• This sax is keyed to high F# with the high F# key located under the upper palm keys. • The G# key opens on the back of the sax instead of amongst the other stack keys. LeBlanc System Vito Stencil Alto Saxophone. Serial number 557. This is one of those unusual LeBlanc System Alto Saxophones made under the Vito name. Table 1g: Vito Branded Saxophones. Kenosha, WI Start 1957 or '58 Japanese Yamaha - Low Serial Numbers 001xxx through 09xxxx Japan Japan Mid/late 70s through Mid/late 80s Taiwan-made horns 6xxxxx 8xxxxx 9xxxxx Taiwan Taiwan Mid 80s Taiwan-made horns 04xxxx Taiwan Taiwan Mid 90s Japanese Yamaha - High Serial Numbers 5xxxxx Japan Japan 2000s Yanagisawa.
When was your Selmer Paris Saxophone made? This is the most accurate Selmer Serial Number Chart on the internet! Friend of GetASax.com Douglas Pipher has been given unprecedented access to the Selmer Paris archives, and after thousands of hours of research has compiled a brand new and more Selmer Serial Number Chart for Selmer saxophones. With permission, we have printed the results of his research below. If you are wanting to sell your Selmer saxophone, we are always buying vintage saxophones. Please email us at Selmer Serial Numbers – a Fresh Approach Douglas Pipher, June 20, 2017 The existing Selmer Serial Number Chart has been available on the internet for years. Many saxophonists use it as the authority for determining when an instrument was made.
But there are problems with the existing chart, such as the timing of the introduction of the different models. It seems unlikely that every new model was introduced exactly at the beginning of a new year. It also seems unlikely that each year’s production ended at a conveniently round number. Was the chart built from specific data or was it just someone’s estimate; a guess which eventually became assumed to be an absolute truth? With these questions in mind, the need for a fresh look became clear, to see if there was a way to measure the accuracy, or inaccuracy, of the existing chart.
Douglas Pipher decided to take on the challenge. Clearly the first step was to collect as much primary data as possible.
It is well known that Selmer Paris possesses some archival records but they are not available to the public. With a background in statistical analysis and an established record in the study of Selmer history, Douglas was able to secure access to these archives. Once there, the daunting nature of the task became apparent.
The archives are comprised of a series of very old and fragile notebooks, written by a variety of people, in a variety of handwriting styles. Some were neat and detailed and others were nearly illegible and of course, it is all written in French. But, the fact that all the data still existed was like finding a treasure. The archive records contain four key elements: – Instrument type (Alto, Tenor etc) – Finish and custom features – Shipping date – Destination In most cases, there was no mention of what model was being produced.
The data started at serial #5000 and continued for over 75 years. Whether earlier notebooks were lost or were never kept is unfortunately unknown. The first phase of the research was to study the records from the beginning up to the end of the Mark VI era. (1927 to 1975) After several trips to Paris and several thousand hours of research and study, the original shipping data was collected and organized. Finally, it was possible to do a detailed study of each year’s actual sales and compare them the to the information suggested in the existing serial number chart.
Let’s take a look at 1927, the earliest year for which full data was available. The existing serial number chart showed a range from 5601 to 7850.
By simple subtraction, 2249 saxophones were allegedly built in 1927. A search of the actual shipping dates for this serial number range revealed the following: Only 1537 saxophones within this range were shipped in 1927. An additional 404 were shipped in 1928 and 27 more were shipped even later than that. Dividing the actual number (1537) by the alleged number (2249) revealed that the serial number range for 1927 was only 68% correct. Clearly, there was room for improvement. This process was repeated for each year up to 1975.
The average accuracy for the entire existing serial number chart was a disappointing 66%. That’s only two out of three! So about a third of the people using the list got the wrong year for their saxophone. It quickly became obvious that an improved chart was needed.
Fortunately, the primary shipping data could now be used to rebuild the serial number chart from scratch. Beginning with a list of all the actual 1927 sales, they were sorted by serial number. Next, they were grouped into serial number ranges of 100.
(5000 – 5099, 5100 – 5199 etc) and the total number of 1927 sales within each group was calculated. The chart at left shows that less than one quarter of the saxes in the 5000 to 5299 serial number range were sold in 1927. Most were sold in 1926. The range from 7300 to 7800 also showed less than half of the sales in 1927, with most of the remainder being sold in 1928. Between the 5300 and 7299 range, most of the saxes were sold in 1927. This range became the initial boundary for 1927 production. By taking a closer look, right down to individual instruments, the starting and ending points of the range were modified as needed.
The most accurate serial number range for 1927 was finalized as 5300 – 7280. Repeating this process for each year up to 1975 resulted in the development of a chart with an average accuracy of 82%. For searches of Alto or Tenor only, the accuracy rose to 86%. Why is the new chart not 100% accurate? A look at the 1927 chart to the left makes the answer quite clear. As mentioned above, the 1927 range was determined to be 5300 – 7280, so the 1928 serial number range logically started at 7281. But many saxophones from 7300 to 7800 were sold in 1927.
The majority of the horns in this range which were sold in 1928, but clearly not all of them. There are many reasons for this. Different distributors had different specifications, which affected delivery times.
The US-Market horns, for instance, were not normally engraved, padded or lacquered in France. This meant that US-Market horns shipped earlier than others. The more unusual types of saxophones, such as the Sopranino or Bass, were often sold months or even years later than one might expect. Individual saxophones with custom finishes or features would naturally take longer to build, thus delaying their completion date. In building as complex an instrument as a saxophone, there are many reasons why and individual sax’s completion date could be delayed by days, weeks or months. The improved serial number chart is by no means flawless.
But it’s does allow for a far greater level of confidence for Selmer owners and enthusiasts. Douglas’ ongoing primary research continues to extend the scope of the improved chart, into the Mark VII range and beyond. Douglas Pipher is a Canadian saxophonist, collector and researcher who has spent the last several years studying Selmer instruments with the goal of improving our understanding of Selmer history through primary research.
He can be reached at. You’re right, that would be useful.
But it would actually also be a little tricky, for a number of reasons. Selmer didn’t use model names early on, the way that we are used to thinking.
There was no “official name” for the Selmer tenors around 15xxx serial, for example. The keywork changes change at different times – the altos always change first, then tenors, and finally soprano, baritone and other voices (if ever) 3.
So Selmer might be making a Mark VI alto at 53k, but a Super Action Baritone and tenor, and essentially a Modele 26 soprano! Sometimes the first batch of horns with a given change could be followed by later horns that go back and have the older features. I picked up Selmer Alto Sax (As-100) Made in the USA from my friend who purchased it a few years ago.
I am guessing he bought it sometime around 2012 to 2013 (just a guess). I was looking to upgrade my YAZ model and he was moving. So he sold me his As-100 Serial #829121. He moved away and I can’t find him. Now I was online looking to see when this was made and what the Value maybe. I checked all the normal Cat# abd serial # web sites but I have had no luck.
If anyone has any info or a possible web site that has this info. Or maybe a updated phone number to call these guys. Thank would be great!!
Please email it to me. Thanks a bunch!
For various Vito models, see below. Bore: 14:85mm. Please see the main Model Comparison page for how to interpret the results. I am playing “dumb” and loud to test. This is an example of good intonation, and with a “smart” player, this instrument will play in tune.
However the barrel is pushed in all the way! Vito players should have a short barrel in their case.
See the page about. About the headless pivot screws: It is important to keep them oiled. I seem to be finding more of them that are stubbornly stuck than screws with heads on the other horns that I have been reconditioning. Some of the screws have a dot of Lock-Tight on them that was put on at the factory. High register 66mm barrel in all the way 66mm barrel in all the way another Vito F +4 +5 E +10 +9 D +13 +11 C +2 +13 B +10 + +13 A 0 to -2 +10 0 Middle of treble clef G 0 to +2 +6 0 F 0 +5 E +9 to +2 +8 0 D 0 0 0 C +8 +8 0 B +5 +8 Throat tones Bflat 0 to -3 +12 to +18 A 0 to -3 +10 G 0 to -3 0 F 0 0 E 0 0 Chalemeau D +10 +8 C +5 0 Bflat +10 0 +8 A +20 +20 +5 G -4 +3 0 F -6 +2 E +7 Vitos are most appropriate for beginning and intermediate students. They certainly play as well or better in tune as wooden instruments I rate as suitable for intermediate players. When I was teaching in college, I even had a clarinet major who played very nicely on a Vito.
However, in any first rate music school, brand name snobbery will come into consideration, and a good wooden horn will be expected. This first test is with an old Vito 3, which does not have the three tiny, curly springs. Serial # 07574. 2nd is different old model, needle springs, serial # 02131.
3rd is # D33552, a lot newer, with the Lyre shaped Vito logo. Dear Bernie, Thank you for your inquiry regarding Leblanc's VSP and V40 clarinets. I have some information for you.
I would appreciate you sharing information you have found with me, too. There is quite a bit of information about the VSP. Perhaps you know most of this: 1. April 29, 1974 price list a. First listing b. Described as 'first professional non-wood clarinet' c.
Model number 7177 2. May 1, 1983 price list a. Model number is now 7277 3. April 1, 1984 price list a.
Model 7277 VSP is now the 'Pete Fountain' model 4. 1, 1985 price list a.
Model 7277 is now just plain VSP b. New 'Pete Fountain' line introduced 5.
10, 1991 price list a. No 7277 VSP (from plastic) listed b. First listing of VSP grenadilla in two models: 7820 all grenadilla 7810 grenadilla body and resotone barrel and bell c. Bore = 14.65 mm 6. 15, 1997 price list a. Both 7820 and 7810 VSP models now have bore = 14.60 mm 7. Last listing for 7810 8.
March 15, 2002 price list a. Last listing for VSP France model 7820 The V40 is mysterious, and I, too, have not found out much about it.
Perhaps you already know of this: 1. March 1, 1982 price list a. First listing of V40 (but I have not been able to find price lists from 1981) b. Bore = 14.85 mm 2. Still listed in 1997 That's all I have right now for the V40.
It may be possible that I can find some more material. I hope this helps you.
Again, I would appreciate you sharing with me additional information you may have. Thanks, Debbie.