely robust speaker produces a sound that is both very clear and loud. When faced with the saxophone sound that literally leaps out at you, you'll first be surprised by the sound pressure, which is unbelievable for a single 12-inch speaker. It's a shame that there is no documentation on the output, but the perceived volume is quite high, and considering the output section and speaker specifications, it likely has power equivalent to a modern 100W class amplifier. Furthermore, the growling bass when the octaver is turned on can even be described as ferocious, giving a feeling of heaviness and loudness that surpasses even modern electronic instruments. Of course, in orthodox use, it has more than enough quality to produce a beautifully expressive saxophone tone, and it should be possible to create any tone you like depending on the player's imagination.

Unfortunately, from a sales perspective, it's true that this model wasn't a success. However, it's a testament to the cutting-edge technology of the time and the generous use of components—a true testament to a genuine commitment that, in a sense, disregarded cost. Selmer and Electro-Voice, both still top brands in their respective fields, collaborated on this model, riding the wave of success in the 1960s and breaking the mold. That aura continues to emanate from this model.

>> Latest arrival information on bargain saxophones

On the other hand, the electrification of the saxophone was finally accepted by the music market only after it was completely separated from the saxophone itself. Starting with the Lyricon, released by the American company Computone in 1974, Yamaha acquired the patent and produced the WX, and AKAI produced the EWI, among others. As you know, these are now called wind synthesizers and are used by many players.