The Mark VII was introduced in the 1970's, either because Selmer was bored with producing the VI or because the VI machinery just plain wore out. It has a couple of kewl features, such as a standard high F# key -- the first on any large production run horn (the Conn-O-Sax was the first horn to have one of these). Unfortunately, this horn is a significant letdown over the VI.

If you go into the music store and try one of these horns with the mindset, "This is just another pro horn," you'll be OK, but if you go into the store with the mindset, "This is the successor to the Mark VI. It's gonna be real kewl," you'll be sorely disappointed.

Unlike the VI, the VII is very hit or miss. Out of a bushel of these horns you may find one or two that plays nearly as good as the VI, but the feel is almost completely different than the VI: it's a lot heavier and the "ergonomic keywork" feeels a little odd.

Final note: a good amount of the VII's don't have elaborate engraving.

There were no Mark VII sopraninos, sopranos, baritones or basses. They were still marketed under the Mark VI name.