Reminder: all SML model names in quotes ("") are used for the sake of convenience, as SML didn't have model names on most horns. The serial number range I have for each model is approximate … sometimes very good approximations, but still approximate. "Rev A" (s/n 1 to 35xx) SML saxophones starting producing saxophones around 1934 or 1937 (depending on which documentation you use) by Charles Strasser, a businessman who was born in Switzerland; Marigaux, an instrument maker who trained at Buffet_Crampon and Lemaire. The original saxophones that SML produced were a little less advanced than other horns of the same era. These original horns had bell keys on the left hand side of the horn (as you're playing) and "rat trap" style keyguards, a la the Buescher "True Tone" horns and Selmer Modele 22. As far as engraving goes, the horns may have one or more "Star of David"_type patterns engraved on the bell in addition to "Strasser, Marigaux and Lemaire." As far as I can tell, all SML horns of this era had straight tone holes. There is one semi_confirmed model name from this era, "AW2" -- although most of the horns that I've seen or read about from this era had no model name. This practice would continue on most of SML’s horns. "Rev B" (s/n 35xx to 6xxx) The next revision of the SML horns came around S/N 35xx, when the bell keys were switched to the right side of the horn (as you're playing) _ a technical innovation that tenor and bari sax players applaud. These horns still were not quite as advanced as most of the other French horns of this era, but they were gaining in that regard. Other features appeared to be the same as Rev A horns, except that SML did introduce a few models that featured rolled tone holes and it's distinctly possible that there were modifications to bore size, etc. Engraving was considerably more elaborate than the Rev A horns, as evidenced by Rick Mussi’s beautiful horn pictured on my ‘site. The “Star of David"_type patterns in addition to "Strasser, Marigaux and Lemaire" engraved on the bell are still present. There is one confirmed model name from this era, "Radiotone." I’ve seen a couple other horns from this period and they look similar to this horn. "Rev C" (s/n 6xxx to 95xx) These horns appeared around S/N 6xxx. They are the first SML’s in the shape and design that everyone knows and loves: they had most or all of the "22 Features" (see Fred Cicetti's article) -- so much so that most of the posts I've seen say that these horns play as well as or better than the newer SML's. The design was radically different from earlier horns and looked more like a Buffet than a Buescher. It appears that SML started putting matching serial numbers on these horns' necks and only manufactured horns with rolled tone holes (please e_mail me if you find a horn without either feature in this serial number range). Finally, it appears that there is at least one model name confirmed from this era: “Super.” This is a 7xxx alto that is owned by Morgan and Sandy Witthroft. They’re sending in pics soon! (I've also had another reader tell me about his 6xxx Super). Standard (s/n 6xxx? to 20xxx) New evidence indicates that the Standard models were produced far before the Gold Medal horns came out. Fred Cicetti has confirmed, however, that he does know of Standard horns that were produced within the Gold Medal serial number range. These are “intermediate” horns that SML produced. They are lacking in at least some of the “22 Features” found on the “Rev C” and later horns, most notably the several adjustment screws and rolled tone holes. It has been suggested that SML did what Conn did with some of their horns they sold to the stencil market: Conn let other names be stencilled onto their saxes when the rolled tone holes didn't take and had to be filed straight. I think this may be the case with the Standard horns because there were Rev D horns without rolled tone holes and Standard horns available at the same time. (However, the Gold Medal horns, during their first iteration, were offered with rolled tone holes and the non_rolled tone hole alternative was the Standard.) Indications are very good that there are no Standard baris or sopranos _ SML sopranos seem to have only been produced with straight tone holes, anyway. At 20xxx there seems to have been a consolidation of the model types that SML offered and the Standard model and “Two Tone” finish disappeared. "Rev D" (s/n 95xx to 15xxx) These horns appeared around s/n 95xx. The name "Lemaire" was dropped from the horns and the serial number was dropped from the neck, although on many horns between these serial numbers Lemaire's name kept popping up (by appx. s/n 9800 his name was gone forever). Serial numbers on the neck eventually fizzled out by the early 10xxx's. A sterling_silver neck was offered as an option for some horns. While this option may have continued into the Gold Medal series of horns, I've seen no evidence of that -- but it would be logical that it did: SML began an association with King around 1960. King produced both the Silversonic and Super 20 horns and (many of) these had sterling silver necks. Straight tone holes were again offered on some models. Finally, I’ve seen some documentation and had one e_mail from a reader suggesting that the “Two Tone” finish (lacquer body with silver keys) was introduced about this time. It was continued through the first iteration of the Gold Medal horns. Gold Medal "Mk I" (s/n 15xxx to 20xxx) Around s/n 15xxx, SML introduced the Gold Medal models. They are the pinnacle of SML design: rolled tone holes, elaborate engraving, etc. The name comes from the fact that these horns won a couple of gold medals at the International Music Festival at The Hague in Holland back in the 50’s. Based on the start date of these horns (around 1954_7), one can assume that they were introduced to compete directly with the Selmer Mark VI or the earlier Super Balanced Action. Oddly, I’ve never seen a Gold Medal in gold plate. If anyone has one, I’d love pics! Gold Medal "Mk II" (s/n 20xxx to 27xxx) At approximately s/n 20xxx, the Standard and the "Two Tone" models appear to have disappeared, leaving us with only the Gold Medal horns. These horns were offered with straight tone holes (possibly ONLY with straight tone holes, as far as my sources and I can tell) and, after s/n 21xxx, had considerably less elaborate engraving. These horns continued to be produced until 1982 or so, and were discontinued around serial number 26xxx or 27xxx. My opinion: s/n 20xxx was produced around 1967 or so. This is near the end of the manufacturing run of the most popular Selmer Mark VI's. I think SML discontinued all other models to be a little more profitable and cost effective -- and if it's true that SML only used only straight tone holes at this time, that would support this theory (rolled tone holes are harder to fabricate). I think that there still would be SML horns around today if they had reintroduced their rolled_tone_hole horns in 1974, when Selmer introduced the Mark VII -- a considerably lower quality horn than the Mark VI. King Marigaux (1960? to 1986?) The King Marigaux was definitely one of the most popular and numerous of the SML stencil horns (others include the extremely rare Santy Runyon horns, some Reynolds horns and some Woodwind Co. horns. See below). These horns are essentially Gold Medal horns of the same era, available with either straight or rolled tone holes and with either "honey gold" (read: SML style) lacquer or "yellow gold" (read: King style) lacquer. From what I've been able to see, the serial number listings for these horns parallel that of the SML models, rather than the Kings. I have not been able to determine an accurate serial number for the start or end date of these horns. Possibly the start date was 1960 or slightly earlier and I’ve confirmed a Marigaux from 1986. It's possible, from the postings that I've read, that the Marigaux horns were SML's "factory seconds," because of the "hit or miss" nature of these horns. I’ve seen a lot of posts to the various saxophone discussion groups saying Marigaux A plays better than my Gold Medal/Mark VI/Super 20 and an equivalent amount saying that Marigaux B is considerably lower quality than my Gold Medal/Mark VI/Super 20. Note that no one ever says they're junk, though. This is similar to what many folks say about the Selmer Mark VII -- except that some people do say they're junk :~) King Lemaire The Lemaire was a horn imported by King from SML and somewhat customized for the student market. They look to me very similar to a King 613 -- similar keyguards and yellow lacquer with nickle keys. I've heard that these are not very good playing horns. Darn shame. I was hoping that they'd be more than a match for my Kielworth_stenciled Bundy baritone -- which played better than some pro horns I've tried. NEW for 1/28/00: _ The eBay item that Becky mentions on the SML Market Place thread is for a King Lemaire, not a King Marigaux (a much better pro horn imported from SML by King). _ The King Lemaire in question has "Made in Czechoslovakia" stamped on the body. Now, here's some CONJECTURE: _ The only folks I know of in Czech. that made/make saxes are Amati and V. Kolherta Synove Kraslice (Kolhert, which moved to Germany) -- the former produces student_quality horns and the latter produced student through pro horns (and, according to World Wide Sax, J. Kielworth might have worked for). _ It's possible that King licensed the Lemaire name from SML and then imported horns from Kohlert or Amati to Ohio (where King was based) and then sold them with the Lemaire name in the student market. This process occurred most notably with Selmer (USA): for a brief time Selmer imported horns from Kielworth and stamped the Bundy name on 'em. In that example though, the Kielworth horns were MUCH higher quality than the Lemaire, though. Stencil Information There are several horns that were made by SML as a stencil for other companies: The King Marigaux and Lemaire (the Lemaire is a student horn and may not have been produced by SML). King Marigaux horns were available with either straight and rolled tone holes, in either yellow or honeyed_gold lacquer. Some of the Woodwind Company horns Some Reynolds saxophones and About 150 horns under the name of Santy Runyon (ExTREMELY rare). Side note from Paul Coats on these horns: "This info is straight from my longtime friend, and sax mouthpiece mfg, Santy Runyon. Santy had some Santy Runyon altos made in the '50's by SML. They were marked Santy Runyon, and only about 150 or so were made. (The records were destroyed in a house fire. He was on the road a lot then, and his memorabilia was stored in his sister's home, which burned.) “I have been in contact with a lady in Beaumont, Tx, where Santy lived for a while in the 50's, who has one of these SML made Santy Runyon altos. The neck was slightly modified, at Santy's request, to give these altos more projection (which I understand SML's had no trouble doing, anyway). "Santy was, as you know, a lead alto / theater ww player. (Check his history on www.runyonproducts.com, About the Founder at the bottom of the main page). Santy had tried to have Selmer make him some Runyon labeled saxes, but they would not. He wanted only something that was of top notch quality. I know this fellow, and if he had them made by SML, then they were great. This man is a perfectionist, constantly trying to improve the saxophone, making products that ease the way for the player. At 92, he is still working at it. “ Miscellaneous Info SML ceased producing saxophones around 1982, with approximately 27,000 total horns produced. SML produced, at their highest maximum, 500 horns a year. 100 to 400 was more common, according to an SML spokesman. (It's entirely possible that production was considerably higher at some point. Remember: in approximately 20 years they went from s/n 1 to 15xxx.) SML models were available in: Lacquer Gold plate (burnished and satin) Silver plate Nickel plate Lacquer w/silver plated keys. This was only available between s/n 95xx and 20xxx There was an option to get a solid_silver neck for some of the horns before the Gold Medal series. As far as I know, SML never produced C saxophones or curved sopranos. By the 1930's, the saxophone craze that started in the 1920's and produced these horns had died out. As far as I know, SML never produced sopranino, bass or contrabass horns. If they did, I want pics! Rumor Control: There's a popular rumor that SML bought their bari's from Buffet. This info is false and is based on a comment from a couple of folks that don't play Buffet horns. I do. The SML is a completely different animal. It has been suggested that Couesnon either produced SML horns or stenciled a model from SML. The stencil is possible, but not probable. They did not produce the SML horns. Couesnon is a very respected brass manufacturer and was formerly a producer of extremely high quality saxophones that look radically different than SML horns. FE Olds did not stencil or import saxophones from SML. Their horns are extremely different and are of relatively low quality. Their Ambassador tenors do bear a passing resemblence to the SMLs. This is not repeated in Olds' other horns. Conn did not produce or stencil the SML horns. SML "borrowed" several features from a lot of horns. The most obvious features that SML "borrowed" from Conn are rolled tone holes and the LH table keys (from the Connqueror [26/30M] models). I've found it odd no one's suggested that Dolnet made the SML horns. They didn't, of course, but their horns look closer to the Rev A and B horns than do Buffets, Olds' or Cousenons. If any of y'all spot any errors or wish to make a clarification or an addition, please send me an e_mail at saxpics@gmail.com.