Worldwidesax - Fine Vintage Saxophones
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For 2012 Work Schedule Scroll
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Our Work Schedule 2012: 1-3-11 Conn Gold Artist "Harp" alto: WWS horn gets Vintage Standard Rebuild for customer. Seward In Progress
1-17-12 Buescher Big B Tenor: Customer horn gets Vintage Standard Rebuild with metal-backed pads and natural cork throughout. Williamson In Progress
2-1-12 SML Rev D Alto: Customer horn gets Vintage Standard Rebuild with prestini pads and natural cork throughout, + custom key fabrication. Heine In Progress
2-15-12 The Martin Tenor: WWS horn gets Vintage Standard Rebuild with prestini pads and natural cork throughout for customer. Gillette
3-1-12 Buffet Super Dynaction Tenor: WWS horn gets Vintage Standard Rebuild with prestini pads and natural cork throughout for customer. Croasdale
3-15-12 SLOT OPEN
3/29--4/14/12 TIME OFF
4-16-12 SLOT OPEN
If you wish to schedule a rebuild, or purchase one of our saxes (and it still needs to be rebuilt), send us a 50% deposit to hold your place in the work schedule. We work from a published schedule (see left margin) so that your sax will only be out of your possession a couple weeks, while i do the actual work, it does not have to just sit on the shop floor, until its turn comes up... you send it to arrive on schedule and we return it on schedule. E-mail chadd with questions about our vintage saxes at: worldwidesax@gmail.com
Click the links above to see what's in stock. If a horns says "just rebuilt", then it's ready to go, saxes that say "scheduled for a rebuild" are waiting for the work to be done, but it will be included in the posted price. If a sax says "ON TRIAL" someone is taking advantage of our "Three Day Trial" policy (See Info and Orders page). NEW! Saxophone Comparison Chart Some of the best vintage saxes of all time
Here is a pic of some custom resonator work. We can size the reso to your tonehole, or whatever you like.
We can get you virtually any resonator made, my favorite is the Resotech solid silver reso.
WE DO GOLD AND SILVER ELECTRO-PLATING That's right! We have a: GOLD STAR Pro plating system
It is our business to Rebuild your sax or sell ours as Fully Rebuilt Saxes. We never sell our stock "As-Is". We are Restorers.
If you wish to schedule a rebuild, or purchase one of our saxes and it still needs to be rebuilt, send us a 50% deposit and we will schedule its rebuild before any of our other worldwidesax.com inventory.
Everybody loves these new Kangaroo skin pads, aka Saxgourmet Pads and you can get them from Curt, at musicmedic.com you can request that any WWS stock be rebuilt with them, or just click this link and order some for yourself. Check out our newest pages...
Hard to find: Here is a helpful outline of SML serial Numbers: S.M.L.
Serial Numbers: 0001
– 3000 / 1934 to 1940 3000
– 5500 / 1940 to 1945 5500
– 8000 / 1945 to 1950 8000
– 12000 / 1950 to 1955 12000
– 16000 / 1955 to 1960 16000
– 19000 / 1960 to 1965 22000
– 24000 / 1970 to 1975 24000
– 26000 / 1975 to 1980 26000 – 27000 / 1980 to 1982 Here is a helpful outline of Keilwerth serial Numbers: Keilwerth Serial Numbers: 1925: 0-800 1933-5: 9000 1941: 18,500 1947: #20,000 1953: #23,000 1958: #28,000 1960: #38,000 1962: #43,000 1964: #49,000 1966: #55,000 1971: #69,000 1978: #79,000 1986: #91,000 1993: #99,100 1996: #104,000 1998: #109,000 2004: #119,000 Keilwerth made The New King and Tone King as their main brand names, from 1932 to 1969 or so, but there were always stencils, like Edgeware and later Couf. Here are few of the other names you may find on Keilwerth made horns. The New King and Tone King saxes were identical except for a high F# key on the tone king model, but keilwerth marketed the Tone King as the "deluxe" Pro model and the New King as the "standard" Pro model Known Keilwerth Stencils: Couf Superba 1 & 2 Royalist Conn DJH Buffet Edgeware Marco Vincent Albert Martelle Winsall Tam Bundy Special Armstrong Heritage King Tempo Champion Calvert Deluxe Silvertone Hammerschmidt (sopranos) Jean Barre Artist (seen Alto) Bundy (H&A Selmer)
Keilwerth copiers, such as Amati, Dörfler & Jörka (1949 to 1968, then purchased by Keilwerth) and B&S H.Genet Roxy Jubilee Voss Silvertone Rene Dumont Keilwerth relatives: Max Keilwerth and Richard Keilwerth (Graslitz) made saxes under the names:
Weltklang (baritones only) Senator Hohner
Here is a handy chart for King zephyr series: Zephyr
and Zephyr Special s/n
170xxx to 180xxx s/n 180xxx to 237xxx Zephyr Special: s/n 200xxx to 280xxx s/n 237xxx to 305xxx s/n 305xxx to 423xxx s/n 423xxx to 540xxx 1945 was the beginning of King's Super 20 (s/n 272xxx)
Past Work Schedule 2010: 4-13-10 Gold Plated The Martin Soprano 64,xxx: Done 4-18-10 Silver The Martin Tenor 184K "USMC": Done 5-7-10 Buffet SDA Alto 18K: Done 5-14-10 Armstrong Low A Baritone: Done 5-25-10 Conn 10M: Done 5-28-10 Martin Committee 2 Alto: WWS Done 6-1-10 J. Keilwerth 1934 New King Alto: Nickle plated Done 6-11-10 The Martin Alto: Done 6-17-10 Silver Buescher Big B: Silver plated WWS horn gets a Standard Vintage Rebuild with flat metal resos for customer. Done 6-24-10 1948 Conn 6m Naked Lady: Done 7-2-10 Buescher 400 Tenor #505K: WWS horn gets a Standard Vintage Rebuild with Prestini rivetless dome metal resos. WWS Done 7-8-10 1928 Silver Conn Chu Alto: Customer horn gets a Standard Vintage Rebuild with flat metal resos. DONE 7-20-10 King Super 20 Alto #415K: WWS horn gets a Standard Vintage Rebuild with flat metal resos. WWS Done 7-28-10 Conn 6m: customer horn gets a Standard Vintage Rebuild with flat metal resos. Done 7-28-10 1945 The Martin Tenor: WWS horn 153K gets a Standard Vintage Rebuild with Seamless Domed resos. WWS Done 8-5-10 Buescher Aristo "156" Tenor #338K: Done 8-12-10 1953 SML Rev D #10K: Chadd horn gets a Vintage Standard Rebuild with Presini pads, some Premium upgrades, minor fabrication work, and some plating restorations. Done 8-13-10 1972 Selmer Mark VI alto #208K: WWS horn gets a Vintage Standard Rebuild with Presini pads and natural cork throughout. WWS Done 8-27-10 1940 Conn 26M alto: Customer horn gets a Premium Vintage Rebuild with White Roos & Seamless Flat resos. Done 9-7-10 1952 King Zephyr Alto: WWS horn 328K gets a Standard Vintage Rebuild. WWS Done 9-23-10 Buescher Big B Tenor #322K: WWS horn gets a Standard Buescher Rebuild with Buescher snap in pads and natural cork throughout for customer. Done 6-17-10 Silver Buescher Aristocrat #280k: Silver plated WWS horn gets a Standard Vintage Buescher snap-in Rebuild with original metal resos. WWS Done 10-15-10 1960s LeBlanc Rationale Tenor: WWS horn gets a Vintage Standard Rebuild with Presini pads. Sarge/WWS Done 10-22-10 1953 SML Rev D #10K: WWS horn gets a Vintage Standard Rebuild with Presini pads for customer. Done 10-26-10 1940 Martin Comm 2 alto: Chadd horn gets a Vintage Standard Rebuild with Presini pads, some Premium upgrades for customer. Done 11-4-10 Buescher Aristocrat Alto #345k: WWS horn gets a Standard Vintage Buescher snap-in Rebuild with original metal resos. WWS Done 11-4-10 Buescher Big B Aristocrat Tenor #317k: WWS horn gets a Standard Vintage Buescher snap-in Rebuild with original metal resos. WWS Done 11-18-10 Silver Conn Chu alto: Customer horn gets a Standard Vintage Rebuild with flat metal resos. Childs Done 12-2-10 Buescher Big B Aristocrat Alto: WWS horn gets a Standard Vintage Buescher snap-in Rebuild with original metal resos. WWS Done 12-14-10 The Martin Tenor #208k: WWS horn gets a Standard Vintage Rebuild with flat metal resos and rivet center. WWS Done 12-17-10 Nickel Conn Chu Tenor: WWS horn gets a Vintage French Standard Rebuild with plastic resos. WWS Done
Please e-mail or phone us for additional descriptions or JPEG's of
any of our current inventory, or if you don't see something you would like to have, let us
know. We have a long list of customers you can
e-mail for references. (see References Page) ~~Chadd&Steve~~ Past Work 2011: 1-1-2011 H.Couf Superba 1 Tenor: Customer horn gets a Standard Vintage Rebuild with Pisoni rivetless dome metal resos. Thaut Done 1-4-11 1938 Buescher Aristocrat series 1 Tenor: WWS horn gets a Vintage Buescher Snap-in Rebuild with natural cork throughout. WWSDone 1-19-11 1940s Buescher Aristocrat Alto: Customer's alto neck gets pull-down repair and dents removed. Garcia Done 1-19-11 Conn "tranny" Chu alto: WWS horn gets a Vintage Rebuild with natural cork throughout and Sherry Huntly Engraving. WWS Done 1-28-11 Conn 6m alto: Customer horn gets a Vintage Rebuild with natural cork throughout. Harford Done 2-5-11 King Super 20 alto - pearls: WWS horn gets a Vintage Rebuild with premuim extras. WWS Done 2-22-11 King Super 20 tenor - pearls: Customer horn gets a Vintage Rebuild with oversized Noyak resos on Black Saxgourmet Roo pads. Atkinson Done 2-23-11 Buescher 400 Tenor 429K: WWS horn gets a Vintage Buescher Snap In rebuild. WWS Done 3-10-11 Conn Gold C-Soprano 98K: WWS horn gets a rebuild for customer with silver Resotechs to be gold plated & Premium Upgrade. Gast Done 4-7-11 King Super 20 tenor --full pearls: Sax gets a Vintage Rebuild with premium extras and seamless flat resos. Sarge Done 4-14-11 Conn Chu tranny tenor: Customer horn gets a Vintage Rebuild with oversized Resotech resos on Black Saxgourmet Roo pads and a Premium Upgrade and New stainless steel springs. Mattina Done 4-21-11 Buffet S-1 Tenor: Sax gets a Vintage Rebuild with premium extras and seamless flat resos. Sarge Done 5-10-11 Vintage YAS-62 purple label: Customer horn gets a French Standard rebuild with plastic dome resos. Tebo Done 5-13-11 Vintage Dolnet #24K: WWS horn gets a French Standard rebuild with Flat Metal resos. WWS Done 5-19-11 Selmer Mark VI alto: Customer horn gets a Silver Restoration with a French Standard rebuild with plastic dome resos and full Spring Replacement. Zax In Progress 6-3-11 Selmer Mark VI Tenor: Customer horn gets a French Standard rebuild with plastic dome resos and swedging. Layer Done 6-20-11 Silver Buescher TrueTone IV Alto: Customer horn gets a Vintage Standard rebuild with Buescher Snap In Pads. Tarvin Done 7-1-11 King Saxello customer horn gets a Vintage Standard Rebuild. Zax Done 7-15-11 Silver Conn curved Soprano: WWS horn gets a Vintage Standard Rebuild after chemical Lacquer stripping, for customer. Luchtan Done 7-29-11 Silver Conn 26M alto: WWS horn gets Rebuilt and some much needed TLC. WWS Done 8/7/11--8/13/11 TIME OFF 8-15-11 1935 Conn 10M tenor: WWS horn gets a Vintage Standard Rebuild for customer. Oleru Done 8-16-11 The Martin Tenor 1953: Customer horn gets Vintage Standard Rebuild. Neilo Done 8-29-11 King Zephyr alto: WWS (OS) horn gets a Vintage Standard Rebuild for customer. harrson/Keller Done 9-1-11 Maintenance & School Prep
9-10-11 Maintenance & School Prep
9-20-11 Martin Committee II alto: Customer horn gets Vintage Standard Rebuild.Siboliban Done
10-1-11 Martin Committee I alto: Customer horn gets Vintage Standard Rebuild + a new custom screw rod. Siboliban Done
10-18-11 Martin Committee III "The Martin alto": WWS horn gets Vintage Standard Rebuild for customer. Zink Done
11-1-11 H&A Selmer Bundy Baritone: WWS horn gets Vintage Standard Rebuild for customer with domed metal resos for customer. Snowhill Done
11-13-11 Mark VI alto: Silver Restoration Returns from Andersons. Customer horn gets a with a French Standard rebuild with Metal dome resos and full Spring Replacement with Rose Gold Plating Accents. Zax Done
12-6-11 Buescher Big B Baritone: WWS horn gets Vintage Standard Rebuild with metal-backed pads and natural cork throughout. Aaberg
12/22--31/11 TIME OFF
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Relacquers and Restorations (photos below)
I wanted to weigh in my opinion on Relacquers and Restorations, because i get almost daily emails, wanting to know what i think about them. A vintage horn is heavier and more solid than today's Chinese, Taiwanese or Japanese horns... and can usually take one relac/buffing, without any real ill effects... but many "+50 year old" horns have been relacquered 2, even 3 times. By the time this happens, weight is lost from the horn and the sound does change. Take a look at a sax that has been buffed and relacquered so many times, the engraving is virtually gone. This is not a wise choice, for a potential buyer. Now, restorations, like my silver plating jobs, work great, if a horn has only been relacquered once... the weight is added back on, with the new coat of silver and the engravings are restored (by re-Engraving) to bring back the beauty of the horn. My opinion is the best thing you can do for a overbuffed, dented up horn is to play it until you can get yourself something better. You will know "better" when you see it, after you have worked your way through a few ebay disasters... More Relacquer Info I have received so many questions and requests about Vintage instrument finishes and lacquers, that I have created this page to try to help answer your questions. There are many tricks to uncovering the history of a sax, it's history of repairs and care. There are also as many tricks to cover it up as well. A really good refinish will look just like the original finish. Sometimes when you see an ad, it will say Factory Relacquer...the reason this is desirable, is the factory will usually have the exact color tint formula, for an authentic look. An elderly Selmer should have a dark gold hue to it. As it ages, it will take on a sort of brownish-red highlight near the edges of some areas. This is usually because the original technician, many years ago, polished and cleaned all the acid and residue, off the main bell, but missed some at the outside edges. This continues to oxidize under the lacquer and cause color variations. A 40's instrument without any blemishes or discoloration could be a relacquer. A older instrument with a light gold finish like a Yamaha is probably not original. Runs in the lacquer are a dead give-away. Look for paint that has sags or runs off of posts... then it almost surely is a relaq. Another good way to tell, is if the lacquer fills in and smoothes out the engraved areas of the bell and serial number location. Original engravers received the horn after it had been lacquered, and then cut the engraving, by hand, through the lacquer, into the bell or other areas. This was frequently done with a temporary tattoo, called a STENCIL, (a drawing of the pattern they are going to engrave on the sax was called a stencil) hence the term "Conn stencil" etc. The engraver would transfer the stencil pattern onto the bell and then follow it's pattern as he engraved. Yet another give-away is to look for fine scratches under the lacquer. When the finish is removed, the buffing process can leave tiny lines in the metal. These are then lacquered over and can be seen where it was hard to do the fine buffing and rouge polishing process, like behind the bell, around the keyholes, etc. Many times red rouge compound can be found inside the toneholes too. That said, many fine horns, such as mid 60's Selmer have buffing lines under original lacquer... sometimes rouge in the horn too. this is normal and sometimes happened because they hurried their work too much, trying to keep up with production. The most difficult "tell" is the depth of the engraving. It should be clear and deep and a little rough to the touch. If the instrument has had the original lacquer buffed off, it takes a couple thousandths of an inch of metal off the engraved area and lightens the engraving. It is most difficult to tell the engraving depth on French instruments from the 40's and 50's. The French seem to engrave very lightly, and this makes the depth tell difficult. When in doubt, take it to the very best vintage sax specialist in your area for a 2nd opinion. I also frequently see acid bleed and copper bleed under the finish on Selmers. This was probably due to an overall rushing the manufacturing, assembly and finishing, in order to keep up with the overwhelming demand for Super Balanced Action and Mark VI saxes. A little solder acid under the finish, not thoroughly cleaned off, will show up years later as discoloration. There are several things that will cause discoloration, but they are considered part of the "original" finish and therefore do not detract from the value or playability of the instrument. Here is a common picture of a relacquered finish on a Conn 10M Naked Lady. Can you find the Lady?: thanks, sarge "When in doubt, it is probably a ReLacquer." Here I put together a side by side comparison of two "The Martin" Tenors for your viewing. On the Left, 1945 a one-time relac, good playing, deep tone due to the early serial number era(153K). On the Right, a 1948 Original lacquer(164k). Notice the clearer cut engraving and deep, deep patina on this one. Still deep tones for the serial range and darker lacquer than the later 50s/60s era Martins. Enjoy, chadd.
however, in person, i must attest that the relac engraving was much more noticeable, to give it some credit. Relac solo photo:
There are very good looking Relacquers out there too. Check this one out:
1934 Conn Chu with "Naked Lady" Transitional tenor: ( please ignore the few raindrops that made it on camera. :) Serial #260,xxx. If ever a sax should get relacquered, it should look like this one! This was a Professional job that we can guess happened in the late 1940s or 50s. It's a true beauty and I can't tell you how many people ask us about a Pretty "chu" in lacquer. You gotta notice the "cool factor" on this tranny era Conn ... it has the Chu keywork and the Naked Lady engravings -- all of which is still highly visible from the pro relacquer work.
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Note the smoothness of the engraving. It should be sharp and distinct and
maybe even have a little corrosion in the lines that are cut through the lacquer
into the brass. The engraved lines here are filled in with lacquer and
smooth, rather than cut and sharp.
