1. Buescher Serial Numbers Clarinet
2. Buescher Serial Numbers Trombone
3. Buescher Serial Numbers Clarinet

Saxophone Serial Numbers and Gallery

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

• Buescher Serial Number List. Years and Serial Numbers are approximate.
• The serial number is 101950 probably from the 1920s. Marked Elkhart Indiana, I think these were Bueschers. Vintage Buescher Aristocrat Clarinet w Case Made in USA. Or Best Offer. The clarinet is 68 cm ( 27' ) tall. Good sound all complete even with tin of cork grease. Complete with case.

Buescher Serial Number List. Years and Serial Numbers are Approximate. Buescher Trumpet Serial numbers are most often found on the 2nd valve casing - OR if that is buffed off, check on one of the valves themselves!

Buescher [ Back to Top]

Years and Serial Numbers are approximate

Buffet [Back to Top]

Buffet Saxophone Serial Number List

Cleveland [ Back to Top]

Conn [ Back to Top]

Conn Saxophone Serial Number List Years and Serial Numbers are approximate

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

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.

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.

Selmer(Paris) [ Back to Top]

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

Year Model Serial Number

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.

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.

Buescher Serial Numbers Clarinet

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

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.

Keilwerth [ Back to Top]

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

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.

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

[ 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

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.

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]

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.

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.

Saxophone Serial Numbers and Gallery

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

Buffet [Back to Top]

Buffet Saxophone Serial Number List

Cleveland [ Back to Top]

Conn [ Back to Top]

Conn Saxophone Serial Number List Years and Serial Numbers are approximate

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

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.

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.

Selmer(Paris) [ Back to Top]

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

Year Model Serial Number

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.

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

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.

Keilwerth [ Back to Top]

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

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.

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

[ 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.

Buescher Serial Numbers Trombone

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

Buescher Serial Numbers Clarinet

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

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.

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]

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.

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.