Saxophone Serial Numbers – ClarinetPerfection

Saxophone Serial Numbers and Gallery

Buescher	Keilwerth (Couf, other stencils)	Selmer(Paris)
Buffet	King	Selmer(USA) Omega – AS/TS100
Cleveland	Martin	W.T. Armstrong
Conn		Yamaha
Couf (Royalist II)		Yanagisawa

Any links will bring up pictures of past horn repair work, sold, inventory, personal horns or pictures from eBay.

Buescher [ Back to Top]

Years and Serial Numbers are approximate

Year	Serial Number
1905	5000
1906	5620
1907	6610
1908	7808
1909	8580
1910	11250
1911	13685
1912	15870
1913	18178
1914	22860
1915	25103	(Union Label)
1916	28875
1917	32350
1918	37540
1919	46975
1920	61255
1921	78525
1922	99275
1923	125750
1924	150250
1925	175275
1926	202350
1927	222175
1928	235250
1929	245250
1930	255275
1931	260125	2627xx start New Aristocrat production (1931-1934)
1932	264025	2641xx New Aristocrat Alto
1933	265523	2662xx Silver Plated New Aristocrat Tenor
1934	267356	267xxx end New Aristocrat production (1931-1934) 267xxx start Aristocrat Series I production (1934-1940)
1935	268971
1936	272896
1937	279300
1938	284418
1939	288024
1940	291336	291xxx end Aristocrat Series I production (1934-1940) 291xxx start Aristocrat “Big B” production (1940-1955)
1941	294125	295xxx start ‘Top Hat and Cane’ 400 model (1941-1955)
1942	297527
1948	312000
1949	316000
1950	326000	331xxx start Aristocrat Series II (1950-1955)
1951	337000
1952	347000
1955	350000	3513xx Top Hat & Cane alto 355xxx end Aristocrat “Big B” production (1940-1955) 357xxx end Aristocrat Series II (1950-1955) 357xxx start Aristocrat Series III (1955-1963) 359xxx end ‘Top Hat and Cane’ 400 model (1941-1955) 359xxx start S5, S25 400 Model (1955-1963)
1960	360000
1963	381000	381xxx end Aristocrat Series III (1955-1963) 381xxx end S5, S25 400 Model (1955-1963) 381xxx Around this time Selmer(USA) Purchased Buescher
1965	408000
1970	520000
1975	630000
1980	785000
1983	875000

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Buffet [Back to Top]

Buffet Saxophone Serial Number List

Date	Serial Number
1952	2925-3114
1953	3115-3389
1954	3390-3762
1955	3763-4225
1956	4226-4816
1957	4817-5391
1958	5392-6171
1959	6172-6807
1960	6808-7415
1961	7416-8655
1962	8656-9668
1963	9669-10063
1964	10064-11748
1965	11749-12777
1966	12778-13765
1967	13766-14486
1968	14487-15346
1969	15347-16322
1970	16323-17318
1971	17319-18444
1972	18445-19786
1973	19787-21440
1974	21441-22686
1975	22687-24416
1976	24417-26150
1977	26151-27279
1978	27280-28732
1979	28733-30189
1980	30190-31538
1981	31539-32960
1982	32961-33923
1983	33924-34663
1984	34664-35732
1985	35733
		Buffet started to be a Keilwerth stencil.

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Cleveland [ Back to Top]

Year	Serial#
1925	1
1930	10
1935	30
1940	40
1945	45
1950	50
1955	56
1960	100
1965	160
1970	420
1975	600

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Conn [ Back to Top]

Conn Saxophone Serial Number List Years and Serial Numbers are approximate

Date	Serial Number
1895	1
1896	2,000
1897	2,500
1898	3,000
1899	3,500
1900	3,900
1901	4,400
1902	5,100
1903	6,700
1904	8,500
1905	9,600
1906	10,800
1907	12,000
1908	13,000
1909	15,400
1910	17,800
1911	21,200
1912	22,500	– Conn Royal Artist stencil with RH G# trill, forked E key
1913	25,000
1914	30,000
1916	35,000
1917	40,000
1919	50,000	Conn C-Melody tenor
1920	58,000
1921	64,000
1922	83,000
1923	101,775
1924	124,600
1925	145,400
1926	167,900
1927	193,450
1928	209,250
1929	224,600
1930	237,800
1931	244,700
1932	249,230
1933	256,501
1934	260,000
1935	263,500
1936	271,000
1937	278,000
1938	284,000
1939	285,000
1940	288,300
1941	295,250
1942	304,500
1943	309,250
1944	309,300
1945	310,200
1946	314,000
1947	320,000
1948	327,150
1949	332,150
1950	337,250
1951	341,850
1952	341,851
1953	354,742
1954	359,251
1955	500,001
1956	571,750
1957	652,002
1958	718,626
1959	779,657
1960	834200
1961	898556
1962	949465
1963	C00S0l
1964	C73854
1965	E54106
1966	H31247
1967	K35274
1968	L20454
1969	“M”-Pretix
1970	“N”-Prefix Nogales Mexico – this was the largest quality decline of Conn. Horns after this period are not highly sought after
1971	“P”-Prefix
1972	“R”-Prefix
1976	83000-89496
1977	91314-98992
1978	98993-111820
1979	111821-128691
1980	128692-145001
1981	145002-154753
1982	154954-170073
1983	170074-184336
1984	184337-201207	-an anomoly, the Conn 21M with full lacquer – Basic Pro model – is a fabulous sounding horn, though has few followers. I personally think that Conn imported this body from France, but no body markings or other information is known, thus highly doubtful. But if you ever get a chance to play one of these horns do it, you will not be disappointed by the huge tone.
1985	201208-221243
1986	221244-240141
1987	240142-261465
1988	261466-273178	3811713-3821881
1989	3900000
1990	4000000
1991	4100000

Note: From 1987, the prefix number plus 50 gives you the year of manufacture.

Conn DJH 90M soprano

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King [Back to Top]

The following information was compiled from serial number records which were not complete. Because of this, it is to be used as a guide or rough estimate of when a King or Cleveland model instrument was manufactured. It does not pertain to those models which were marketed under the Gladiator, American Standard, or other trademarks.

The popular King Super 20 (may also have H.N. White engraving) differed greatly in tone over the years. Super 20’s were made with brazed-on toneholes until the early 1970’s (the same way Martins were). This allowed the metal thickness to be uniformed for each tone hole and now thinness in the body tubes. The later horns were made in Japan with drawn toneholes. These later horns apparently sounded much different from earlier models and have a brighter tone.

Date	Serial Number
1893-1915	1-50,000
1915-1925	50,000-78,000
1925-1930	78,001-126,000
1930-1935	126,001-161,000
1935-1940	161,001-220,000
1940-1945	220,001-275,000
1945-1950	275,001-305,000
1950-1955	305,001-340,000
1955-1960	340,001-370,000
1960-1965	370,001-406,500
1965-1970	406,501-457,600
1970-1975	457,601-511,750
1975-1980	511,751-

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Martin [ Back to Top]

Apparently some of the Martin brothers worked for York in Battle Creek, Michigan USA. After which they struck out on their own in 1904 and founded “The Martin Band Instrument Company”.

Their father, John Martin, started the original “The Martin Company” in 1865 in Chicago. Martin was an immigrant from Germany in that year. In 1871 the factory was destroyed by fire. And in 1871 he moved to Elkhart, Indiana and became one of the original workers, the 6th employee, to work for C.G. Conn.

Their saxophones are very distinctive as they have soldered on toneholes. The toneholes were fairly thick compared to regular drawn toneholes and they were also beveled. The horns are best repadded with rivet or rivetless pads for a smooth & darker tone.

Handcraft Troudador – From 1930 to 1933, 100,xxx to 110,xxx

Handcraft Imperial – from 1933 to 1935, 107,xxx to 114,xxx. LH table keys changed from a vertical Selmer mk VI style to 3 plate horizontal configuration.

A Handcraft Standard and Handcraft Standard Special was considered an Intermediate/Pro horn. Very little is really known about it other than it was sprinkled throughout a few years Handcraft production. Plastic RH pinky rollers. No Eb vent key. Considered a non-pro alternative such as the Yamaha 62 versus the Yamaha 875. At least from 111,xxx to 141,xxx, 1935 to approx 1938.

Magna – from 1956 to 1971, 200,xxx to 350,xxx

Other models: Indiana, Imperial, Medalist

Even today you can find new horns labeled Martin, though they are Asian made and have no resemblence to the original Martin instruments. In 1971 LeBlanc purchased the rights to Martin and resold Yanigasawa saxophones under the Martin brand.

Date	Serial Number	Description (underlined items are links to pictures)
1919/12/08	17,221	Handcraft Pro models (1905 to approx 1929) Theoriginal Handcraft Pro was a solidly built horn with split bell keys, RH G# Trill key, and no front high F key. Early models had minimal engraving whereas later models had fairly significant and decorative engraving. One the last Pro models had a front F key.
1920/11/01	19,482
1921/12/29	23,781
1922/08/10	29,942
1923/05/01	34,838
1924/01/01	40,644
1925/01/01	48,489
1926/01/01	67,852
1927/01/01	79,254
1928/01/01	86,687
1929/01/01	92,536	Typewriter – From 1929 to 1930, 95xxx to 100,xxx
1930/01/06	98,324
1931/01/01	101,622
1932/01/04	105,096
1933/02/06	106,546
1934/01/01	108,301
1935/03/01	111,253	Committee (I) – from 1935 to 1938, 114,xxx to 125,xxx
1936/09/01	116,551
1937/01/05	118,038
1938/09/01	126,998	Committee II – from 1938 to 1945, 125,xxx to 150,xxxExample of a Comm II Alto 130xxx stamped “Low Pitch”
1939/09/01	132,070
1940/09/01	136,040
1941/09/01	140,199
1942/09/01	144,455	Centenial – from 1942 to 1943, 141,xxx to 145,xxx
1943/01/21	145,322
1945/07/26	145,352	The Martin (ALTO or TENOR) – from 1945 to 1971, 150,xxx to 350,xxx. Start of the rounded edge rectangle LH table keys. LH bell keys, wire guards, multi-wire bell brace, wire bow key guards.
1946/07/23	154,289
1947/07/22	161,520
1948/07/23	165,326
1949/07/20	170,395
1950/01/05	172,215
1951/01/16	175,140
1952/01/02	179,317
1953/01/05	183,125
1954/01/04	187,614
1955/05/10	193,747
1956/01/01	196,213
1957/11/04	201,917
1958/02/03	203,809
1959/01/28	205,377
1960/12/02	209,089
1961/12/13	211,675
1962/07/01	213,999
1963/01/08	218,855

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Selmer(Paris) [ Back to Top]

Selmer Serial #s may overlap models and years. Use it as an estimate.

Year Model Serial Number

Model 22 1922 750-1400 1923 1401-2350 1924 2351-3350 1925 3351-4450	Selmer’s first saxophone (some available with the Adolphe name) made between 1922 and 1925. This horn had a small bore which, theoretically, suited the style of music in the early 1900s. The early models had no high F key and were keyed to high Eb. Interestingly enough some had double octave mechanisms while other only went down to low B. Interestingly enough, the early Model 22s had the Right Hand Trill G# and other interesting alternative keywork. Selmer also had available a fully curved soprano sax. Early British imported horns were stamped “Modele 1922” with the name of the British Agent also stamped on the bell “J R Lafleur & Son Ltd which was a division of Boosey & Hawkes.The serial number is No 1143 which dates from the year 1922. They made a full range of saxophones:Sopranos,Altos,Tenors,C Melodies and Eb Baritones. They were all stamped with the Henri Selmer Signature and with the address’ 4 Place Dancourt Paris’ Some were heavily engraved but most were not. They were available in Silver,Gold lacquer and Gold plate 1922 models also included C Melody variations.
Model 26 1926 4451-5600 1927 5601-7850 1928 7851-9700 1929 9701-11950	One version of the Model 26 only went up to high E and had two right hand side keys. Left hand table keys were mk VI soprano type with a round pearl G#. Pictures of Model 26 from Selmer
“Cigar Cutter”/”Super Sax” 1930 11951-14000 1931 14001-15750 1932 15751-17250 1933 17251-18700
“Radio Improved 1934 18701-20100 1935 20101-21750	The Radio Improved was the first version where the lye holder was part of the socket area. The saxes still had wire key guards. Pictures of Radio Improved from Selmer
“Balanced Action” 1936 21751-22650 1937 22651-25600 1938 25601-27650 1939 27651-29300 1940 29301-29750 1941 29751-30500 1942 30501-31150 1943 31151-31580 1944 31581-31850 1945 31851-32350 1946 32351-33700 1947 33701-35800	3 Version of the Balanced Action – commonly known as BA21751-24999 – The inline action had adjusting screws including to adjust he middle D which the early Selmers had slight problems with. These horns also had two separate low B & Bb bell key guards. The Bell was inline (most saxophones of this era were inline). 25000-26999 – The Bell had a slight offset with one piece guard on the Bell keys. Pictures of a 1938 model w/lower stack stopper that were the posts No pant guard. Full lower stack screw adjusters which stopped against the posts. 27000-35800 – These models are the most sought after from 1939. Production was ceased at the beginning of World War II but was resumed after the war. Some models had black finger pearls due to the shortage of mother or pearl. The Balanced Action brought many improvements which included the “modern design non-articulating” right hand table keys; the adjusters on the Bbis and G# keys and its adjusting arm. 1947 Selmer had a Jimmy Dorsey model
“Super Action” 1948 35801-38500 1949 38501-41500 1950 41501-45100 1951 45101-48300 1952 48301-51800 1953 51801-55200	Commonly known as SBA, or Super Balanced Action.
“Mark VI” 1954 55201-59000 1955 59001-63400 1956 63401-68900 1957 68901-74500 1958 74501-80400 1959 80401-85200 1960 85201-91300 1961 91301-97300 1962 97301-104500 1963 104501-112500 1964 112501-121600 1965 121601-131800 1966 131801-141500 1967 141501-152400 1968 152401-162500 1969 162501-173800 1970 173801-184900 1971 184901-196000 1972 196001-208700 1973 208701-220800	Selmer mk VI advertisements from SelmerAltos – early VIs (pre 80k) had small neck openings making them fairly resistance and a fairly focused tone. Altos – around 80k through 90k the neck opening was increased until the sound got bigger, brighter and fuller. The resistance decreased. This era VI is a favorite because of their overall flexibility in their compact sound with a good control for the level of resistance. Altos – 105k – Change in the neck bore and neck ring design. Horns have a harsher, brighter tone. Good Vis can have the qualities of a 90k or 140k VI though the “not-so-good-ones” can be termed as sounding like a “buzz-saw”. production shortcuts led to sloppier action with heavier spring tensions to compensate. Altos – 130K
“Mark VII” 1974 220801-233900 M tubes 1975 233901-246800 1976 246801-261100 1977 261101-276100 1978 276101-289700 N tubes 1979 289701-303100 1980 303101-315500	“Mark VII” (sopranos & baritones were still sold as mk VI)1976 Selmer mk VII tenor w/engraving 1979 Selmer mk VII alto
“Super Action 80” 1981 315501-327300 1982 327301-340200 1983 340201-353300	1982 SA80 Tenor “Super Action 80” (sopranos & baritones apparently were still mk VIs, per say, with modern keywork)
“Super Action 80 Series I” 1984 353301-366400 1985 366401-378800
“Super Action 80/Series II” 1986 378801-391000 1987 391001-406000 1988 406001-422500 1989 422501-439600 1990 439601-457500 1991 457501-473600 1992 473601-490000 1993 486000-497000 1994 497000 507000	Selmer Series II tenor (547xxx)
Selmer introduced the Spring loaded keywork back in 1980ish with the Super Action 80. This is basically a spring and a piece of rod inserted into the keywork to always keep the keywork tight with no slop that normally exists with wear. This slug is on both top and bottom of the keywork. For example on a Series II N392xxx, the slug is in:
LEFT HAND SLUGS Thumb lever A key Bbis Pinky G# Pinky A Pinky low B Pinky low Bb	RIGHT HAND SLUGS side high F# pad rod and finger touch rod side high E Side F# side Bb side C Pinky Eb
Series 3 introduced 1995 504000-515000 1996 515000-529000 1997 529000-545000 1998 545000-560000 1999 560000-580000Reference 36/54 Introduced 2000 580000-595000 2001 595001- 615000
	Super Action 80 1981 315501 – 327300 – 11,799 pieces made 1982 327301 – 340200 – 12,899 1983 340201 – 353300 – 13,099 1984 353301 – 366400 – 13,099 1985 366401 – 378800 – 12,399 Selmer list endsSuper Action 80/Serie II 1986 378,801 – 391,000 – 12,199 pieces made 1987 391,001 – 406,000 – 14,999 1988 406,001 – 422,500 – 16,499 1989 422,501 – 439,600 – 17,099 1990 439,601 – 457,500 – 17,899 1991 457,501 – 473,600 – 16,099 1992 473,601 – 490,000 – 16,399 Selmer list ends Super Action 80 serie III 1995-1996 – 507,000-514,999 – 7,999 pieces made 1996-1997 – 515,000-528,999 – 13,999 1997-1998 – 529,000-544,999 – 15,999 1998-1999 – 545,000-559,999 – 14,999 1999-2000 – 560,000-579,999 – 19,999 2000-2001 – 580,000-594,999 – 14,999 Selmer list ends Reference 2000-2001 – 580,000-594,999 1993 – 490,104 – eBay seller – purchased in 1994 ____ – 491,871 – eBay seller – purchased in 1993 1994 – 500,** – SOTW member – DXCamp 1995 – 538,175 – anon reader – purchased 1995 ____ – 538,254 – SOTW member BrianTheHornman SA80 II alto 1996 1997 – 549,317 – anon reader – purchased 1997 1998 – 566,734 – eBay seller ____ – 573,690 – CraigsList seller – purchased 1998 1999 – 2000 – 2001 – 589,423 – anon reader – purchased in 2003 2002 – 607,322 – Ebay seller – Serie III ____ – 612,678 – eBay seller – purchased 2002 ____ – 612,971 – eBay seller – purchased late 2002 ____ – 613,355 – eBay seller ____ – 613,717 – SOTW member – drakesaxprof – ____ – 613,861 – SOTW member – Vitruvius-new/used orig purchase -2004 2003 – 620,952 – SaxQuest seller – Serie III – purchased 2003 2004 – 656, – SOTW member – bartonsax – Serie II Bari ____ – 658,254 – eBay seller – purchased 2004 ____ – 660,552 – eBay seller – purchased 10/24/04 ____ – 660,987 – anon reader – purchased 6/18/04 ____ – 661,77x – Ebay seller – new/old stock from 2004 2005 2006 – 696, – SOTW member – REF696 2007 2008 – 718,** – anon reader 2009 Any contributions to this list is appreciated – Thank you…….

1996 – Series III soprano

1997 – Series III tenor

1998 – Signature Series

Vintage Selmer Paris Saxophone Models

Selmer saxophones were introduced as the “Modele 22”, in 1922.
Updated, though still with very small bores, the “Modele 26”, in 1926.
The famous “Cigar Cutter” models were made for only 4 years, 1930-1933.
The “Radio Improved” and “Selmer Super Sax” (SSS) were similar to the Cigar Cutter, with the Cigar Cutter removed. These were made until 1935.
The “Balanced Action” were the first Selmer saxophones with the offset keywork. Selmer introduced them in 1935 and made about 10,000 of them.
The “Super Balanced Action” followed and was built from 1948 until 1954. It is said that they play similar to the later Mk. VI’s which were smaller and required less from the player, but still they possessed the “Selmer Sound”.
The World Famous Selmer Mark VI alto and tenor saxes were made from 1954 until 1973, Mark VI sopranos and baritones continued until the “S.A. 80”.
The short lived Mark 7 altos and tenors, were made from 1974 until 1979.
The “Super Action 80” saxes were introduced in 1980 and were upgraded to “Super Action 80, Series II” in 1986. They are now, well into “Series III”.
Additionally, they now have a “Reference’35” and “Reference’54”, which are the bore tapers of the 1935 Balanced Action and 1954 Mark VI, using the hole placement (improved intonation) and key work (stronger and more ergonomic) of the latest Series III units currently in production.

Henri Selmer was born in 1858, the 10th child, to Charles-Frederic Selmer. At a young age he quickly showed a gift for the clarinet. In 1877 he entered the Paris Conservatory and went to Mr. Leroy’s clarinet class. He quickly became Mr. Rosse’s pupil.

In 1880, at the time he finished the Conservatory, he began his real musical career and was appointed to the French Republican Guard. Later he was named a solo clarinetist in the Opera Conique Orchestra. He was also playing at the Lamoureux Orchestra and had many concerts with those organizations all over France and Europe.

In 1885 (being married with a family) he decided to start manufacturing clarinet reeds and mouthpieces. He was quickly successful and started reaching the general public. In the late 1800s he started clarinet manufacturing an gave up his musical career.

His brother Alexandre had a significant impact on importing saxophones to the US and in his Paris production of clarinets. His son Maurice and two son in laws assisted in developing and opening the company to other instruments and markets.

Henri Selmer passed away in 1941.

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Selmer(USA) Pro Saxophones [ Back to Top]

(2012) Conn-Selmer is the newest entity in merger’s of the musical instrument industry. It is a merger of Conn and Selmer.

(my text from 2001) Selmer (USA) today imports and distributes Henri Selmer-Paris horns. They are two entities with one very close past. Alexandre Selmer, who is famous in the US (and shortly Paris) for his line of Alexandre clarinets came to the US and joined many renowned orchestras. He later started the Selmer USA company in 1904 to import his brothers line of saxophones to the US (Henri Selmer). Alexandre then hired George M. Bundy (a former student of his) to run the business and Alexandre went back to Paris to show his brother how to make clarinets. Thus his Alexandre clarinets were briefly made in Paris until they were discountinued. His design of clarinets quickly made Selmer clarinets a leading and wanted brand.

FYI, some older Selmer USA horns had H&A on them. H&A stood for Henri & Alexandre.

Bundy Specials

This line of Bundy horns has a professional heritage. They were precursors to the famous H. Couf line of horns. The specific model was H&A Selmer Bundy Specials and designed by Herbert Couf. Please see Bundy in the Couf/Keilwerth section.

Selmer USA in the early 1980s introduced a line of Professional saxophones. Initially identified as the Omega 162 (Alto) and 164 (Tenor), then later the AS100 (AS = Alto Sax) and TS100 (TS = Tenor Sax), and then the AS110 and TS110 models.

Model Omega 162/164

Selmer(USA) Omega line of alto and tenor saxophones were superb professional instruments rivaling the Selmer(Paris) line. They have distinctly full bell engraving and may or may not say “Omega” on them, these are late 1970’s and early 1980’s models. Later Omega horns have less bell engraving and are not as desireable for Selmer USA horns, though they are excellent intermediate horns. Key indicators are the neck. If the neck support is a think ‘beam’ type it is the later model. If it is the type similar to Paris horns it is the desireable model; also the engraving is much more extensive on the earlier models. Anything with model number including MG is not their earlier pro horn..

From the early 1980s until approximately 2001 Selmer USA made their top-of-the-line saxes in Elkhart, Indiana. the The Model 162 Omega alto sax was the first model introduced.

The Model 164 was the first tenor introduced around serial number 823000 (notice the lack of the “Omega” title. The model designation was changed to either TS100 or TS-100 when it was realized that professional players were not buying this “pro” line. The AS110 and TS110 started having corners cut to lower cost. Later horns used a different numbering sequence starting with 1xxxxxx (1 million +).

The early saxes had a dark lacquer and many Selmer Paris mk VI keywork styling. Later horns had brighter lacquer reminiscent of the Selmer Super Action 80 and late mk VIIs. Earlier horns had a brass high F#, later models had a pearl high F#.

Ads

I originally explored the Selmer USA 1980s pro model of saxophones to see what similarities and dissimilarities there were with the Selmer Paris line of professional saxophones. There was a rumor that Selmer USA used to tooling from Selmer Paris. Just doing a 1-1 comparison of instruments this is totally inaccurate.

There are many similarities and dissimilarities between the USA and Paris models, such as:
VI has flat RH side keys, USA model is similar to the mk VII/SA80
VI has shared posts for the RH pinky key low Eb/C, USA model has shared posts as the VI (but spring design and cradle positions are different, length of mechanism diffierent)
Paris uses slotted posts for key guards, Selmer USA a cheaper iteration
Paris horns have a mpc neck opening stiffener and lower stiffener, USA model does not have
USA & mk VII/SA80 use a heavy duty 3 point body to bell brace – the USA and Paris ones are visually similar though a comparison they are different.. The VI had a simplier 2 point design ring.
USA had a thinner, lighter plastic thumb hook design. Selmer VI,VII,SA80 was much thicker and studier
USA pant keyguard did not have cutouts as the Paris models
USA keycups are not as deep as Paris models
Paris models have slotted posts for keyguards, USA uses a simplier system.
Top of the body stiffiners are much more on the Paris horns, Body to bow & bow to bell rings are heavier gauge on Paris horns.
Keywork specifics are different – lengths of segments of keywork, quality of finishing, etc. The USA horn was basically a copy of Paris horn using specific parts that they had or made for this horn. The real test is does the USA horn have the “core” sound of the paris horn.
The Omega Model

Serial Number ranges: 820xxx through 823xxx (need confirmation)
All of these early horns were apparently hand soldered like their Paris cousins. Later models (100s & 110s) horns used more automated procedures such as induction soldering and less precise key fittings.

Notice the round RH side F# pearl, ovalized pearl high F#. The Body/Bell brace is distinctively mk VII and not mk VI. This design was carried forward to the SA80. The neck strap loop is distinctively thin compared to Paris. The RH side keys are distinctly mk VII like. The pearl touches are smaller than Paris.

Serial number usually in 820xxx. 1983 a serial # was reported to be 821xxx

Engraving: Notice the engraving is only around the emblem. No engraving on the bell front nor bow.
Emblem: The emblem is a stamp.

SN 820425 ALTO
Viisual: a
Engraving: Very nice engraving on the bell only.
Emblem: The “Selmer” looks engraved whereas the Restricted and USA are stamped

Below SN 821105 ALTO (from eBay)
Visual Modifications: a.

SN 823594 ALTO (from eBay)
Visual Modifications: ..
Engraving: The engraving is very nice floral on the bell only. No engraving on the bow
Emblem:

Tenor (from eBay)

SN – not sure
VISUAL: The RH F# is a round pearl, and the altissimo F# is a rectangular metal key
ENGRAVING: The engraving

The AS/TS 100 Model

Serial Number ranges: 824xxx through 829xxx (need confirmation).
TS100 example: 829xxx (better pictures coming soon)
Engraving: Notice the engraving is not only around the emblem, but all around the bell and front part of the bow.
Emblem: The Emblem is engraved, not stamped.

The AS/TS 110 Model

Serial Numbers: 83xxxx and higher, Later models have a neck brace and 7 digit serial numbers.

Identifiable by the elongated pearl RH alternative F# key; the bent brass high F# key and the AS/TS110 stamp on the bell. Also notice the neck stiffener under the neck which is smooth and does not have a crease like the Paris horns.

At this point Selmer USA lowers the overall quality of the instrument. The neck socket uses a cheaper version with the music lyre being separate about 3 inches lower.

ALTO Pictures taken from eBay (7/2012)
Engraving: Some engraving above the emblem, on the front of the bell and bow. This engraving is a bit more simplistic than earlier engraving such as the 100 model.
Emblem: The emblem is stamped with the “AS110” model number. I need to see more specimens as I’m curious if maybe the altos were stamped and the tenors were engraved.
Visual Modifications: Right hand alt F# pearl is elongated like the mk VII – this modification makes it easier to hit the F# touch.

Below SN: 830875

Now sold as an intermediate horn

Below SN: 184834

early 80s 828xx tenor

late 80’s/early 90s 820011 – 1288792 alto

Modified Design – later Omegas	Good Design – early Omegas

Signet “S” Brace

Selmer USA made a version of the Signet which was basically a Buescher 400 (after they purchased Buescher – the 400 line included ‘TOp Hat and Cane’; S5 & S25 models). This is a fantastic horn with a nice full tone and warmth.. It is mainly identifiable by the “S” shaped bell brace. Earlier models had ornate flower motif engraving, later ones no engraving.

Signet were serial numbers 381xxx and later

1963 381000
1965 408818
1970 520000
1975 630000
1980 785000
1983 875000

The Bundy came from the Buescher Aristocrat, basically the Buescher Big B was the “mold” for the Bundy. Same keywork, design, etc.

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Keilwerth [ Back to Top]

Click here to jump directly to the [ Soprano comparison ] [ Alto and Tenor comparison ]

192:	0-800
1947	20,000
1953	23,000
1958	28,000
1960	38,000	New King Tenor – acrylic key guard
1962	43,000
1964	49,000
1966	55,000
1971	69,000	2nd Generation 62xx Couf Tenor with seesaw F# ad high F# combo
1978	79,000	earlier Couf tenor example later Couf alto Black Nickel example later Couf alto lacquer example
1986	91,000	84xxx Armstrong Heritage Tenor w/3 point key guards Couf Sopranos Couf Superba II tenorFor a short period Conn imported a horn with the designation “Conn DJH”. Conn DJH horns were an improvement over the Couf design while Coufs were still being produced. It had a Selmer type octave key, Tilting Bb left hand table keys and a few other minor improvements. After 1989 Ponzol redesigned the Keilwerth Tenor horns and had a line of his own tenors. These models had true Rolled Tone Holes, removeable bow/body ring and improved intonation, 3 point key guards.
1993	99,100	Around 100,000 Keilwerth went away from true Rolled Tone Holes and started using Tone Hole Rings which are soldered on regular tone holes.
1998	109,000

Keilwerth Stencils:

Couf Superba 1 & 2 (see information below) (Armstrong) Royalist, Royalist I Heritage (Armstrong) Conn DJH Buffet Edgeware Marco Vincent Albert (1960’s) Martelle Winsall Bundy Special (1960’s) King Tempo Champion Calvert Deluxe

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 and many Armstrong (like the model 3200) saxes were strictly a student line 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.

Also, the engineering group for Mr. Couf made improvements on the Keilwerth design. Gary Ferree (of Ferree tools, RIP) was instrumental in improving the RH alt F# key. It was the seesaw type and he redesigned it to the side type. This also allowed the altissimmo F# keytouch to be redesigned.

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 (see below for a better description and pictures)
– 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.

H.Genet Roxy Jubilee Voss Rene Dumont

Keilwerth family relatives: Max Keilwerth and Richard Keilwerth (Graslitz) made saxes under the names: Weltklang (baritones only) Senator Hohner

Conn DJH horns were Couf Superba Is and 2s. Rebadged, available in silver plate or lacquer.

Available in the late 1980s before Conn was sold to UMI

Keilwerth EX model line – the EX line can be a very good horn, all depending which model you purchase – the eaarlier ones being made in Germany.

Model	Made in
EX90	Germany
EX90 II	Germany
EX90 III	Czech Republic
ST 90 I	Germany
ST 90 II and III	Czech Republic
ST 90 IV	Taiwan (Jupiter)

Thought I would update this 2/2012 a bit as it is dated and jumbled

Early Couf Alto – no high F#, seesaw alt RH F# and a see through plastic pant guard- SN56462

Sopranos
Early sopranos had the “inline” mk VI type palm keys.click on picture for full page The G# key originally was black plastic, later to be a pearl. The RH side F# originally was rectangularish metal, later to be a round pearl. The mk VI style palm keys later were changed to more conventional palm keys. The Superba Is & IIs originally had the same amount of engraving. The only difference between the early ones was the II had a fixed thumbrest versus an adjustable metal thumbrest and engraved “II” instead of “I”. The models would later add a high F# usually as a longer lever above the side F#. Later on the Superba Is had a little more engraving and a twin point raised plastic thumbrest (improved from the adjustable metal thumbrest) versus the still fixed metal thumbrest of the IIs. Other than that most features followed each other. Couf Sopranos had no rolled toneholes. The early ones may not of had neckstrap rings. The Superba 1 neckstrap rings were a very thick loop, a tad too much for Heiman straps. BELOW: you can see the selmer stylish thumbrest (very late modification), the plastic 2 point raised thumbrest. Also the lyre holder is on the backside versus other locations such as on the front above the bell keys.	BELOW: mk VI palm keys, black G# / rectangular side F# & fixed thumbrest (superba 2) (click on pics for full page)
Altos & Tenors
Superba 1s had rolled toneholes, whereas the IIs had standard straight toneholes. Adjustable vs non-adjustable thumbrest (later 1s had the raised twin point plastic thumbrest. 1s had more engraving too. Body to Bell brace on the 1s was two different sized circles, IIs had a single wavy rod. Also 1s had more engravings. Neck octave mechanism on 1s was square rod whereas the 2s was round rod. Also the neck receiver on the 1s was nicer as it included the lyre holder, with the 2s the lyre holder was lower than the neck receiver itself.Really Early Superba’s did not have a high F#, and the “side” F# was a straight key. Later a high F# was added with the key touch for thus just above the touch for the straight key. later the side F# was actually repositioned to the backside of the horn (like all other horns today), and the touches shapes were changed. The design of this key change was done by Gary Ferree (rip) who at the time worked for Mr. Couf (rip) in the Detroit Engineering “company” of WT Armstrong. They also were instrumental in the reverse engineering of the Royalist II which was based on the Royalist but totally made in the US in Elkhart (lower price point for students) as the Royalist & Royalist I still had high price points for students Spare production was rolled to the “Armstrong Heritage” brand. These could be a mix of 1s or 2s or 2s features with RTH .. ie, spare production and parts.

[ Superba 2 ] [ Heritage Tenor mix ]

Below is a Superba 2 tenor. Notice

ENGRAVING: the “minimal” engravings compared to a Superba 1. The S1 has it onto the Bell.
NECK: The wire octave mechanism versus the Superba 1s square wire.
TONEHOLES: No Rolled Tone Holds (RTH)
All other features are the same and vary dependent upon the vintage

Heritage Tenor

NOTICE:

NECK: Superba 1 type neck
ENGRAVING: Superba 2 type engraving – ie, it does not go low on the bell nor the bow.
KEY GUARDS: Selmer Style bell key guards
BELL BRACE: Notice the Bell brace. Not the double loops of a Superba 1 and not the simple wavy rod of a Superba 2, it’s a wavy cut out sheet.
OTHER: the thumbrest is a double raised point Superba 1 type.

BELOW: A really hard to find 65024 model which has an alternate F# trill, and the high F# is up on the post, with a see-saw alternate F#. Fixed thumbrest.

BELOW: Early model with the plastic G# touch

Superba 1 Tenors:

NECK: square rod (from a flat sheet actually) octave mechanism
THUMBREST: From adjustable metal to double point plastic
NECKSTRAP RING: always really thick, reverse tear drop shape
BELL BRACE: bell brace made from 2 loops design

BELOW: Notice the Side F# and high F# touches

NOTICE The extended engraving down through the bow

Another generation of Superba 1

Superba 1 alto

BELOW and early generation of an alto, notice the “H Couf” stampe on the bell key guard

Below: A Black nickel Couf alto Superba 1

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Yamaha [ Back to Top]

Model 61 – available in soprano, alto and tenor

Model 62 – improved intonation over the Model 61. available in soprano, alto and tenor.

YTS-62 (original purple silk screen model)

Model 62R soprano – rare curved neck model of the popular YSS-62

Model 855 alto – original top pro model alto

Model 875 sop, alto, tenor – top of the line french brass horns

Model 875EX – alto. Most current production alto.

Model 62 II

Model 82Z – vintage engineering. Special alloy body, 2 halfs of the bell are soldered together.

There are numerous other models including the designations 275, 52, 475, 21 & 23

Vito (Leblanc USA) also had their line of Yamaha alto and tenor line instruments based on the 23. These are identified by the “Made in Japan” or simply “Japan” stamp near the serial number.

Yanagisawa [ Back to Top]

YANIGASAWA SAXOPHONES
During the 1970’s, the 3rd and 4th digit of theserial number indicate the year of manufacture.
Serial#	Year	Examples
up to 00102143	1980
00102144 – 00106981	1981
00106982 – 00111892	1982
00111893 – 00117142	1983
00117143 – 00122663	1984
00122664 – 00128485	1985
00128486 – 00134903	1986
00134904 – 00141658	1987
00141659 – 00149774	1988
00149775 – 00156006	1989
00156007 – 00162968	1990
00162969 – 00170073	1991
00170074 -Â 00177117	1992
00177118 – 00184318	1993
077755xx		1970s Vito Yani soprano

Vito (Leblanc USA) had their “stencil” line of Yanagisawa for soprano and baritone saxophones. These are identified by the “Made in Japan” or “Japan” stamp near the serial number.

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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

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.

Both Superba 1 & 2s were considered Pro models.

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