Selmer Varitone

The "Varitone" electric saxophone system, manufactured by H.&A. Selmer Inc. (commonly known as "Amer Selmer") and introduced in 1965, was known among a select group of enthusiasts and collectors. However, due to the extremely limited number of surviving instruments and the fact that complete systems—including the amplifier—have never been found, its details remained largely unknown. Its very existence was on the verge of being forgotten.

At THE Used Instrument Shop, we acquired a complete set of the American Selmer “Varitone” tenor saxophone system in superb condition through overseas channels several years ago. However, while the saxophone itself was in a condition similar to New, the crucial electronic system had been sitting unused for over 40 years, so only a few parts were still functional.
It had been largely left in storage, but thanks to the efforts of our in-house technical staff, we have finally reached a point where we can fully restore the system, and we have created a special feature page to showcase it.

Over the next two installments, we will reveal the full, little-known story of this pioneering electronic wind instrument.

This is a detailed explanation of the 《Varitone》—a rarity even on a global scale.

*This instrument is featured on p. 083 of *SAX&BRASS Vol. 10* (published by Rittor Music) in the section titled *PRECIOUS HORN Cafe*.

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

　The base instrument is an American Selmer tenor saxophone from the 140,000 series. The body is in pristine condition. Naturally, it features the characteristic American Selmer engraving and natural lacquer finish. The 140,000 series was produced immediately after the Mark VI underwent a minor redesign. The shapes of the body, neck, and bell have not been altered in any way, retaining the exact same form as a standard 140,000 series Mark VI.

There is only minimal paint chipping or scuffing. It may have been used only a few times, or perhaps it was merely inspected or tested for functionality. All the pads are still original.

The key action is surprisingly precise and responsive. It boasts rich, full-bodied low and mid-range tones, along with exceptionally clear, resonant high notes. This is an instrument that can stand proudly as a genuine Mark VI tenor saxophone.

　First, the neck. It features the late-model shape introduced shortly after the minor redesign of the Mark VI body. It is in pristine condition, with no accidents or damage. A pickup microphone using a piezoelectric element—a new material that was gaining attention at the time—is mounted on the neck. Many may wonder, “Why go to the trouble of mounting a microphone on the neck, a part so critical to a saxophone?” However, there was a solid reason for this (explained in the separate section on the system).

The Selmer Varitone microphone is positioned 50 mm from the tip of the neck. It is secured to a brass mount welded onto the neck. Consequently, the neck cork is wrapped slightly shorter than on a standard Six model, with a diameter of approximately 19 mm. Including the mount, the height is a mere 14 mm. For a microphone of that era, it is extremely compact. Naturally, it does not obstruct the player’s field of vision.

The cable extending from the microphone connects to a jack welded onto the upper part of the body via a mini-plug. Since this plug is a plug-in type, the neck can be attached, detached, and adjusted to any angle just like on a standard saxophone.

As a result, a thin cable runs exposed from the microphone to the jack, but since it passes through a ring on the neck, it does not interfere with the octave keys.

　The brass rod protruding from the underside of the body like a blood vessel contains the microphone cable. This design concept aims to protect the cable while ensuring that the electrical components impose no constraints on the player’s performance. Naturally, this brass rod is also welded during the manufacturing process and finished with a natural-drying lacquer coating applied simultaneously with the body.

To ensure the cable does not interfere with key operation at all, it is welded snugly to the body while gently avoiding the slight gap between the tone holes and the octave keys.

To ensure the cable runs as straight as possible, the rod is positioned slightly raised so that it straddles the legs of the key guard. Just before the ring connecting the U-shaped tubes, it is bent to follow the curve of the body perfectly and passes along the front of the instrument.

　The controller measures 100 mm in height, 60 mm in width, and 35 mm in thickness. It is designed to match the dimensions of the key guard to which it is attached. The controller’s position must not interfere with normal key operation, sound, or intonation, and it is an absolute requirement that the player can operate it themselves during performance. While it may look somewhat forced compared to the sleek mounting of microphones and cables, the controller itself is lightweight, so it is not noticeable at all during performance.

The cable runs from the lower rear of the body through the inside of the U-shaped tube, passes through a brass rod, and goes through a ring on the body collar connecting the bell tube. It connects to the controller mounted on the Low B and B♭ key guards.

The cable runs from the lower rear of the body through the inside of the U-tube, passes through a brass rod, and goes through a ring on the body ring connecting the bell tube. It connects to the controller mounted on the Low B and B♭ key guards.

　Although the neck with its embedded microphone and the cable cover protruding like a vein may initially take your breath away, the saxophone itself remains surprisingly ordinary. There is absolutely no sign that the instrument’s neck shape or design was altered for electrification. Parts or cable routing that might interfere with the key action have been masterfully avoided.The weight of the controller is barely noticeable. Playability during normal performance is extremely smooth and compact. The distinctive characteristics of the American Sax are fully preserved. If the electronic system is not activated, it produces the familiar, utterly ordinary (i.e., wonderful) sound of an American Sax tenor.

Therefore, the key to the development of the “Variton” was to integrate the electrical system—including the microphone and dedicated amplifier—with the instrument body without compromising the unique qualities and characteristics of the Mark Six, which is highly refined as an acoustic instrument.

*The following explanation of the system is provided by Tomita, the author of our website’s wildly popular column *“Amplifier Wanderings,”* which boasts an overwhelming number of views. He is a specialist who has been working tirelessly day and night to achieve the full revival of this system, which had been in a state of semi-hibernation.While this explanation may seem quite niche and detailed for those who typically play wind instruments, it is well worth a read for insights into Selmer’s lesser-known achievements. We hope it will help you understand just how cutting-edge the development of the “Variton” was at the time.

　In 1965, the primary concept behind H&A Selmer Inc.’s development of the electric saxophone was to “preserve the fundamental tone quality and performance of the saxophone.”For example, unlike an electric guitar, which is fundamentally different from its acoustic counterpart, the goal was to ensure that while enabling electrical amplification and various effects, the tone would remain unmistakably that of a saxophone. At the same time, the electrical functions were designed not to impose any constraints on the player’s performance, and the instrument was intended to function as a standard saxophone without any compromise when used in its unplugged state.Numerous attempts were made to realize this concept, and repeated discussions were held with many saxophonists.

　The first challenge was capturing the sound of the saxophone for amplification. To this end, Jean Selmer, an engineer at H. Selmer et Cie in Paris, conducted extensive trial and error regarding the mounting of microphones on the saxophone body. As you know, the acoustic peak points within a saxophone vary depending on pitch and playing technique, making it extremely difficult to capture the entire sound of the instrument with a single microphone.Ideally, attaching a microphone to each sound hole would have been best, but this was impossible to achieve due to both practicality and cost. Therefore, he collected various acoustic samples and determined from the data that all frequencies were concentrated at the mouthpiece and neck. Since even a shift of a few millimeters in this positioning would render the design ineffective, the microphone was not made detachable but was instead fixed to the saxophone’s neck during manufacturing.

　H&A Selmer Inc. then commissioned Electro Voice, a company known at the time as a major audio equipment manufacturer in the United States, to design and manufacture the electronic components.At the time, Selmer UK, based in London, was also manufacturing amplifiers, but since Selmer UK’s amplifiers were primarily tube-based models designed for electric guitars used in rock music, it seems that utilizing 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 Khan and Lou Barrows, around the same time H&A Selmer Inc. was established. At the time, the company operated under the name Radio Engineer, repairing radios and manufacturing microphones, and it is said that their initial investment was a mere $30.

　In 1930, at the request of Knut Rockney, then coach of the University of Notre Dame football team, the two men built a PA system to amplify the coach’s voice throughout the stadium. Since Rockney referred to it as “Electro Voice,” they changed the company’s name to Electro Voice.
　As a side note, Knute Rockne, who gave the company its name, was a legendary figure who boasted an overwhelming record of 105 wins, 12 losses, and 5 ties during his 12 years as coach at the University of Notre Dame. In particular, the legendary game in which they defeated the U.S. Military Academy was later made into a movie, starring a young Ronald Reagan.(Knute Rockne: All American / 1940 Warner Bros. / Director: Lloyd Bacon / Starring: Pat O'Brien)

　Eventually, in 1934, Electro Voice leaped to the forefront as a leading microphone brand with the development of a noise-free microphone using a hum-bucking coil. In 1946, the company relocated its headquarters to Buchanan, Michigan, and expanded its business into the audio equipment sector, focusing primarily on speakers.Then, in the 1960s, as the world turned its attention to space exploration, it was an Electro Voice microphone that flew into space alongside astronaut John Glenn as part of NASA’s Mercury program. Meanwhile, during this era—which also marked the golden age of Hollywood cinema—Electro Voice won an Academy Award for its film sound recording microphones.
Selmer Varitone: It was during this time, when Electro Voice was soaring as a leader in audio and microphones, that the company received a request from H&A Selmer Inc. The request was to manufacture a microphone designed by Jean Selmer in Paris—one that delivered maximum performance from a single pickup point—along with an amplifier to boost its signal.

　Based on Jean Selmer’s concept, Electro Voice experimented with various microphone designs.At the time, ribbon microphones (velocity microphones) were known for their natural sound and excellent frequency response. However, ribbon microphones had the drawbacks of being highly susceptible to humidity and vulnerable to wind pressure. For this reason, Electro Voice utilized piezoelectric elements (commonly known as piezo crystals; see the section on piezo pickups), a material that was attracting attention as a new technology at the time.This material, which detects vibrations and converts them into electrical signals, was ideal for capturing the sound of a saxophone. Furthermore, since it could be manufactured in a very compact size—approximately 19 mm in diameter and 12 mm thick—it succeeded in achieving maximum effectiveness at a narrow pickup point without being interfered with by wind pressure or unwanted vibrations.

　Furthermore, a controller for adjusting the amplification volume and other settings was mounted on the right side of the thumb hook, allowing for control while playing. With this controller, the player could not only adjust the volume but also select from several tone types 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, one can see just how cutting-edge this was.The octave function used a frequency divider—such as a diode circuit—to halve the frequency of the input signal, blending in a pitch one octave lower. Although this technology was just beginning to be used in analog synthesizers at the time, it was extremely rare as a musical instrument effect; in a sense, it would not be an exaggeration to say that it featured technology even more cutting-edge than that of the electric guitar itself.　
　Furthermore, the amplifier section—which serves as the output for all sounds—was designed to handle the output from the piezo element. It consisted of a preamp specifically designed with a high-impedance input and an output stage using FETs. The tremolo and octave effect circuits were also housed within the preamp section and were activated by signals from the controller.

The preamp mounted on the top of the enclosure

The optocoupler in the Selmer Varitone tremolo circuit bears the name of Raytheon, a company famous for its defense manufacturing. Furthermore, a spring reverb unit, also designed for high impedance, is mounted on the rear of the head unit.

A spring-type reverb unit is built into this.

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

The FET used as the main amplification element.

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

Even in this era when vacuum tubes were still the mainstream, the output section succeeded in achieving a clear, direct tone with minimal distortion and rich volume by utilizing FETs (Field-Effect Transistors), which had only recently been invented. Furthermore, it was equipped with a single 12-inch Alnico speaker, the SRO12, which was considered the highest grade at the time.

　The SRO12 was a speaker that began production around this time. It had a sound pressure level of 103 dB—3 dB higher than standard Electro Voice speakers—and a peak power handling of up to 300 W, which was almost unbelievable for the era.
　Thus, through the combination of the new FET technology and this high-quality, extremely durable speaker, the sound produced is exceptionally clear and loud. Faced with the saxophone sound that literally leaps out at you, you’ll first be astonished by the sound pressure—hard to believe it comes from a single 12-inch speaker.It’s a shame that no documentation regarding its output remains, but the perceived volume is quite high, and considering the specifications of the output stage and the speaker, it likely possesses power equivalent to modern 100-watt class amplifiers. Furthermore, the growling bass when the octaver is turned on is downright ferocious, evoking a heaviness and loudness that surpasses even modern electronic instruments.Of course, when used in a more orthodox manner, it possesses ample refinement to produce a rich and beautiful saxophone tone, and depending on the player’s vision, it is capable of any kind of tone shaping.

　Unfortunately, from a sales perspective, it’s true that this model cannot be called a success. However, it represents the crystallization of “serious” craftsmanship—featuring cutting-edge technology of the time and a generous selection of components—that, in a sense, disregarded cost considerations. This was a collaboration between Selmer and Electrovoice—two companies that remain top brands in their respective fields—that broke the mold while riding the wave of the 1960s. That aura continues to emanate from this model.

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　Meanwhile, the electrification of the saxophone was finally accepted by the music market only after it was completely separated from the instrument itself. Starting with the Lyricon, released by the American company CompuTone in 1974, this led to instruments like Yamaha’s WX and Akai’s EWI, which acquired the patent. As you know, these are now called wind synthesizers and are used by many players today.