Questions & Suggestions

If you’ve got a question, and you’re not sure where to ask it, you can ask it on this page via a comment. If I don’t know the answer to your question, I’ll do my best to research it, and get as much information as I can for you.


Photo by M. Margison. Photo effects by H. Kahlke ©2008

I get all kinds of questions sent to me via email. As time permits, I’ll get some of those questions that get asked often, and the answers to them of course, posted here as well.

Also, if you have any suggestions for future blog posts, I would love to hear them. Feel free to post your ideas here, or drop me an email.

Perhaps you have a vintage horn with an interesting history that you’d like to tell people about. I’m always open to having you tell your horn’s story on my website. Just get in touch with me, and we’ll figure out the details.


Photo & photo effects by H. Kahlke © 2009


  1. Hi,
    I have a very early Buffet Crampon Baritone with serial number 39. According to serial number lists this means it was made between 1866 and 1868. I bought it when I was living in Brussels in 1983 from friends who had it as a decorative object. It seems to have all original keys and no parts missing. I had it checked out by a repair guy in the early nineties who said he could fix it up – repad, recorks, adjust and a little solder for about $200 in those days. It has 16 keys that operate 17 pads. I’ve decided to sell it. I would be pleased to send more photos. I am curious to know what it is worth.
    Thanks for any advice you can give me.

  2. Is it possible to determine if a Rene Dumont tenor is a Keilwerth stencil or a D&J clone?

  3. Hi Helen
    I’m currently experiencing “descending mouthpiece” problems on baritone (actually on two baritones – a Buescher 400 and a Pan Am). At the moment I’m playing two consecutive festivals, outdoors in heatwave stricken New South Wales in 30+ temperatures and to stay in tune the various mouthpieces I can use are all pulled so far back that they fall off the neck. I’ve had the shanks of two mouthpieces extended (A GW hard rubber and a Metalite) but my loudest, outdoor mouthpiece is stainless steel and can’t easily be extended. I know the problem exists for other musicians in the area, on tenor and bari, but when I contact overseas saxophonists they have not experienced the problem.
    Selmer/Buescher clearly were aware of it as the necks on the 400/Bundy were lengthened towards the end of the production.

    • I had a similar problem with my Conn 12M and a Brilhart LevelAire stainless steel mouthpiece. The tech I used put thicker cork on the crook and the Brilhart fits OK. However, I suspect that the Brilhart, made in the 1960’s, was made with the Conn 12M in mind. There is a person in the US who makes slightly longer crooks for the Conn 12M which solve the problem with modern mouthpieces. I am a 74 year old relative novice with a 1953 and 1958 12M both in silver plate.

      • I came up with two solutions to the problem. Firstly I had the shanks on two mouthpieces extended – a Metallite and my favourite Greg Wier. Secondly I thickened the end of the neck of the Buescher using the thermoplastic of an old credit card and used thinner cork to reduce the amount of play in the arrangement. Both solutions worked well, though the mouthpiece shank extension was better.
        A student of mine spent a lot of time and a small fortune on mouthpieces before coming across an appropriate vintage piece.

  4. Hello ! My father(deceased) has a Selmer Tenor Sax: 1952 Super Action BREV SGDG 3830 8.
    Made in France
    It has a Soloist C mouth piece. Would you be able to shed any information on this instrument? Thank you.

  5. I have a very old Orsi tenor, double octave keys and only goes to low B and has minimal side keys. I also have a soprano with similar features and a few newer ones and I like playing all of them.

    I became interested in Orsi after a band exchange trip to Italy in 2010 as I saw how much they liked the brand.

    The old tenor has a numeric serial number 185051. Any chance the first four digits are the year it was made?

  6. Hi my father has a bass sax from E. Beaugnier that I’d love to get some info on for him. It’s a short one without a serial number and with the ship logo on it. He has been using it for many years in a jazz band. Photos can be added though I’m not sure how.

    • Hi there. I’d be happy to help you any way I can.

      You can send me your photos directly to my email:

      Send them the largest size you can, and don’t worry about sending too many. Split them up over multiple emails as well. Not a problem. Main thing is that the photos need to be clear, and show all sides and areas of the horn.



  7. Linda Turman-bagby

    Hi, my daughter is majoring in music theory education & needs a needing a C* tenor mouthpiece. When I search that I get results with 4C or s-80 etc. are these the same but from different companies or are the compatible? I have very limited knowledge in regards to the saxophone other than they are a beautiful and in my opinion probably the sexiest sounding instrument my ears have ever heard. Please help!
    Thank you

    • Hi Linda.

      Mmmm…. Is your daughter already a saxophone player? Why the specific mouthpiece? Was it recommended to her by instructor/professor/teacher?

      C* refers to a tip opening by Selmer. S-80 is the series currently in production.

      In theory all of these should play the same from one to another. However, as any sax player will tell you, if you go to music store with your horn and try mouthpieces, if you play 2,3,4, or even 5 mouthpieces of the same model/tip opening, often there are differences between them. The manufacturing process is not necessarily so precise that each piece will play identically.

      That’s why most serious players will want to try before they buy any piece. That said, there are often times when that is not possible. EG: If a particular brand is not available in your area. Or if you are buying a used or vintage piece from a dealer say.

      Selmer MPs are available at music stores that are Selmer dealers. C* is the most common tip opening there is. It should be in most music stores’ inventory. Your daughter should be able to find one fairly easily through a Selmer dealer.

      Hope this info helps. If you have any further questions, please feel free to ask.

  8. Hi there. I’m new to this site and somewhat a new player. I have a C.G. Conn Naked Lady Tenor Sax that was given to me by my late uncle. Anyway, the lower D key (in cage.. I think it’s a D) is closed by a piece of cork. I mean that the piece of cork is wedged between the the keypad and the cage which is forcing the key / pad closed. What would be the reason for that? Thanks in advance.

    • Hi Steve.

      The low D key does not have a key guard. I suspect that the key that is held down by corks is the fork Eb. Some techs like to do that when overhauling instruments because the key may be prone to leaks on some instruments if the springs are worn—and most people don’t use the key anyway.

      Here is a photo of my Martin Handcraft tenor showing the fork Eb key. (It’s the smaller of the 2 keys, just below the right thumb hook.) When it was overhauled by my tech in Halifax in 2000, Layne put extra green felts in close the fork Eb key permanently.

      Is this the location of the key that you’re talking about?

      • Hi Helen,

        First of all, thank you for getting back to me. I’ll take a picture tonight and upload it. I just noticed it last night and if I remember correctly it is more towards the lower back more. Another question I now have is what would you use instead of that key then if it is shut closed? Just curious. Thanks.

        • Here is a photo of Conn 10M (the same model you have) that has the same key. Here is a different 10M from the same angle as the one I took my photo from.

          The fork Eb was an alternate key that not all instruments had, and was used by some manufacturers in the 20s and 30s in some of their models. We all play Eb 1 and 2 (without and with the octave key) by using the conventional Eb/D# key on our horns. It is operated by our right pinkie, and is located directed above the low C key.

          That’s where those rollers come in handy. We don’t have to physically lift our pinkie up, but rather our pinkie rolls from low C to the Eb key.

          I’ve attached a photo from a 10M’s right pinkie keys here for you to see what I’m talking about…

          • Bam! That’s the one. The first pic shown. Thank Helen. I didn’t know that was common practice on the older / vintage models. Thank you again for your help and knowledge! I learned something new today. Ha!

            • The fork Eb was also known as the “bastard key” for its tendency to misbehave and not seat properly, just killing the ability to play the bottom end of the horn. They’re kinda neat when working properly, but it’s questionable if it’s worth the effort necessary to keep them reliable.

              Corking the key shut obviously means 123/1 3 won’t produce Eb any more, and in theory it means E will be a little bit flat (as the horn was designed with that key standing open), but it’s not a huge difference.

              • My personal experience is quite different Mal.

                Of all of my very vintage babies, only my Martin Handcraft tenor has had its fork Eb closed off. (Layne did it without consulting me.) No other techs I have had overhaul a horn have done it without asking me what to do.

                I have chosen to keep them them open b/c I use the key, and haven’t noticed any issues with leaking. The fork Eb key has not been the source of leaks in any of the horns that have them.

                Have they leaked? Maybe, but they have not been the cause of a problematic leak. Much more common are the usual trouble spots like A & D. If I have trouble on any horn, that’s more often than not where it is.

                • I have some saxophones with fork Eb systems and have not experienced any problems.

                  Before leather pads where protected by a water seal (polyurethane, silicone, plastic or metal foil) there was a good reason for it to be a problem.
                  When you put such a saxophone in its case the fork Eb tone hole is one of the lowest points in the case and most of the remaining water will accumulate in this closed tone hole, making this pad the wettest pad in the case.
                  It had to be replaced faster than other pads even faster as the pads for the high F, E, Eb and D tone holes.

                • If I were prepping a horn to flip, and it had a fork Eb, I would have it working when it left. However, I’d also tell the buyer that if it starts leaking, he/she can just wedge it shut.

                  I don’t use it much. I suppose I’d use it for a C-Eb or Db-Eb trill, since it’s about the only option — but for that reason, that isn’t written very often. I don’t like the sound of the Eb sustained through the tiny tone hole, it’s uncentered. (This is also why I don’t like “coke spoon” alternate F# keys.) I’ve seen baris with full size, wraparound fork Eb tone holes, and that I wouldn’t hesitate to use. I think bari (and bass) is where that alternate fingering does the most good, since the smaller horns generally aren’t asked to do finger twister at the bottom end. Baris, and I assume basses, /are/ asked to do that stuff.

  9. I have a Conn Bass Sax that I would like to find an approximate value on and see how best to sell it. My father bought it around 1933 & played it until he retired in 1970. He started playing around 1910 and played on the Strekenfus River Boats on the Mississippi river around 1920. I know he knew & played with Jelly Roll Morton & Louis Armstrong back around then. His picture is on the internet if you look up the Strekenfus line & you can hear 2 songs they played back then. The Bass Sax has the following on the horn – 1st line shows Patent 1914, some writing I can’t read. 2nd line starts with 111, but also can’t read the rest. 3rd line is M24049 & final line is B, probably showing it is a Bass. I’m sure I can get a magnifying glass to read those blurry lines. Thanks for any comments & assistance.

    • Hi Ron, welcome to my website.

      I’ll send you an email, but the quick and dirty answer regarding value is all depending on condition of course, this bass is likely to fetch upwards of 5 to 6K. I assume you have the neck for it. If not, the will affect the price, because a replacement by Gloger is not inexpensive. Also a proper case is also not inexpensive, so it having one also factors in to the price somewhat.

      I’m going to ask you for some more photos just to be sure of what kind of bass you have there. If you read this before you get my email, you can send your photos to me at:

      I would need to see the other side of the horn. Also, just to confirm, is the horn silver or gold in colour?

      I’ll do my best to send you a note later today…helen

      • Thanks, Helen. Yes, I have the neck & mouthpiece and just took a picture with it all together. I do not have a case for it, but will look into it. It is Gold in color. Thanks for your prompt reply!


  11. Hi Helen,

    Do you know a German saxophone maker with an underslung octave mechanism?
    This saxophone is named Rem Super DES, there are more pictures.

  12. You wont believe this, but I picked up a pierret super artiste bari sax at a antique store yesterday, on your website you have pictures of the sax one serial number before that (I have serial 1291, on your site you have 1290, this post with that being said, if you have any information on this sax, we may be a step closer to solving the mysterious ways of pierret serial number.

  13. What’s your opinion on that Sakkasu bass sax for only 4 g’s? It’s a china crap horn but their shop supposedly fixes them up. I’m skeptical, and anyways not sure they come in a long wrap model. Really want a late 20’s buescher or conn but can’t find one in my area, and terrified of poor packing jobs by amateur sellers, as I’ve had too many horns arrive bent that way. Thanks.

    • I don’t have an opinion on the Sakkasu bass, since I haven’t played one. I can tell you that they were made by Jinbao, and that those are ostensibly better than the Jinyin-made, vintage American-style bass saxes.

      I do know of at least one pro player who had developed wrist problems, and no longer could play his vintage Conn. He sold the Conn, and bought a Jinbao-made horn and is very happy with it.

      That said, the thing you have to remember is that these “short wrap” horns are copies of the Selmer Series II bass saxes, and that many people will tell you that they just don’t have the same umph as the Conns and Bueschers et all of the day. There is just something about the American-style horns that gives them a sonority that the French-style horns don’t have. These short wrap horns have been compared more to “big baritones” than to bass saxophones.

      However, since I have not had the opportunity to play one to date, I can’t comment with any real authority. I can tell you that of the people who I know who have bought them, I see about a 50% satisfaction rating. Half the people are satisfied or happy with the horns and keep them. The other half find them too much like big baris, and go on to sell them and find themselves a vintage American bass.

      • Thank you for your reply. I have heard that from othhers too, about them sounding like “big baris.” If your friend wants to sell his vintage Conn let me know! Are the Jinyin ones you spoke of the CANEX company? I have heard of them but also heard the craftsmanship was poor. It looks to me like there are a few Mark VI bass saxes out there going for about double my price range, and they are long wrap horns if my eyes are not decieving me. Do those sound like the old Conns and Bueschers? All the best, James

        • Jinyin made (makes?) all the vintage American-style bass saxes on the market. Period. Full stop. Canex is just one of the companies that ordered from Jinyin.

          The stencil name on the horn doesn’t matter. The manufacturer is all the same. I have spoken to the designer of these horns, and I can tell you he is not impressed, which is why he abandoned this style and put his company’s focus on only the Jinbao-made, French-wrapped horns.

          If you are curious about both the short comings and upsides of a Jinyin-made, bass saxophone, I urge you to read the review I wrote of one I played.

          As for the Selmer Mark VI’s you’ve seen, yes, your eyes are deceiving you. They are all short-wrapped. The only European horns you’re likely to see that are American style are J. Keilwerth. I put likely in italics, b/c it is possible that the odd seriously vintage German horn from a company like Kohlert or Adler might might pop up, but it’s not as likely as a JK.

          Hope this helps…helen

  14. I recently acquired this Saxophone, I could not find out anything about the Maker. It is Marked, Made in Italy, and “DiLeo” I don’t know anything about Saxophones , I just buy and sell vintage and antique pieces. Any input on value, as well as maker info I would be greatly appreciative of. Thank you, Shaun

    PS, I am happy to supply additional pictures.

  15. greeting
    I have one sax the new king sax alto and can not find any information on the net
    I think 1939 was in good shape.
    I beg you for help!!
    how much sax can be worth

  16. I was thinking of buying a baritone sax and don’t know what to look for. And also what price should i look for.

    • The answer to your question depends entirely on a number of factors: 1. What kind of playing you do. 2. How experienced a player you are. 3. What your budget is.

      All QUALITY baris are going to cost you A LOT more than altos or tenors.

      Depending on what type of playing you do, you have to decide if you want a low Bb or a low A horn. Low A horns a almost a must if you do pit orchestra work. That said, I have gotten away with using my low Bb Selmer Mark VI in pit work, and using the low A extension that Paul Coats designed. It works like a charm, but does have its limitations.

      If you are an experienced player already, then a vintage bari might be viable option for you. The JK-made Bundy horns are an excellent bang for your baritone saxophone buck. They are only keyed to low Bb. If you really want a low A horn, then a Weltklang could be a good choice as well, but their ergos leave a lot to be desired—especially if you currently play a modern horn already, and thus are used to more modern keywork.

      If you are looking for a new bari, I can highly recommend the new Seawind baritone. I played their prototype model for over a month, and it was very lovely. I tried to talk them out of it should they ever decide to sell it. (It doesn’t sound like they will though sadly.) I can tell you that had Seawind baris been available, I would never have bought my Medusa back in 2005.

      I would recommend that if you can’t try and buy a bari locally, that you buy it through an established dealer where you know what you’re getting. One such person I Quinn the Eskimo Vintage Horns. (I just noticed he has a YBS-53 that would be a strong contender.) Another is Gayle at Yet another is

  17. Charles Carmody

    Oooops! So here’s the deal. I love working on mechanical things. For my retirement, I will be working on musical instruments. I have a Melody C sax that is totally dismantled. The leavers and pads are fine; however, I removed the springs to replace them with new……I will order a spring kit for the sax. Is there any diagram that will tell me and show me what size and length spring goes where, for what lever? Thanks, Charlie.

    • I have never seen a diagram for the size and length of springs on a saxophone.
      It is possible that they exist, but the chances of finding one for a 90 year old saxophone are small.

      The diameter of the spring must be slightly smaller than the hole which holds them.
      If the diameter is right you cut them to the required length.

    • You have just set yourself up for quite the adventure. Typically before changing springs, one wants to take a block of 2″ X 1″ wood and drill holes in it that reflect the position of each spring where it would be along the upper and lower stack (it will look a good deal like a cribbage board). This way you have record of the original diameter, length and location of each spring when you place it in its respective hole.

      Whether you have done this or not, you will still need to test the fit of the spring when you replace it. With the key loosely in place, push the spring though the post and check that it is slightly snug when its pointy end is about 1/8th to 1/4″ past the spring hook on the key. Use a utility knife to mark where you want to cut off the excess length of spring. A tempered wire-cutter will work, just be cautious of flying spring pieces; they can be painful.

      You will then gently grip the pointy end with a pair of pliers and heat the cut end with a torch until it is just about to glow red. Before it cools completely, tap the heated end with a hammer (a tack hammer is about the right weight) on an anvil (a jeweler’s anvil of hard brass is ideal, but the top of a bench vice works well) to form a short fan-shaped wedge. To install the spring, make note of the slot in the post and slide the wedge into it, pressing it in firmly (but not too hard) with your spring pliers. The next best tool would be round-nosed pliers; or gently press with a nail-set. Needle nose or standard slip-joint pliers are a Very Bad Idea™.

      Place the key in position (with its axle rod or end screws), use your spring hook to put the spring in position, and check your work. (The old-school substitute for a spring hook is a #6 crochet needle.)

      I suggest you start from the bottom. Even though this means repeatedly mounting and dismounting keys, it’s the best way to eliminate the fat springs till you get to the skinny ones.

      Have fun 8^)


  18. Hi,

    I need some help identifying a sax. I live in Cairo and have come across a sax marked as a Hohner but it looks like nothing I can find online. The serial number is 1363. Can anyone shed any light on this?

    Thanks in advance


    • Here’s another pic

      • And the last one of the stencil. Thanks in advance

      • Hi Julie.

        Check your email, I wrote to you before I saw your comment here.

        For those of you following along at home, ;) here’s what I wrote to Julie about this particular Hohner alto:

        Hi Julie.

        Thanks for your note.

        That sax is not a Hohner President that I have written about extensively. It is was of the later ones that seem to pop up for sale—mostly on German eBay—made by some Asian company. They are cheap, stencil horns that I can’t tell you anything about.

        The only things I can tell you, is that they are roughly modelled on a Selmer (like all modern stencil saxophones are), and it was likely made in either China or Taiwan.

        As for the question if they are any good, that is of course very subjective. Good compared to what? Are they as good as the original Presidents? No. These are not professional model saxophones. I would be hard pressed to see them being anything beyond student level horns. I can’t tell you anything about their build quality, or if they play in tune or not.

        I’m also not 100% sure if all the Hohner saxophones were made by the same factory, or if Hohner ordered stencils from different companies over the years. Furthermore, I have never been able to find any information when it was exactly that Hohner sold saxes after their own President production ended. Thus, I can’t tell you exactly when it might be that these horns were made.

        The reason I mention this last bit of info, is that we do know that horns Taiwan have gotten better over the past few years, while horns from China are still for the most part crap. If this horn was made early in Taiwan’s sax production, or comes from China, it is almost guaranteed to be junky.

        So there you have it.

        Hope this helps. It all depends on what you want in a sax, and what you plan to do with it. (And of course what the seller is asking for it.) If you are looking for an instrument to make a table lamp out of, and the price is cheap, then this could be a good choice. If on the other hand, you want a horn to last you a lifetime, I would suggest you keep looking…

        Warm regards,


      • hi Julie Clarke
        i think have same sax!!
        to my write the new king
        do you know how much sax can be value??

  19. I saw a Facebook live video of one of the guys from playing a P Mauriat bass sax but I can’t find anything else about this horn existing… Do you know anything about this horn? Prototype? Early release?

    • I did some research, and found nothing on P. Mauriat mentioning bass saxophones anywhere.

      Here are my thoughts on this:

      1. We know that P. Mauriat doesn’t make its own saxes, but rather orders them from a factory in Taiwan (probably) or China (not so likely). Therefore it isn’t that far a stretch to imagine that the company might work with either Jinyin (not so likely) or Jinbao (much more likely) to develop a bass saxophone to their exact specifications. Jinbao—the makers of the short, or “French” wrap bass saxes—has a history of working with companies like IW, Oleg, and even J’Elle Stainer to develop horns that are tricked out exactly as the ordering companies want them.
      2. The question that I would have is why would P. Mauriat go down this road? I know for a fact that R&D in this field is very expensive, and unless they figure that they can sell enough of them, why would they bother? Has P. Mauriat done some market research to see if they have a market for bass saxophones with their name on them? Because really, how many bass saxophone players are there in the world? How many potential players are there who aren’t being served by the existing new and used horn market? Very little (almost none really) new music is being written for bass saxophone.
      3. Most professional bass saxophone players in the world are opting for vintage American horns, and if they are well heeled, specifically the Conn 14M keyed to high F. If they want to buy new, they still have the option of buying a J.K. that is vintage American styled, or a Selmer, or an Eppelsheim—which would be my personal choice if I was a working bass player. Not many pro players I know are buying Jinyin or even Jinbao branded horns. These are really more the horns for amateur and weekend warrior types.
      4. Having said all that, I could be totally wrong, and perhaps P. Mauriat is developing a prototype b/c they know something I don’t. Perhaps they have had X # requests coming into their company for bass saxophones and they’ve decided to develop a horn. Who knows, perhaps another Asian manufacturer might even be jumping into the fray and developing one from the ground up. This seems unlikely, but hey, you never know. If the last 12 months have taught me anything, it’s that you can’t count on what you held to be true, to be true any longer.

  20. Marshall E. Norman

    I have an old Acme Artist Alto Sax. I am hoping to have it completely refurbished. It needs complete restoration. Where can I have that done?

    • Hi Marshall. Welcome to my site.

      There are many places that can refurbish your alto for you. Where abouts do you live? Perhaps I can send you to someone fairly close to home.

  21. Hi, I bougth a Vibrato Sax Nude and i want put the Led light like a Ellie Sax. Can you help me please. Thank you.

    • Hi Cinthya.

      Well, that’s a really good question. ellie.sax uses different type of LED light than I have used in saxophones. The type that I have used are a strip, and require electricity. Mine are multi-coloured as well, and provide lighting to saxophone lamp/art project. Like the one that Ellie uses in her sax, I have the LED lights inside the horn.

      However, since she plays her saxophone, the lights have to be 1. Battery powered, and 2. Not interfering with the sound.

      I took a really good look at the photos on her website, and I can’t quite figure out how those lights are attached. They do appear to be inside the sax. But given that she is playing with a professional, smooth jazz sound, I don’t know how she does that.

      I’m wondering if she has Vibratosax make a sax with lights in it specifically for her? Just a thought…

      You could always either write to Ellie herself through her website and ask, or to Vibratosax. I would start with Ellie and see if she would be willing to tell you if the lights are on the inside or outside of the instrument. And if they are on the inside, how they don’t interfere with the sound.

      In the photo on the wedding page, you can see that the lights are very close together, and almost seem to be part of the instrument itself…

      • here is an example of led strips on a saxophone:

        • Interesting, but not that practical for a working horn.

          That is the same light strip I use in my saxophone lamp though! Interesting. I never paid attention to the fact that it could be battery powered.

      • Hi Helen,

        Just got around to checking this out, and I am 99.44% certain the light are attached on the outside of the body, under her left hand, and continuing down the tube where they joint another set tucked in under the keyguard from bow to bell. The back of each cluster is opaque and the lights are directed inward, giving the impression of radiating from within. This type of polycarbonate has similar properties to glass fiber which is why the light diffuses so nicely. I’m guessing the battery pack and controller are under her left palm which would block any obvious dark area on the sax, and the wireless control is by blue-tooth, not infra-red.



  22. Thank you for your fast reply.
    Yes, i know he was just a dealer. But without any mark of any manufacturer, can’t tell who manufactured this horn.
    I would appreciate any help with it.
    I’ll send you pictures of the horn.

    Thank you.


  23. Hi.

    Thank you for the information that you provide.

    I’ve bought an alto saxophone of Johannes Adler. It does not have any stencil in the front bell (just from the side Johannes Adler, Markneukirchen I. Sa. 323) and does not have any mark/sign near the thumb rest – not pointing to neither any of the brothers Julius Keilwerth or Max keilwerth. The serial number is: 1544. The bell keys are on the left side.

    Can you help me with some info about it? I would appreciate.

    Thank you.


    • Hi Pedro. Welcome to my website.

      Johannes Adler was never a manufacturer of instruments, and only ever ordered them from manufacturers and had their name name “stencilled” on. Although Max Keilwerth is the most common manufacturer that I have seen, there are certainly many others who could have done it as well.

      In order to tell you who might have made the saxophone, I would have to see some photos of it. You can send them to at:



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