Couf (see Keilwerth for serial number ranges)
In the late 1960s and early 1970s Mr Couf decided to reverse engineer the Keilwerth Royalist horns and build them in Elkhardt to have a lower cost student horn. AT this time apparently the labor in Germany was higher than in the US. From their offices in Detroit, Couf & Co reverse engineered the Royalist alto and tenor saxophones and started producing the Royalist II. The Royalist II is a spitting image of the Royalist horn except they had nickel keys and are made in the US.
Royalist II
Couf horns were part of the W.T. Armstrong umbrella. Mr. Herbert Couf was president of W.T. Armstrong from the 1960’s until 1989. He also owned a pro level music shop in Royal Oak, Michigan called Royal Music until 1989. Couf horns are basically Keilwerth stencils. During the 1960’s (Mr. Couf was know to have redesigned the horns but it is unknown when) Mr. Couf helped Keilwerth redesign the saxes. At this time Keilwerth sold many stencils and one of those being the Selmer H&A Bundy Special. These horns are know by their larger sized bell, two point guard braces and, on their top models, Rolled Tone Holes.
Couf horns are still considered Pro horns today. The Superba 1 is much more sought after than the Superba 2. The S1 has Rolled Tone Holes which gave it a much more lusher sound than the S2. This is one of my favorite horns.
Mr. Herbert Couf, President of W.T. Armstrong group
during the 1970s and 1980s had the Couf Superbas and
Royalist/Armstrong/heritage line of saxophones all from Keilwerth.
Some of which were sold as a competing model.
Royalist II saxes were made in Elkhart as a Reverse-engineered Keilwerth Royalist to reduce the cost.
Mr. Couf also owned Royal Music Store in Royal Oak, Michigan until 1989. I believe he now owns a home on a local Golf Course.
Amati, Dörfler & Jörka copied Keilwerths (1949 to 1968, then purchased by Keilwerth) and B&S
The earlier Keilwerth, alto, soprano and tenor all had metal thumbrests. Late model sopranos and altos had plastic thumbrests. The plastic thumbrest had a 2 point connection. This prevented breaking which apparently was a problem on Selmer horns at that time.
Superba 1s (alto pics, tenor, soprano, baritone)
– have Rolled Tone Holes throughout the range of saxes, except for the Soprano.
– has an elegant, soldered, bell brace
– full bell & bow engraving
– lyre holder part of mouthpipe socket clamp mechanism (except soprano)
– neck upper octave key made from thick square brass rod
– Bow soldered directly to bow via an expanded section. Bow soldered directly to body via an expanded section.
No rings were used to combine the sections.
– early superba 1s do not have a high F# key. mid-early Superba 1s have a high F# key.
– early and mid-early superba 1 & 2s have a RH see-saw type F# key. later Superba 1 & 2s have a levered F# key.
– All post to body construction (no ribs)
– Early saxes had a removeable metal thumbrest. Late model sopranos and altos had plastic thumbrests. The plastic thumbrest had a 2 point connection. This prevented breaking which apparently was a problem on Selmer horns at that time.
Superba 2s
– have straight tone holes throughout the range of saxes plus the Superba 1 soprano.
– single rod bell brace
– bell engraving
– lyre holder soldered on separately below the mouthpipe socket sleeve
– neck upper octave key made from round brass wire
– Bow soldered directly to bow via and expanded section. Bow soldered directly to body via an expanded section.
No rings were used to combine the sections.
– early and mid-early superba 1 & 2s have a RH see-saw type F# key. later Superba 1 & 2s have a levered F# key.
– all post to body construction (no ribs)
– all thumbrests were metal and soldered in a permanent position on the body.
Superba 1s, it is said, have a more mellow and lush sound than Superba 2s due to the RTH vs non-RTH. This apparently keeps the stacks stiffer and parts of the body resonates less.
The Superba 2s supposedly have a more cutting sound similiar to Selmers of the time.
Both horns had oversized concave pearls that are very comfortable.
Non articulating low Bb keywork, but very fast and functional mechanisms.
For a few years the Superbas were available in black lacquer. The engraving was done after the lacquer which provided a stunning visual affect of being able to see the engraving from a distance. This models had metal thumbrests and were probably late 70’s models.
Both Superba 1 & 2s were considered Pro models.
H&A Selmer imported an early version of this horn before it became a Couf. These were H&A Selmer Bundy Special horns. Visually identifiable by the RTH (Rolled Tone Holes) and 2 point Bow & Bell Guards with mostly plastic pant leg guards.