1. Sml Saxophone Serial Numbers

KING SAXOPHONES: GREAT AMERICANS

I love King saxes. They are not without their quirks and faults, but there is just that indefinable something about the sound of a King at full song that gets my blood pressure up and my hair standing on end. In recent years, these horns have developed a cult following, and I consider some of the models to be seriously undervalued.

SML saxophones. 1151 likes 1 talking about this. The finest sax ever made?

The King horns were produced by the H. N. White Company, which was founded by Henderson N. White in 1893. Mr. White had been a repairman in Detroit, Michigan and later moved to Cleveland, Ohio to head the re[air department at McMillin’s Music Store. He later former a partnership with C. H. Berg, and in 1893, bought Mr. Berg out and became the sole owner of the H. N. White Company. In 1903, he was joined by his brother, Hugh White, and in 1924, by his son, Richard White. Following the death of Henderson White in 1940, his wife took over operation of the company and ran it successfully for many years.

The first saxophones distributed by the company were Buffet horns which were imported from 1908 – 1910. From 1910 until 1916, the company distributed Kohlert saxophones. In 1915, work began on the design of a King saxophone, and this model (an alto) was introduced in 1916. King secured a government contract, and the entire saxophone production from 1916 –1918 was sold to the U. S. Army. In June, 1919, a tenor and a C melody were added to the line. All three of these horns had, in addition to the forked E flat mechanism and G sharp trill key in vogue at the time, the unique “open” G sharp pad. I’ve always considered this system to be a great idea, and have often wondered why it was not adopted by other makers. This system involves using a double set of pads actuated by the G key, one corresponding to the note G, the other to the note G sharp. This has two benefits: the player can leave the right hand keys depressed while using the left hand mechanism (think of a D arpeggio), and the intonation of the problematic note A is vastly improved. These horns were available in bare brass, silver plate, silver plate with gold keywork, and gold plate. In 1922, a curved soprano, a baritone, and a C soprano were added to the line.

In 1924, King revamped their saxophone lines with the introduction of the New Series horns. These instruments continued many of the features of the previous King instruments, such as braised rather than drawn tone holes, and featured a front F key, a wider G sharp key, and an improved octave key. This mechanism, designed for King by Henry Dreves (US Patent 1549911, granted August 18, 1925) was an attempt to eliminate the hissing that often occurs between high G and high A. In this system, the tube of the neck octave pip was slanted, and the point of pad contact was rounded to better seal against a pad with a concave surface. Additional engraving, hand burnished gold finishes, and nickel plating also became available. Some of the engraving found on King horns of this era is spectacular!

The famous King Saxello was introduced in September, 1924, in an attempt to address problems associated with the straight and curved soprano horns of the time. In his patent application (U.S. Patent 1549101, granted November 2, 1926), Henry Dreves describes the curved soprano as being problematic in the bow area and uncomfortable to play. He further states that the straight soprano is acoustically superior, but is also uncomfortable in its playing position. His solution was a curved neck and a bell tipped at a right angle on a straight soprano. No tone holes were present on the bell, and only the upper octave pip was present on the neck. The instrument could be played on a neckstrap, rested on the players leg, or with an optional (and very rare!) V shaped stand.

King revamped the line again in 1930, and claimed twenty-two improvements over its previous models. These changes were mostly different tonehole locations on the lower stack, and the resizing of other toneholes and movement of the octave pip to accommodate the new King designed mouthpiece, which featured a larger tone chamber. This model was called the Voll-True, and can be quite difficult to play with accurate intonation if a small chamber mouthpiece is used.

In 1932, new alto and tenor models were introduced, known as Voll-True II horns. These are very nice instruments, with right hand mounted bell keys, larger palm keys, adjusting screws for some key heights, the elimination of felt bumpers, a clothing guard, a floating octave key cup, and an ill-conceived mechanism which eliminated the high E key. The alto made its debut in October, 1932, and was followed by the tenor in December. A baritone was shown in July, 1933.

In 1935, the Voll-True II was essentially renamed the Zephyr. These horns appear to be the same, and even had the same catalog number. Fortunately, King had the wisdom to abandon the high E mechanism of the Voll-True II and use a conventional three key layout for the chromatic B flat, chromatic C, and high E. Sometime around 1940, the Zephyr horns acquired the “socket neck”, which was intended to reduce leakage at the joint between the neck and body. These are really great horns, among the very finest of the era, with an unusually full voice. King took the Zephyr theme a step further in 1939 with the Zephyr Special. These horns had solid silver necks, engraving on some of the keywork, and a different bore. Mother of pearl touches were also added to the palm keys and side keys. It is my understanding that they were also available with a sterling silver bell, although I have never seen one.

After World War II, King introduced the legendary Super 20. The early examples were essentially Zephyr Specials with more elaborate engraving, but with a different neck. This neck, designed by Fred Meyer (U.S. Patent 2533389 granted December 12, 1950) was intended to provide more positive sealing and a lighter action, and became the trademark of the Super 20. The initial run of Super 20’s had the three ring strap hook of the Zephyr Special, and mother of pearl key touches. The left hand pinky cluster was changed around serial number 300,000 and the sterling silver neck became an option around serial number 340,000. The mother of pearl touches were discontinued, but a Super 20 baritone was made available. A silver neck was standard on the baritone, and I’ve seen one with a sterling silver bell. The socket neck was deleted around 390,000 and at 426,000 the production was moved from Cleveland to a new facility at Eastlake, Ohio. The underslung octave mechanism was discontinued, and these horns are generally considered to be of lesser quality and not as desirable. King was losing money on every Super 20 produced, and the line was discontinued in 1975. However, there are reliable reports of Super 20 horns with high serial numbers indicating later production dates. I can only assume that these instruments were produced from left over parts inventories.

From 1960 until the mid 1980’s, King imported the Marigaux line of saxophones from SML in France. These horns were SML Gold Medal models (no rolled tone holes) and were marketed to the classical community. They were engraved with the King logo, and later examples were fitted with a high F sharp key. They are SML’s in all but name, and there’s nothing wrong with that!

In 1995, King excited the saxophone world with the Super 21, which was exhibited at various trade shows. About a dozen of these horns were made (under the direction of Canadian repairman John Wier), and it was decided not proceed with further development or production. These horns represented a natural evolution of the Super 20, but the economics just were not there.

Today, King produces only student linesaxophones.

Strasser Marigaux & Lemaire was founded on Jan 12, 1935 by three partners: Charles Strasser, a businessman who was born in Switzerland; Jules-Appolin Marigaux, an instrument maker who trained at Buffet-Crampon, where his father was 'premier ouvrier,' and Lemaire. The company grew quickly. SML acquired the French Besson Company in the late 1930's and purchased the esteemed Louis Lot Company circa 1951. After the death of Lemaire in 1950, Strasser and Marigaux bought their partner's shares and the company became known as 'Strasser-Marigaux.' Marigaux died about 1970, leaving Strasser the sole owner of the company. Circa 1974 Strasser sold SML to a holding company -- Strasser-Marigaux S.A. and Yves Rilba was elected as the first president of SML. In 1975 SML bought the Malerne Musical Instrument Company which was located across the street in LaCouture, just outside Paris. LaCouture is known as being a meca of woodwind craftspeople. They moved all of their production into this new larger factory of ~600 square meters. Along with the acqusition came a woman named Madame Herivaux (niece of Mr. Malerne). She became foreman of the SML factory in 1977. By 1982 SML employed 30 factory workers in LaCouture and about 20-25 people in Paris (final testers and adjusters, sales staff, and company executives). A few SML workers also practiced their trade at home in their own shops.

Since its earliest days, SML has been known for its oboes. Marigaux was considered one of the two best oboe-makers in France, on par with Lorée. As growth came quickly, the company rapidly broadened its line of woodwinds to included saxophones, flutes and bassoons.

SML began making saxophones within a few years of its being founded -- at about the same time Selmer introduced its revolutionary Balanced Action saxophone. SML ceased production of saxes in 1982; at the time, the company was making ~400 saxes a year (2500 total musical instruments including over 900 oboes). It was also exporting saxes to King Musical Instruments, which marketed them under the name,'King Marigaux.' A company spokesperson said SML stopped making saxophones because 'we just couldn't compete with Selmer anymore.'

SML made sopranos, altos, tenors and baritones in gold plate, silver plate, nickle plate and gold lacquer. The altos and tenors came in three models each: 'Standard,' 'Gold Medal' and 'Gold Medal 2-Tone.' The baritones came in only the 'Gold Medal.'

The Standard is not described as a student or intermediate model, but it was clearly SML's non-pro model. It came in a 'Perma-Gold' lacquer finish.

The Gold Medal, which also came with a lacquer finish, was promoted as the 'ultimate' in saxophones with '22 outstanding mechanical features not found on American or European saxophones. Used exclusively by top American and European symphony and dance-band artists.'

The two-tone model was a Gold Medal with nickel-plate keys and guards.

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adapted from: 1. SML: Most Of The Story By FRED CICETTI (originally published on this site in 1997) 2.Interview with Yves RilbaBy Nora Post 3. ResearchBy Peter Hales

Sml Saxophone Serial Numbers

For your amusement, here are the list prices (not including cases): Standard alto, $350; Gold Medal alto, $415; Gold Medal 2-Tone alto, $435; Standard tenor, $400; Gold Medal tenor, $475; Gold Medal 2-Tone, $495; Gold Medal Baritone, $625.

The 22 mechanical features SML boasted about were:

1. Removable neck lock. A 4-slot ring exerts an even pressure on neck without leakage.

2. Improved octave key features a bearing-type, rocker-arm mechanism for faster action. Facilitates wide jumps and assures a full-bodied middle D, especially on tenor.

3. All screws are made of first-grade tool steel. Pivot screws are hardened to blue grade for long life.

4. All key mechanisms are hand forged.

5. Individual screw adjustments permit perfect key alignment.

6. Properly cupped pearl buttons are scientifically located to encourage flying fingers.

7. Ribs of key cups (tone hole covers) reinforce entire cup diameter.

8. D, D# and F keys are mounted on a single plate for security of posts in fastest passages.

9. Main actions are anchored to a single plate for greater strength.

10. Optional articulation feature with adjustable G# lock permits both group and individual execution of G# to C#, B-Bb. Makes entire action easier!

11. Side and main action rods are hand-ground ('swedged') for precision fit.

12. Set-screw adjustment for G# key.

13. Extra large (6¬') bell (tenor only) affords unusual carrying power and clear, pure pianissimo.

14. Set screw permits a better adjustment on lever that operates Bb key.

15. Clothes guard on back of instrument eliminates possibility of catching clothes under keys.

16. Entire bell, from opening to bow, is exquisitely hand-engraved.

17. Removable key guards allow easy access to low pads.

18. Low B and Bb handle smoothly because of special SML jam-proof rollers.

19. Drawn tone holes with precision-rolled thin-gauge edges allow maximum air passage without leakage or cutting of pads.

20. Adjustable bumper felt pads to permit tuning adjustments on low B, Bb, C and Eb.

21. Brilliantly hand-burnished from bell to neck. Protectively coated with a flawless lacquer finish applied by the exclusive Multi-Coat Process.

22. Precise intonation in the entire range!

My personal experience and comments I've gotten from knowledgeable saxophone players indicate that SML saxophones are among the best ever made.

Are they as good as Selmers, the industry standard?

Allow me this observation: Selmer, Buffet and SML are three great woodwind makers in France. Professional musicians choose Selmer for saxophones, Buffet for clarinets and SML for oboes. I believe the quality of the instruments made by the three companies is in all their products, not just one.

QUOTES

'To my knowledge, nothing has been written on SML in the Saxophone Journal. I've compiled wisps of information on the company over the years, but nothing more substantial than the internet banter of the last few months. I have tried a few SMLs, and I agree - they are fine instruments.'

-Paul Cohen

'I have seen only about 20 of these fine (SML) horns in my life, and every one played well. Some were very exceptional. I have known of a couple of fine condition altos going for $1200 - $1500. For a gold-plated tenor in absolutely pristine condition with a fresh overhaul, I gave over 2K with a smile! It has the best voice of all of the tenors in my collection.'

-Steve Goodson

'I have played about six SML saxes. And the ones that have been properly set up and maintained played wonderfully. It is a mystery to me why they were--or are--not more popular in this country or Europe. About the most famous SML player I have ever known is Carmen Leggio, who played tenor for Woody Herman.'

-Brian Axelrod, USA Horn

'I have an SML King Marigaux tenor and I find it usually better than a Selmer SA80. And very solid too! Once, in an elevator, a fall of a meter resulted only in a small dent.'

-Giovanni Terzi

'Do these things have a roaring giant sound or what? I love 'em.'

-Morgan Witthoft (Owner of an SML alto, tenor and bari)

'I just got back from my big band rehearsal. The guy who plays there with an older Selmer tenor noticed the sound of my SML immediately.'

-Harri 'Sax on the Web' Rautiainen

'SML was a pretty serious company comprised of workers who left the Selmer factory perhaps a bit pissed at not being paid enough for their craft. They did make some great horns, and if you can find them in good shape they are as good or better than some of the finest Selmers ever made. They really perfected the combining of the best of both Conn and Selmer into one horn with some of their own innovations that Selmer was too set in it's own ideology to try.'

-Bri22@juno.com

'I bought my King Marigaux new in 1980. But it did take the dealer about six months to get one. All in all, it's a good semi-pro horn, but I'd trade it for a Mk VI or Mk VII in a heartbeat.'

-Ross Klippert

'I've had a King Marigaux alto and thought it was a fine quality horn patterned after an SBA. I especially like the articulated G# lever.'

-Gayle Fredenburgh

'I used to own an SML alto. They were made by three french companies Strasser, Marigaux and Le Maire. They were known for their fine tone and were definitely a conservatory level instrument. Later on, King distributed them under the Marigaux name. That's all I know.'

-Mel Martin

'SML was a revolutionary concept in saxophone design that sought to replace the confusing Eb/Bb and Soprano/Alto/Tenor saxophone terminology with a much easier to understand Small/Medium/Large taxonomy. Under their system, Eb alto became small, Bb tenor became medium, and Eb bari became large. Their original marketing scheme was intended to expand into other sizes - petite (soprano), XL (bass), and XXL (contra bass) but the concept proved to be too far ahead of its time and the company eventually folded.'

-B.B. Bean

'SML were French-made and, by all accounts, pretty good instruments. Some of them are frighteningly powerful, too. Much more so than anything being made these days! Sound, well-made instruments. Perhaps a little awkward to the modern hand which is used to the conveniences of Yamahas, etc.'

-Michael Wells

'I have owned and played several of these (SMLs) and loved them all! When it comes to value, they are considered 'sleeper' horns, sought after by people in the know. I think the people who like them are pretty zealous about them. But, alas, the Selmer mystique is a hard dragon to slay, even for an excellent company like SML.'

-Jason DuMars

'When I play your horn, I sound like Paul Desmond.'

-Phil Chester, my teacher