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.
Bow soldered directly to body via an expanded section. No rings were used to combine the sections. Superba 2s — have straight tone holes throughout the range of saxes plus the Superba 1 soprano.
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. 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. 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 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.
Adjustable vs non-adjustable thumbrest later 1s had the raised twin point plastic thumbrest. 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. Later a high F was added with the key touch for thus just above the touch for the straight key.
The design of this key change was done by Gary Ferree rip who at the time worked for Mr. These could be a mix of 1s or 2s or 2s features with RTH.. The S1 has it onto the Bell. Fixed thumbrest. Model 62R soprano — rare curved neck model of the popular YSS Model 82Z — vintage engineering.
Special alloy body, 2 halfs of the bell are soldered together. In the late s and early s 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. Couf horns were part of the W. Armstrong umbrella. Herbert Couf was president of W. Couf horns are basically Keilwerth stencils. Couf was know to have redesigned the horns but it is unknown when Mr.
Couf helped Keilwerth redesign the saxes. 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. This is one of my favorite horns. Superba 1s alto pics , tenor, soprano, baritone — have Rolled Tone Holes throughout the range of saxes, except for the Soprano. 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. Date Serial Number , 50,, 78,, ,, ,, ,, ,, ,, ,, ,, ,, ,, , [ Back to Top] Martin [ Back to Top] Apparently some of the Martin brothers worked for York in Battle Creek, Michigan USA.
Handcraft Troudador — From to , ,xxx to ,xxx Handcraft Imperial — from to , ,xxx to ,xxx. Magna — from to , ,xxx to ,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. Early models had minimal engraving whereas later models had fairly significant and decorative engraving.
One the last Pro models had a front F key. Start of the rounded edge rectangle LH table keys. LH bell keys, wire guards, multi-wire bell brace, wire bow key guards. Use it as an estimate. This horn had a small bore which, theoretically, suited the style of music in the early s. 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. The serial number is No which dates from the year They were available in Silver,Gold lacquer and Gold plate models also included C Melody variations. Henri Selmer passed away in Bundy Specials This line of Bundy horns has a professional heritage.
Ads I originally explored the Selmer USA s pro model of saxophones to see what similarities and dissimilarities there were with the Selmer Paris line of professional saxophones. Professional - Limited Edition. Professional "10 year China Anniversary" Series. Professional - Dave Koz Selected. Custom "Z" Series - Cryogenic Treatment. Custom "Z" Series - Black Phoenix. Custom "Z" Series - Limited Edition. Still available in Japanese market. Custom "EX" Series, "50y Anniversary". Professional Pre-production Prototype.
Standard "Plutus" Series. Standard "School" Series. What does the "C" stand for? These later horns apparently sounded much different from earlier models and have a brighter tone. Martin was an immigrant from Germany in that year. In the factory was destroyed by fire. And in he moved to Elkhart, Indiana and became one of the original workers, the 6th employee, to work for C. 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.
Handcraft Imperial — from to , ,xxx to ,xxx. LH table keys changed from a vertical Selmer mk VI style to 3 plate horizontal configuration.
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 At least from ,xxx to ,xxx, to approx Even today you can find new horns labeled Martin, though they are Asian made and have no resemblence to the original Martin instruments.
In LeBlanc purchased the rights to Martin and resold Yanigasawa saxophones under the Martin brand. Full lower stack screw adjusters which stopped against the posts. 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. 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 — k — Change in the neck bore and neck ring design. Horns have a harsher, brighter tone. Super Action 80 serie III — ,, — 7, pieces made — ,, — 13, — ,, — 15, — ,, — 14, — ,, — 19, — ,, — 14, Selmer list ends.
These were made until Selmer introduced them in and made about 10, of them. It is said that they play similar to the later Mk. The short lived Mark 7 altos and tenors, were made from until Henri Selmer was born in , the 10th child, to Charles-Frederic Selmer.
At a young age he quickly showed a gift for the clarinet. In he entered the Paris Conservatory and went to Mr. He quickly became Mr. In , 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 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 s 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. It is a merger of Conn and Selmer. 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.
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. This line of Bundy horns has a professional heritage.
They were precursors to the famous H. Couf line of horns. Selmer USA in the early s introduced a line of Professional saxophones.
Selmer USA Omega line of alto and tenor saxophones were superb professional instruments rivaling the Selmer Paris line. 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 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.. The AS and TS started having corners cut to lower cost.
The early saxes had a dark lacquer and many Selmer Paris mk VI keywork styling. Earlier horns had a brass high F , later models had a pearl high F. The VI had a simplier 2 point design ring. USA had a thinner, lighter plastic thumb hook design. 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 Omega Model. Serial Number ranges: xxx through xxx need confirmation All of these early horns were apparently hand soldered like their Paris cousins.
Notice the round RH side F pearl, ovalized pearl high F. This design was carried forward to the SA The neck strap loop is distinctively thin compared to Paris. The pearl touches are smaller than Paris. Engraving: Notice the engraving is only around the emblem.
No engraving on the bell front nor bow. Emblem: The emblem is a stamp. Engraving: The engraving is very nice floral on the bell only.
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