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Discussion Starter #1 (Edited)
I have a Weltklang tenor, satin silver plate, Eb/G#/palm D trill keys, rolled tone holes, SN 99xx, and a pearl on every key touch piece. I'm pretty sure it's a SML Rev. B stencil, take a look at these pics and let me know what you think!

-Scott
 

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Nice looking horn. I would say a Huller stencil. Definitely from the German/Czech camp.
 

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"Weltklang" is an East German brand made in Vogtland. I understand that they're fairly common in Germany, although the "full pearls" models are less so. It's not a stencil...Pretty sure it was the first model made by B&S after WWII. That was before B&S started making the so-called "Blue Label" horns. "Weltklang" ("Worldsound") horns were produced up to or near to the end of the DDR and became the "second line" to the Blue Label models. They have a bit of bad rap in Europe but i suspect they are a pretty good blowing horn; supposed to be built like a tank.

I think the design was sourced from a model other than the prewar Hullers, maybe Adler? There are later model Hullers with right hand bell keys, so maybe they are one and the same horn, However, in pics I've seen, the key sets, etc appear to be somewhat different. Are all those touchs pearl or are some abalone? Rolled tone holes?

How's it play? what's the sound like?
 

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Discussion Starter #4
xax said:
They have a bit of bad rap in Europe but i suspect they are a pretty good blowing horn; supposed to be built like a tank.

I think the design was sourced from a model other than the prewar Hullers, maybe Adler? There are later model Hullers with right hand bell keys, so maybe they are one and the same horn, However, in pics I've seen, the key sets, etc appear to be somewhat different. Are all those touches pearl or are some abalone? Rolled tone holes?

How's it play? what's the sound like?
This horn is indeed built like a tank, the touches feel like pearl to my fingers, it does have rolled toneholes. I can't say how the horn plays, it's beginning the process of getting a set of white roo pads and flat metal reso's, so it's not exactly playable and I put very little time in on it before the work was started.

Thanks for the info!
-Scott
 

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Let us know what you think of the general intonation and the keywork action when you get her up and running.

My experience with SMLs is that the intonation can vary widely from horn to horn, and the keywork can feel a bit clunky without some judicious application of Teflon and Ultrasuede etc.
 

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Most of Weltklang horns were lower quality and Easter Europeans valued more B&S and Amati. Because the serial # is so low it is a good sign. It's a stncil of some fine horn for sure.
 

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Didn't Huller become B&S ? I was judging from the shape of some of the key designs and what not. They seem to match a Huller made horn that I have. Another guess would be Amati. Wasn't Adler built by Kohlert?

At any rate it look very much like a Kohlert/Keilwerth-ish design and I bet it will play well with a repad.
 

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spiderjames said:
Didn't Huller become B&S ? I was judging from the shape of some of the key designs and what not. They seem to match a Huller made horn that I have. Another guess would be Amati. Wasn't Adler built by Kohlert?

At any rate it look very much like a Kohlert/Keilwerth-ish design and I bet it will play well with a repad.
Scott, I have a Huller alto with "full pearls" in the exact same style. On mine, all of the flat touchs(palm, side, left and right pinky keys) are actually abalone while the rounder key touchs are MOP. When I compare it to my other Huller alto of similar vintage, it is a lighter, faster action. Makes me think these might be upgraded, "high end" models...
Does your Weltklang have a microtuner neck?

Spider, What model Huller(s) do you have?
FWIW. Oscar Adler made the first German saxophone, "The Eagle"(?) and was for some time the largest and most highly regarded German woodwind manufacturer. Eventually, that mantle passed to Huller(Hüller). Adler, together with Huller, Monnig and a number of others were amalgamated into B&S in the DDR after WWII. B&S became JA Musik GmBH after reunification,.
As I recall, there's historical info about these German firms in Saxpics' Keilwerth and Kohlert and Amati pages. :cool:
 

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So then Weltklang shares heritage with huller and adler? so they should not be so bad?
 

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The horn I have is a stencil called a World Luxus made around 1938 according to the stamp on the back. It is similar to the horn above but with slightly different keywork on the LH pinky table and palm keys. Full pearls also. It match up close to a Huller that I saw with a similar name World something or another. I have never got it playing so I cannot comment on playability.

Here are some pictures of my partially assembled horn:



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body tube?

I have a silver body tube just like that one Welklang on the bell.. but only a few keys .. I hope to populate it someday -- looks great. I am sure these horns are very good ..modern horns stink (pass it on)

fr
 

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More SML Stecil

Here are more pics of my Pichard Artist Model.

 

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RE: Pichard Artiste Model

Beautiful sax. Typical SML. Is that lacquer original? If so, it's in beautiful shape. Nice eye candy to enjoy. Knowing SMLs, I bet it plays as well or better than it looks.

Out of curiosity, is it a Rev D or GM I or II stencil? Rolled tone holes? The engraving looks like the GM models, but the serial number would be a better indicator. What serial number range?
 

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hafuch said:
RE: Pichard Artiste Model

Beautiful sax. Typical SML. Is that lacquer original? If so, it's in beautiful shape. Nice eye candy to enjoy. Knowing SMLs, I bet it plays as well or better than it looks.

Out of curiosity, is it a Rev D or GM I or II stencil? Rolled tone holes? The engraving looks like the GM models, but the serial number would be a better indicator. What serial number range?
As a child in 1966 my parents surprized me with a tenor saxophone for Christmas. A Pichard Artist Model. It had nickel plated keys, rolled tone holes, a huge bell and sound to go with that huge bell. It was an SML Gold Medal two-tone model. Serial # 18XXX. A stencil. I still have it. What a big sound!
It cost my folks $354.00 back then. It was ordered out of the Montgomery Ward catalog.
It has gone through some changes. Tone holes leveled in mid-eighties (what did I do???/intonation was improved though) and re-lacquer in the early 90s (no more nickel plate). The lacquer was done very well by Southeastern in Huntsville, AL though he did remove the G# articulation lever. I may look for it and someday have that restored. If I knew then what I know now I may have done it differently. It is a beautiful horn with a beautiful sound.
 

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Man Oh Man

What a sound. I haven't been playing this tenor in a long while. I have been mostly blowing a penny whistle. Now I won't go as far as saying that that was a waste of time because I can play the heck out of it but I am determined to get back to the sax a rebuild my chops. I played my SML last night for a couple of hours. Working with some different mouthpieces. I have good results with a metal Dukoff D5 but have also favored a hard rubber Berg Larsen 110 over 2 SMS. I played my hard rubber Wagner 7, a metal Berg 110 over 2 M, the hard rubber Berg, the Dukoff and a hard rubber Ralph Morgan Excalibur 7E. I used the Berg ligature on the Morgan then switched to a Rovner ligature and man what a change in the Morgan using the Rovner ligature. It is good bit brighter. I always favored the rubber Berg over the Morgan but with this set up I am beginning to have second thoughts. And this sax...what an incredible low end. The upper end is respectable too but the low end on this SML stencil ( Pichard Artist Model, see above ) is amazing. They certainly made them well in 1963.
My lip is a tad tender tonight so I'm blowing some whistle and recovering.
 
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