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Saxophone/MasterArt USA Tenor Saxophone

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Question
Hello sir

I'm emailing in regards to information about saxophones. I googled masterart saxophones and your site came up. I have an old one and just wondering if you know where I can maybe get some more information about the brand, serial numbers, etc...

Thank you

Answer
Hello Bill, thanks for your question. Your Master Art is a Conn Stencil, made by Conn. The best place for research is the internet and I would also ask Dennis at 1-800 USA-HORN. There are many sax experts across the country on Sax on the web and also many of the new face book sax groups such as Vintage sax, Conn sax , and Saxophonists. you can get so much info. there are sax serial number charts for so many companys. For your sax ,you would need to look up Conn serial numbers charts but keep in mind stencils some times had their own numbering systems. What is a stencil sax? It is a sax made by a parent company, with another name engraved on the bell. These would be sold for less money, but had many of the same feature of the parent company. Conn, Buescher and Martin all made stencils.
From the web...

"What's a "Stencil"?
A "stencil" is a word that is specifically supposed to refer to a saxophone built by a major sax manufacturer for another company or storefront. On receipt of the saxophone, the storefront would literally take a stencil and engrave their own name or design on the horn.
American stencil manufactures were generally:
* Conn
* Buescher
* Martin
* Occasionally Holton
* Occasionally HN White (King
European stencil manufactures were generally:
* Couesnon
* Kohlert
* Buffet (Evette & Schaeffer)
* Keilwerth
* SML
* Beaugnier
* Pierret
* Amati
* Yamaha (Japanese)
American stencils generally have the following characteristics:
* A different serial number chart than the pro horns form the manufacturer
* Stencil manufacture didn't begin in the US until about 1920
* A reduced feature set than the pro horns (for example, Conn stencils don't have rolled tone holes)
* Generally lower quality control than pro horns
* Designs were generally based on earlier tooling (i.e. body and keywork). For example, if Selmer produced a stencil of their Mark VII, it would have the "look and feel" of the Mark VI.
* Generally cheaper materials were used
* Generally limited engraving
* All American stencils I have seen have been low pitch, A=440hz (modern intonation) horns (I still recommend checking with a tuner, in case some are high pitch and aren't marked)
* Occasionally new designs were released only on stencil models (new keywork, different octave vent designs, etc.). If the design was good, it occasionally found its way onto the pro models
* American stencils were generally made by the lowest bidder for the contract. For instance, if the Vega company requested a bunch of saxophones, they would buy them from whoever was the cheapest supplier: Conn, Buescher, etc. This means that most stencils were not always made by one specific company over the life of the stencil.
European and Asian stencils generally don't suffer from the same problems of American stencils: they had mostly the same feature set (look and feel) of the pro OR INTERMEDIATE horn they were stencilled from, just different engraving. For example, the King Marigaux is a stencil of the SML Gold Medal "Mk. II". The only differences between the two horns is the engraving and that the Marigaux doesn't appear to have as many finish choices available for it.
These are general rules for stencils, of course. There are many interesting exceptions: Keilwerth made sax bodies for many different companies in Germany and not all these horns are exceptionally good. Lyon and Healy (an American company) occasionally designed their own horns, but had other companies fabricate them. The list goes on."
End web content...
Good luck with your sax and call your local NAPBIRT certified repair tech and have it checked out, so you can play this get old horn!
Grant Koeller

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Grant R. Koeller

Expertise

I'm a Professional Jazz Saxophone soloist recently retired from 23 years with the USAF Band Of Flight, WPAFB, OHIO, experienced in performance, technique and equipment. I'm not a buyer/seller or dealer. I have 40 years Alto, Tenor, Soprano and Bari Saxophone performance experience with additional years on the Flute, Clarinet, Bass Clarinet, Bass Guitar, Piano, Drum-set, Guitar and Voice. I'm a third generation professional military musician, my father, Bill Koeller(1939-1997) was in the USAF 1958-1962, and played Jazz Hammond B-3 organ from 1957-1997, and my fathers Uncle, Alfred Koeller (1912-1993), was a professional Acoustic Bassist in the Army Air Corps in WWII, and also performed on Jazz Guitar, Hammond organ, Piano and tenor saxophone.

Experience

Professional Saxophone Soloist, 23 total years with the USAF Bands, 6 years with the USAF Band of Flight, Wright-Patterson AFB, Ohio, performing on Tenor, Alto, Soprano, Clarinet, and Flute. 4 years in Japan, at Yokota AFB with the USAF Band of the Pacific. An Avid Composer and Arranger for the Night Hawk Protocol Combo. Former Lead Alto Saxophonist with the USAF Night Flight Big Band performing the music of Glenn Miller as well as other hits of the Big Band Era. I collect LP records of Jazz, blue's, classical and rock, and have over 12,000 records.

Organizations
USAF,Phi MU Alpha Sinfonia, Men's National Music Fraternity, Johnny Mack Super Big Band, Tom Daugherty Orchestra, Kim Kelly Orchestra, Dayton Jazz Orchestra, Eddie Love Big Band, Gem City Big Band, Jazz Central Big Band, Shin Sings Orchestra, Kim Kelly Orchestra,USAF Night Flight Jazz Ensemble, Different Hats Big Band, Jimmy Baker Blues Band, This Side Up, Freelance, KING KOELLER Quartet, Jazz Central Big Band, GB Work, Sax On The Web,

Publications
Saxophone On the Web; Anchorage Daily News; All Experts; Augustana College Public Radio, WVIK;

Education/Credentials
North Texas State University School of Music, Jazz Studies 1982-1986 Lead Alto, Lab bands 1982-83 and small group leader 1983-1984, Jazz Radio Host WVIK 90.1 FM NPR affiliate Rock Island, IL United States Collegiate Wind Band European tour 1980 Augustana College, Rock Island IL, Liberal Arts Music Mentors/Teachers:My father Bill Koeller, a Jazz Hammond B-3 Organist (1939-1997) Great Uncle Alfred Koeller, Acoustic Bass 1912-1993

Awards and Honors
Paul Shartle Musician of the Quarter Spring 2008; Glenn Miller Festival, Clarinda, Iowa featured soloist; McDonald's All-American Band and Jazz Ensemble 1979; US Collegiate Wind Bands,Paul Lavalle Conductor, tour of Europe,1980; John Phillip Sousa Award, 1980 Dimond HS Anchorage, Alaska; USAF National Defense Service Medal with Bronze Star; USAF Achievement Medal with 5 Oak Leaf Clusters; USAF Good Conduct Medal with 6 Oak Leaf Clusters

Past/Present Clients
Performed with, Bob Hope, The Platters, Four Tops, Jimmy Dorsey, Crystal Gail, Helen Ready, James Williams, Dallas Jazz Orchestra, Jack Jones, The Mills Brothers, the G-Clef's, Lionel Hampton at Carnegie Hall, Performed for the King Of Thailand 2005, Tom "Bone's" Malone, Roy Hargrove, Tommy Turrentine, Performed for President Gerald Ford, President George W. Bush, The Maguire Sisters, The USO Girls-Andrew Sisters Tribute, The Four Lads, Lincoln Berry, The Dayton Jazz Orchestra, Louis Bellson, Buddy DeFranco, Walter Bishop Jr, Sadao Watanabe, Bobby Shew, Pete Jolly, Quad City Jazz Ensemble, Augustana College Symphonic Band, Jack Scott, Catfish Jazz Society, Intrigue-Boston Wedding Band, The Mark Herbert Little Big Band, The Pacesetters Big Band, The Ambassadors Jazz Ensemble, Pacific Showcase Big Band, Jimmy Dorsey Big Band under the direction of Lee Castle, Ronny Scott Orchestra, Big Al's Hot Dance Orchestra, The Dayton Sidewinders, Tom Daugherty Orchestra, Johnny Mack Super Big Band, Ken Peplowski, Eddie Daniels, Buddy Guy, Roy Hargrove, Warren Parrish, John OMeara Jr., Dave Holcomb, Albia Silva,Vinnie Demartino, Clon VonFitz, The G Clef's

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