SML Gold Medal Mk 1 (s/n 18082, 1962 - 1963) "Two Tone" Finish

SML Gold Medal S/N 18082 with Selmer C+ Mouthpiece with Original Case

*) I bought it from a Portuguese Jazz musician (in need of cash at that time), Rão Kyao. At that time all the pads where substituted, by a specialist, this was in late 1980. Then I tried to learn how to play it, in a school music, for around two years, so intense use. Then my free time went away (and my musical gifts also, or never there :) and apart some occasional use the sax was in its box. Now I have decided that a fine sax should be in active duty, not in its box ... and we are here now.

*) Information about the year of manufacture taken from "saxophone org", between 1962 and 1963.

*) Description about SML Gold Medal I found in "saxpics"

"The SML Gold Medal
Mark I
#15xxx - #202xx1

Around s/n 15xxx, SML introduced the Gold Medal models (note that
there were some crossover Rev. D altos and tenors available until
156xx or so). They are the pinnacle of SML design: rolled tone holes,
elaborate engraving, etc. As a matter of fact, the name comes from the
fact that these horns won a couple of gold medals at the International
Music Festival at The Hague (Holland) back in the 50's for their
excellent design and performance.

The horn is NOT just a repackaged "Rev. D", although they do look
similar. The bow and neck of the alto and tenor are NOT
interchangeable with their Rev. D counterparts, leading one to assume
that the bore is completely different.

Based on the start date of these horns (around 1954-7), one can assume
that they were introduced to compete directly with the Selmer Mark VI
or the earlier Super Balanced Action.

These horns were the first and only models to feature all of the "22
Features" -- and, even then, only a few did (up to s/n 19xxx). At s/n
18xxx, the adjustble bell key felts (Feature #20) only appeared
occasionally and 19xxx featured the end of the bell-lip engraving
(Feature #16). At s/n 205xx, rolled tone holes were discontinued
(Feature #19) and the King Marigaux stencil was introduced, ushering
in what I call the "Mark II" version of these horns."