Buffet Serial Numbers. Adobe cs 5.5 mac os x compatibility. Serial Numbers breakdown. Around 1950 Buffet adopted a new model identification of “No1” or “NO1”. This coincided wth the polycylindrical bore introduction. Even though the R13 was officially introduced in 1955 some versions of it apparently existed beforehand, though 1955 was the official final production design. Keilwerth History The Keilwerth company is probably the most challenging manufacturer to write about for two reasons: • Julius Keilwerth and his brothers were involved with most of the German AND Czech saxophone market, so much so that it's impossible to just talk about Julius Keilwerth divorced from these other companies. • While there is a lot of information about Julius Keilwerth out there, a lot of it is in German (which I can't read) and it's also partial: no one seems to know the full story of the Keilwerth company and its association with Boosey and Hawkes (before and after they purchased the Keilwerth company), Selmer, Kohlert, Amati and several other smaller manufacturers. The Keilwerth company itself doesn't know its full history: they've even insisted on their forum that all Keilwerth horns are engraved 'Made in Germany'. That's obviously not the case: Keilwerth was founded in Czechoslovakia! Stencils It seems that the move from Czechoslovakia to Germany made Julius Keilwerth more interested in promoting his products throughout the world. To this end, Keilwerth designed new versions of his Toneking and New King horns and stenciled this design to a bunch of different companies in a move that compares very favorably to the stencil craze of the American saxophone market from 1915 to 1929. However, in addition to just stenciling these horns, Keilwerth also sent out saxophone bodies to a variety of manufacturers who would add their own keywork. This means that you can find horns produced by smaller German companies that you've never heard of that look astonishingly like a Keilwerth, but aren't, such as the horns made by Dorfler and Jurka (a company Keilwerth summarily purchased). In addition to this in-country stenciling, Keilwerth maintained his relationship with Selmer throughout the 1950's and produced the wonderful Bundy and Bundy Special horns for them - horns that were not produced as professional models, but are very highly regarded by most people that have played these horns - as they're variations on the New King design (Series IV). Finally, Keilwerth developed at least one model student/intermediate saxophone for the Boosey and Hawkes company. New research indicates that these horns were produced in very low quantities and Keilwerth themselves don't know how many horns were produced -- or during what years. In 1962, the Keilwerth company management was turned over to Julius' son, Josef. From 1965 to 1986, Herbert Couf, the president of the WT Armstrong company, had three Keilwerth models stenciled for him under the model name 'H-Couf': the 'Superba I', 'Superba II' and 'Royalist'. These instruments were built in Germany and corresponded (to a large extent) to the Toneking Special (Superba I) and Toneking (Superba II) - the latter two were pro models and featured a high F# key. The Royalist was the intermediate model, without high F# key, and roughly corresponded to the Keilwerth New King model. In a parallel move, Daniel J. Henkin started importing horns for the Conn company under the banner name of 'DJH Modified' - not exactly 'modified', more like 'custom engraved'. King also imported at least one model model from Keilwerth, the Tempo and added this import to their other available stencil lines: the King Lemaire (produced by Amati -- a stencil of their Super Classic model) and the King Marigaux (produced by SML -- a stencil of their Gold Medal 'II' model).
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