BECAK JOGJA KAGAK ADE MATINYE

Dikala becak diburu, dimusnahkan dan dilarang beroperasi di Jakarta, Jogja justru membiarkan dirinya disebut sebagai "kota becak". Kenapa begitu? Pengin tahu?

Jogja memang istimewa, lain dari yang lain. Ketika becak di Jakarta sedang gencar dirumponkan, Sri Sultan HB IX justru menyatakan bahwa becak dapat dijadikan ciri penanda budaya Jawa, sehingga harus dijaga kelangsungan hidupnya. Ya, keberadaan becak di Jogja telah menjadi bagian dari sistem ekonomi yang khas dengan menciptakan rantai ekonomi kota yang saling menguntungkan berbagai pihak. Dalam wilayah turisme misalnya, keberadaan tukang becak tidak dapat dilepaskan dari para pemandu wisata, para penjual kerajinan, penjual makanan dan oleh2, galeri, hotel, toko souvenir, para abdi dalem Kraton, bahkan dengan pelacuran.

Pada kemunculannya pertamakali di Indonesia, becak dielu elu dianggap sebagai arena lapangan kerja baru. Namun selanjutnya becak ditolak kehadirannya justru karena kelenturannya yang luar biasa sebagai penampung pencari kerja yang datang ke kota, yang dianggap "membahayakan" pembangunan kota moderen. Aneka alasan seperti becak tidak manusiawi kek, becak sumber kemacetan kek, dipakai untuk meminggirkan, untuk meniadakan becak dari kehidupan kota. Menyanggah dengan mengatakan bahwa becak itu merupakan moda transportasi yang manusiawi dan ramah lingkungan, namun tanpa diimbangi dengan pemahaman becak sebagai bagian dari sejarah kota itu, bakalan sia2 deh. Mengatakan sanggahan demikian justru semakin menegaskan bahwa becak memang rentan terhadap pemusnahan. Dan itulah yang telah terjadi di kota besar. Seperti di Ibukota Jakarta sejak beberapa puluh tahun lalu becak dilarang beroperasi.

Namun lain cicak lain buaya, lain becak di Jogja lain di Jakarta. Di Jogja becak bukan semata-mata perkara transportasi yang tidak manusiawi ataupun perkara mobilitas "wong cilik" yang memacetkan jalanan dan menyesaki ruang kota, tetapi antara becak dan kota Jogja, keduanya memang saling menghidupi saling melengkapi, sudah bagaikan dua sisi mata uang yang tak terpisahkan, kayak mimi lan mintuno. Gitu loh…

Perjalanan sejarah becak di Jogja dimulai sebelum Perang Dunia II. Dan selama beberapa tahun setelahnya, becak dapat diterima dengan baik sebagai alat transportasi. Banyak tenaga pengayuh yang terserap. Ongkosnyapun relatif murah. Lebih cepat dari berjalan kaki dan relatif nyaman. Dikala hujan, penumpang tidak kehujanan, dikala panaspun tidak kepanasan, lha wong ada atap terpalnya. Yang jelas becak merupakan alat transportasi yang lebih baik dari yang ada sebelumnya untuk memecahkan masalah transportasi dengan jarak yang cukup jauh bila ditempuh dengan berjalan kaki. Tidak hanya bisa mengangkut orang tapi becak juga bisa mengangkut barang. Jadi becak merupakan alat angkut orang dan barang yang nir energi, nir polusi dan "teleknya" tidak mengotori (jika dibandingkan dengan andong).

Pernah becak jadi raja jalanan. Tapi itu dulu sewaktu belum ada angkot, taxi maupun ojek. Kala itu becak banyak berseliweran di sela sepeda pribadi, beberapa motor pribadi, segelintir mobil pribadi, andong serta gerobak sapi. Pengusaha rental becak berjaya. Dan saya juga masih ingat dulu di sebelah rumah, di Kemetiran Kidul dekat Malioboro, ada garasi merangkap bengkel becak milik Bah Mbing. Saya yang masih ABG demen nongkrong di situ melihat pak Man Juru Gambar, salah satu pekerjanya, bekerja menggambari slebor2 becak. Slebor itu tidak hanya digambari pemandangan gunung kembar, Merapi dan Merbabu, tapi juga ditulisi dengan aneka slogan, Adem Ayem, Ayem Tentrem, Waton Ayem, dsb.Wiih, unik banget.

Oleh Bah Mbing becak2 yang puluhan jumlahnya itu disewakan ke para tukang becak yang berasal dari desa pinggiran Jogja, dari mBantul, ngGanjuran, Palbapang, nDenggung, Sentolo, Prambanan, mBayat, Wonosari dsb. Tidak siang tidak malam becak2 itu laris tersewa. Mereka, para tukang becak, biasa mangkal di Stasiun, di Pasar, di Stanplat, di Malioboro, di depan hotel atau dimana saja tempat yang ramai orang. Di pagi hari kita bisa melihat becak dikayuh tergesa mengantar anak berangkat sekolah dan siang harinya menjemput pulang. Atau kita bisa melihat Pak Paijan ngos2an nggenjot becak mengantar Mbokde Setu Legi (setengah tuwo lemu ginuk2) menuju ke pasar dan sorenya menuju pulang.

Kostum pak becak teramat sederhana. Nyeker, bercelana kolor, berbaju seadanya dan bercaping. Mereka berpakaian seadanya seperti itu karena mereka memang bukan orang yang berada. Umumnya mereka hanya punya modal dengkul (dalam arti harafiah). Sehingga kalau becak kemudian diindentikkan dengan kehidupan rakyat kecil, dengan kemisikinan, itu memang tidak keliru. Yo pancen begitulah kenyataannya waktu itu, mau bilang apa?

Jamanpun berkembang, roda2 berputar kian kencang. Sepeda onthel yang dulu digeos kethowal kethawil dan mlakune thimik2 kini telah digantikan oleh pit montor alias sepeda motor, gerobak sapi salin rupa jadi Kijang pikep, andong jadi angkot. Kini tak lagi terdengar glodhak glodhek suara roda besi pedati, tak sering lagi terdengar dag dig dug suara sepatu kuda. Yang santer terdengar adalah suara ingar bingar deru mesin, bunyi raungan knalpot serta prat pret bunyi klakson kendaraan2 bermotor. Dan di lingkungan nan hiruk pikuk seperti itulah becak itu berada. Piye Jal?

Kalau di tempat lain jangan harap becak dapat selamat dari seleksi alam yang super ketat macam begitu. Lambat laun becak bakal tergusur tergantikan oleh jenis angkutan lain yang lebih ampuh dan lebih bisa wes ewes bablas ngebut. Tapi untunglah berkat sejarah kota Jogja yang istimewa, Jogja sebagai kota budaya dan sebagai daerah tujuan wisata maka kita boleh berharap keberadaan becak di Jogja akan bisa langgeng lestari senantiasa hingga nanti sepanjang masa, sepanjang usia kota Jogja. Wis jan, Jogja pancen oye, kata dalang ki Manteb. Jogja never ending Asia, kata Sri Sultan. Dan kata orang Betawi dengan nada setengah ngiri: "Becak Jogja kagak ade matinye, ni yeee…"

Berwisata ke Jogja, kurang afdol kalau tidak kiya kiya berbecak ria raun raun kota. Bener lho. Bahkan sekarang dengan ongkos yang super murah kita sudah akan dikelilingkan oleh pak becak ke berbagai toko cenderamata, toko batik, toko buah tangan dsb. yang tersebar di seantero Jogja. Tentang hal itu ada seorang turis mancanegara, Lemaire namanya, yang mengamati dan menulis begini:
"Saya selalu bertanya tanya mengapa tukang becak di sekitar Kraton lebih ramah daripada tukang tukang becak yang lain, dan menawarkan layanan mereka seharga hanya Rp1.000,00, Kenyataannya adalah tukang tukang becak ini dapat membawa para turis ke berbagai toko yang berbeda, dan di sana mereka mendapatkan komisi dari setiap barang yang dibeli oleh sang turis. Uang yang mereka dapatkan dari komisi ini biasanya lebih tinggi daripada ongkos becak sesungguhnya. Sistem komisi ini pun ada pada skala yang lebih tinggi: beberapa tukang becak, yang bekerja di sekitar Sosrowijaya pada malam hari, "mampu membaca mata lelaki", dan membawa para lelaki ini ke rumah rumah bordil di "SARKEM" di sekitar situ. Mereka biasanya menerima komisi sebesar Rp30.000,00 untuk setiap klien yang mereka bawa."

Nah, sekarang baru ketahuan bahwa ternyata dimungkinkan adanya hasil "sampingan" yaitu komisi, tip ataupun bingkisan, yang lumayan dari kerja narik becak di Jogja. Sehingga kita tidak perlu heran kala menyaksikan seorang tukang becak yang berwajah cerdas, berkostum pantas, berkalung handphone, punya alamat email ataupun face book dan bahasa Inggris serta Belandanya cas cis cus. Itulah dia profil si abang pemandu "becak wisata" masa kini. Citra lama sosok tukang becak yang kusut, kumuh, susah, menderita, tak berpendidikan, tak berketrampilan dsb, luruh sudah. Digantikan oleh para mas mas (atau nantinya juga mbak mbak?) tukang becak yang piawai memandu para pelancong lokal maupun interlokal. (Saxjannya tipe tukang becak yang merangkap jadi guide itu lebih cocok lho kalau dijuluki "Gaet Genjot". He he…. ).

Dan tempo hari sewaktu saya dari Jakarta tiba di stasiun Jogya saya sempat merasakan keramahan salah seorang mas tukang becak itu. Ditengah kerumunan para tukang becak yang menawarkan jasa, saya mendengar sapaan menggelikan.
"Pakde, pakai becak saya saja, ditanggung pasti tidak digigit nyamuk." Saya tertarik, mendekat dan bertanya:"Lho apa hubungannya naik becak dengan digigit nyamuk?"
"Soalnya becak saya pakai tiga roda," jawabnya sembari menyanyi lucu sekali: "Nyamuk sini cuma takut tiga roda, toret toret…." "Wah tukang becak ini pasti terlalu sering nonton iklan obat nyamuk" batin saya.
"Yo wis ayo tarik. Menyang Keraton piro? Seket ewu yo". kata saya . "Lah, kebanyakan Pakde" katanya. "Yo gak apa. Sepuluh ewu dinggo mbayar mbecake, patang puluh ewu dinggo dagelane". Dan kami berduapun tertawa ngkik3x.

Tujuh belas menit kemudian sampailah saya ke tempat tujuan, yaitu Keraton Jogja.

Wis ngono wae…
(Studi dari berbagai sumber).
Ingin kenal lebih jauh dengan becak? Silahkan mampir ke blog saya yang lain,

http://cafebecakjogja.blogspot.com/

PUISI SANG PUTRI

Karena Ayahku

Oleh:
Inayah Wulandari Wahid,

Kalau Aku adalah Orang Yang Peduli
Karena Ayahkulah Yang Mengajari

Kalau Aku adalah Orang Yang Toleran
Karena Ayahkulah Yang Mencontohkan

Kalau Aku adalah Orang Yang Penuh Cinta Kasih
Karena Ayahkulah Yang Memberi Tanpa Pamrih

Kalau Aku Adalah Orang Yang Rendah Hati
Karena Ayahkulah Yang Menginspirasi

Kalau Aku Menulis Puisi Ini
Karena Ayahkulah Segalanya yang Berarti

(Inayah adalah putri keempat Gus Dur).

GUS DUR, dalam kenangan

Meski Gus Dur kini tiada namun guyonannya masih lekat dikepala. Ini salah satunya:

TAKUT ISTRI
Memberikan contoh dengan lelucon adalah kebiasaan Gus Dur ketika berpidato. Tujuannya, kata kyai ini agar hadirin dapat memahami maksud dari apa yang disampaikan.

Dalam sebuah forum yang membahas soal kesetaraan laki-laki dan perempuan, seorang peserta bertanya kepada kyai eksentrik ini, yang isinya mungkin agak “pribadi.”

Peserta itu bertanya, apakah Kyai sebesar Gus Dur juga takut pada istri? Mendengar pertanyaan yang “sensistif” itu Gus Dur menjelaskan dengan “bijak” (jika tidak mau disebut berkelit.

“Begini ya….. Saya punya cerita,” kata Gus Dur memulai, sementara peserta sudah siap-siap dengan serius mendengarkan jawaban tentang “jeroan” rumah tangga Gus Dur.
“Nanti di akhirat, orang dibagi dua barisan,”
Gus Dur melanjutkan,”barisan pertama untuk orang-orang yang takut sama istrinya. Barisan kedua untuk yang berani sama istrinya.”
Peserta seminar yang tadinya serius, langsung dapat menerka ini pasti guyonan.
“Di barisan pertama orang antri berduyun-duyun. Ternyata di barisan kedua cuma ada satu orang, badanya kecil lagi. Orang-orang di barisan pertama heran melihat si kecil itu sendirian. Mereka pikir berani sekali tuh orang. Lalu dikirimlah delegasi dari barisan pertama untuk menanyakan. Datanglah delegasi itu pada si kecil dan bertanya, “hey kamu kok berani banget baris sendirian disini, emangnya kamu nggak takut sama istri kamu?”
Mendengar pertanyaan itu, si kecil menjawab “Wah…. saya juga nggak tahu nih. Saya disini disuruh istri saya.”

"Ha ha ha...", kontan seluruh peserta terbahak.

GUS DUR WAFAT

Innallilahi wainnallillahi rojiun

Berita dari televisi, telah wafat Gus Dur, tadi pukul 18.45 WIB.

Selamat Jalan Gus...

Tentang Gus Dur:

Nama : Abdurrahman “Addakhil”, demikian nama lengkapnya. Belakangan kata “Addakhil” tidak cukup dikenal dan diganti nama “Wahid”, Abdurrahman Wahid, dan kemudian lebih dikenal dengan panggilan Gus Dur. “Gus” adalah panggilan kehormatan khas pesantren kepada seorang anak kiai yang berati “abang” atau “mas”.

Kelahiran : Putra pertama dari enam bersaudara yang dilahirkan di Denanyar, Jombang, Jawa Timur pada tanggal 4 Agustus 1940. Ayahnya, K.H. Wahid Hasyim adalah putra K.H. Hasyim Asy’ari, pendiri Nahdlatul Ulama (NU) dan pendiri Pesantren Tebu Ireng Jombang. Ibundanya, Ny. Hj. Sholehah adalah putri pendiri Pesantren Denanyar Jombang, K.H. Bisri Syamsuri.

Istri : Sinta Nuriyah
Anak : Alissa Qotrunnada Munawaroh, Zannuba Arifah Chafsoh, Annita Hayatunnufus, dan Inayah Wulandari.

Kehidupan : Pada tahun 1949, ketika clash dengan pemerintahan Belanda telah berakhir, ayahnya diangkat sebagai Menteri Agama pertama, sehingga keluarga Wahid Hasyim pindah ke Jakarta. Pada bulan April 1953, Gus Dur pergi bersama ayahnya mengendarai mobil ke daerah Jawa Barat untuk meresmikan madrasah baru. Di suatu tempat di sepanjang pegunungan antara Cimahi dan Bandung, mobilnya mengalami kecelakaan. Gus Dur bisa diselamatkan, akan tetapi ayahnya meninggal. Masa remaja Gus Dur sebagian besar dihabiskan di Yogyakarta dan Tegalrejo. Di dua tempat inilah pengembangan ilmu pengetahuan mulai meningkat. Masa berikutnya, Gus Dur tinggal di Jombang, di pesantren Tambak Beras, sampai kemudian melanjutkan studinya di Mesir. Sebelum berangkat ke Mesir, pamannya telah melamarkan seorang gadis untuknya, yaitu Sinta Nuriyah. Perkawinannya dilaksanakan ketika ia berada di Mesir.

Hobi : Membaca, bermain bola, menonton bioskop, catur dan musik.

Pengalaman Pendidikan :

• Pertama kali belajar, Gus Dur kecil belajar mengaji dan membaca al-Qur’an pada sang kakek, K.H. Hasyim Asy’ari. Dalam usia lima tahun ia telah lancar membaca al-Qur’an.
• Disamping belajar formal di sekolah, Gus Dur juga mengikuti les privat Bahasa Belanda. Guru lesnya bernama Willem Buhl, seorang Jerman yang telah masuk Islam, yang mengganti namanya dengan Iskandar. Untuk menambah pelajaran Bahasa Belanda tersebut, Buhl selalu menyajikan musik klasik yang biasa dinikmati oleh orang dewasa. Inilah pertama kali persentuhan Gus Dur dengan dunia Barat dan dari sini pula Gus Dur mulai tertarik dan mencintai musik klasik.
• Setelah lulus dari Sekolah Dasar, Gus Dur dikirim orang tuanya untuk belajar di Yogyakarta. Pada tahun 1953 ia masuk SMEP (Sekolah Menengah Ekonomi Pertama) Gowongan, sambil mondok di pesantren Krapyak. Di sekolah ini pula pertama kali Gus Dur belajar Bahasa Inggris.
• Setamat dari SMEP Gus Dur melanjutkan belajarnya di Pesantren Tegalrejo Magelang Jawa Tengah.
• Pada usia 22 tahun, Gus Dur berangkat ke tanah suci, untuk menunaikan ibadah haji, yang kemudian diteruskan ke Mesir untuk melanjutkan studi di Universitas al-Azhar.
• Pada tahun 1966 Gus Dur pindah ke Irak, sebuah negara modern yang memiliki peradaban Islam yang cukup maju. Di Irak ia masuk dalam Departement of Religion di Universitas Bagdad sampai tahun 1970.
• Selepas belajar di Baghdad Gus Dur bermaksud melanjutkan studinya ke Eropa. Akan tetapi persyaratan yang ketat, utamanya dalam bahasa-misalnya untuk masuk dalam kajian klasik di Kohln, harus menguasai bahasa Hebraw, Yunani atau Latin dengan baik di samping bahasa Jerman-tidak dapat dipenuhinya, akhirnya yang dilakukan adalah melakukan kunjungan dan menjadi pelajar keliling, dari satu universitas ke universitas lainnya. Pada akhirnya ia menetap di Belanda selama enam bulan dan mendirikan Perkumpulan Pelajar Muslim Indonesia dan Malaysia yang tinggal di Eropa. Untuk biaya hidup dirantau, dua kali sebulan ia pergi ke pelabuhan untuk bekerja sebagai pembersih kapal tanker. Gus Dur juga sempat pergi ke McGill University di Kanada untuk mempelajari kajian-lkajian keislaman secara mendalam. Namun, akhirnya ia kembali ke Indoneisa setelah terilhami berita-berita yang menarik sekitar perkembangan dunia pesantren. Perjalanan keliling studi Gus Dur berakhir pada tahun 1971, ketika ia kembali ke Jawa dan mulai memasuki kehidupan barunya, yang sekaligus sebagai perjalanan awal kariernya.

Perjalanan Karier :

• Menjelang kelulusannya di Sekolah Dasar, Gus Dur memenangkan lomba karya tulis (mengarang) se-wilayah kota Jakarta dan menerima hadiah dari pemerintah.
• Pernah menjadi komentator sepak bola di televisi.
• Sepulang dari pengembaraanya mencari ilmu, Pada tahun 1971, Gus Dur kembali ke Jombang dan menjadi guru di Fakultas Ushuludin Universitas Tebu Ireng Jombang.
• Pada tahun 1974 Gus Dur diminta pamannya, K.H. Yusuf Hasyim untuk membantu di Pesantren Tebu Ireng Jombang dengan menjadi sekretaris.
• Sementara pada awal tahun 1980 Gus Dur dipercaya sebagai wakil katib syuriah PBNU.
• Karier yang dianggap ‘menyimpang’-dalam kapasitasnya sebagai seorang tokoh agama sekaligus pengurus PBNU-dan mengundang cibiran adalah ketika menjadi ketua Dewan Kesenian Jakarta (DKJ) pada tahunn 1983. Ia juga menjadi ketua juri dalam Festival Film Indonesia (FFI) tahun 1986 -1987.
• Pada tahun 1984 Gus Dur dipilih secara aklamasi oleh sebuah tim ahl hall wa al-’aqdi yang diketuai K.H. As’ad Syamsul Arifin untuk menduduki jabatan ketua umum PBNU pada muktamar ke-27 di Situbondo.
• Ketua Forum Demokrasi untuk masa bakti 1991-1999.
• Presiden Republik Indonesia masa bakti 1999 – 2001

Penghargaan :
• Tokoh 1990, Majalah Editor, tahun 1990
• Ramon Magsaysay Award for Community Leadership, Ramon Magsaysay Award Foundation, Philipina, tahun 1991
• Islamic Missionary Award from the Government of Egypt, tahun 1991
• Penghargaan Bina Ekatama, PKBI, tahun 1994
• Man Of The Year 1998, Majalah berita independent (REM), tahun 1998
• Honorary Degree in Public Administration and Policy Issues from the University of Twente, tahun 2000
• Gelar Doktor Kehormatan dari Universitas Jawaharlal Nehru, tahun 2000
• Doctor Honoris Causa dalam bidang Philosophy In Law dari Universitas Thammasat Thaprachan Bangkok, Thailand, Mei 2000
• Doctor Honoris Causa dari Universitas Paris I (Panthéon-Sorbonne) pada bidang ilmu hukum dan politik, ilmu ekonomi dan manajemen, dan ilmu humaniora, tahun 2000
• Penghargaan Kepemimpinan Global (The Global Leadership Award) dari Columbia University, September 2000
• Doctor Honoris Causa dari Asian Institute of Technology, Thailand, tahun 2000
• Ambassador for Peace, salah satu badan PBB, tahun 2001
• Doctor Honoris Causa dari Universitas Sokka, Jepang, tahun 2002
• Doctor Honoris Causa bidang hukum dari Konkuk University, Seoul Korea Selatan, 21 Maret 2003.
• Medals of Valor, sebuah penghargaan bagi personal yang gigih memperjuangkan pluralisme dan multikulturalisme, diberikan oleh Simon Wieshenthal Center (yayasan yang bergerak di bidang penegakan HAM dan toleransi antarumat beragama), New York, 5 Maret 2009.
• Penghargaan nama Abdurrahman Wahid sebagai salah satu jurusan studi Agama di Temple University, Philadelphi, 5 Maret 2009.
• Dll.

(Diolah : dari berbagai sumber…)

Sumpah "demi Allah"

Seorang teman berkata:
Sumpah-sumpahan atas nama Tuhan bukan barang baru di Republik Indonesia. Upacara pelantikan pejabat mana pun, dari paling atas sampai paling rendah, selalu ada sumpahnya. "Demi Allah". "Demi Tuhan". "Demi Sang Hyang Widhi". "Demi Thian Penguasa Langit". Rohaniwan selalu dilibatkan sebagai pendamping dan pembawa kitab suci.

Tapi apa yang terjadi? Adakah sumpah "demi Allah" itu lantas membuat Indonesia bebas korupsi? Bebas suap? Bebas pemerasan? Pejabatnya amanah? Polisi, jaksa, hakim tidak menyalahgunakan kekuasaan?

Bandingkan dengan Tiongkok, negara berpenduduk 1,3 miliar yang komunis dan ateis. Sumpah demi Allah tidak dikenal di Tiongkok.

Kok Tiongkok bisa memberantas korupsi dengan efektif? Kok Tiongkok bisa memberlakukan sanksi hukum yang tegas kepada koruptor, termasuk hukuman mati? Kita, bangsa Indonesia, layak malu. Masak, kita yang membawa-bawa nama Tuhan kalah bermoral dengan mereka yang komunis dan ateis itu?

Piye Jal?
Papilon.

Papiray komentar:
Benar, tidak semua orang yang mengaku "takwa" kepada Tuhan adalah orang yang menghormati sesamanya.

Kelihatannya ada orang yang melaksanakan perintah perbuatan kebaikan (ethical principles) dan ada orang yang hanya bicara tentang akan melakukan perbuatan kebaikan.

Yesus pun berkata, lebih baik orang yang berkata "aku tidak akan melakukan perbuatan yang diperintahkan" tetapi akhirnya melakukan perbuatan baik itu tanpa janji-janji, daripada orang yang berkata "ya, Tuhan, aku akan melakukannya" tetapi tidak pernah berbuat yang dijanjikannya.

Demikian juga dengan sumpah, sumpah bahkan dilarang dalam Kitab Suci, "jangan bersumpah atas namaKu", karena kebanyakan akan berdusta dan sekaligus menghina nama Tuhan.

FILTER HOLDER, solusi smart merokok sehat

Salah seorang sahabat pena, menulis: “Ayahku meninggal karena kanker disebabkan oleh kegemarannya minum rokok”. Tulisan itu telah merangsang saya untuk kemudian memikirkan adakah cara minum rokok yang aman? Dan untuk menemukan jawabannya, saya gelar beberapa informasi, data dan fakta yang terkait seperti dapat kita pelajari bersama di bawah ini. Dan ternyata dari info yang secuil itu kita sudah bisa menemukan apa yang kita cari, yaitu solusi untuk merokok dengan lebih safe, lebih aman.

Jampi stress dan bikin rilek, itulah antara lain alasan untuk tetap merokok yang kerap terlontar dari bibir para perokok. Walau dihadapkan dengan 1001 macam bahayanya, tetap saja perokok klepas klepus…, ngrokok. Dan kitapun perlu memaklumi, karena bagi yang kadung cinta rokok, tentulah tidak mudah untuk menceraikannya, untuk berhenti merokok.

Kita bisa memaklumi alasan para perokok, namun dibalik itu muncul keprihatinan yang mendalam, terutama kalau melihat cara perokok Indonesia merokok rokok kretek yang dibuat secara manual dan tradisional, yakni tanpa dipasangi filter. Bagaimana tidak, batang rokok2 kretek itu langsung diselipkan dibibir, disulut dan diisap begitu saja…, sap sap saaaap. Ya, rokok kretek non filter, rokok kretek tanpa filter penyaring tar itu diisap dalam2 dengan penuh semangat, saban hari sejak dulu hingga nanti.

Tar atau biasa juga disebut “lelet” itu sendiri merupakan substansi hidrokarbon yang bersifat lengket dan bisa menempel dimana mana termasuk diparu-paru dan bisa bikin penyakit ini dan itu. Dengan mudah kita bisa melihat seperti apa rupa tar itu. Jari2 tangan perokok yang menguning semu coklat, gigi yang menguning, lidah yang kecoklatan dan bibir yang tidak lagi berwarna segar tapi berwarna sawo bosok, itu semua adalah gara2 tar. Dan pada tar itulah terutama terkandung bahaya besar dari rokok. Itu kata para dokter yang memang terkenal pinter2.

Tapi lain kata dokter lain pula kata perokok Indonesia. Bagi sebagian perokok Indonesia justru tar atau lelet itulah yang dianggap dan dipandang sebagai sari nikmatnya rokok, menjadi sebangsa candunya rokok. Ini tidak bohong, pendapat seperti ini saya dengar langsung dari beberapa perokok kretek. “Rokok telanjang beginian enak mas. Kalau pakai filter jadi kurang berasa, kurang mantab gitu loh…” kata mereka.

Padahal di negara maju, seperti di Amerika dan Eropa misalnya, semua perokok sudah biasa merokok dengan menggunakan filter pengaman. Mereka melakukannya sudah sejak 60 tahun lalu. Dengan memakai filter, mereka merasa lebih aman untuk merokok karena sebagian besar tar yang berbahaya bagi kesehatan itu bisa tersaring. Dan tentang filter itu mereka punya pengalaman serta kesaksian: ”Filter, cut the tar…, keep the taste” Atau juga:”Reduce tar without reducing taste”. Ya, mereka telah membuktikan bahwa filter rokok berhasil berfungsi memerangkap sebagian besar tar tapi tidak terlalu mempengaruhi aroma dan rasa rokok.

Tak bisa dibantah, rokok kretek memang terkenal di Indonesia, banyak sekali penggemarnya. Dan rokok kretek ini di produksi oleh pabrik2 rokok berskala raksasa.. Ya, mereka memproduksi rokok jenis ini yang dikenal pula dengan julukan Sigaret Kretek Tangan atau SKT, maksudnya sigaret kretek yang dibuat bukan oleh mesin pelinting otomatis melainkan oleh tangan para buruh linting. Industri SKT ini merupakan industri padat karya, menyediakan lapangan pekerjaan bagi jutaan tenaga kerja Indonesia, sehingga dipelihara dan juga dimanja oleh pemerintah. Sayangnya, sigaret kretek tangan ini, entah karena alasan apa, dibuat tak berfilter alias non filter. Dan dengan kekuatan iklannya, perusahaan2 besar itu mempersilahkan jutaan penggemarnya untuk mengkonsumsinya…, begitu saja. Ini membuat kesan bahwa para produsen rokok itu, yang kini pemiliknya menjadi orang2 terkaya, sungguh2 tidak peduli atas keamanan produknya dan tidak peduli pada kesehatan konsumennya. Dipikirnya, dengan memasang kolom peringatan akan bahayanya merokok, itu saja sudah cukup. Dan kita yang mengamati hal itu menjadi sebal: “Ini apa2 an? Emangnya tidak ada cara bagaimana membuat produk rokok kretek yang meskipun dibuat tak berfilter namun tetap aman untuk dirokok?”

Ah, sudahlah barangkali mereka kelewat sibuk menghitung laba. Dan kalau mereka enggan memikirkannya, ya kita sajalah yang mencoba mencari solusi, mencari jalan bagaimana caranya agar rokok dan merokok itu bisa lebih aman. Gitu aja kok repot…

Dan inilah hasil pemikiran yang semoga dapat menjadi solusi.
Menurut saya, sigaret kretek non filter buatan tangan itu akan lebih aman dikonsumsi jika perokok menggunakan PIPA SIGARET FILTER HOLDER atau sebut saja PIPA SIGARET, atau SIGARET HOLDER, atau SIGARET FILTER HOLDER atau FILTER HOLDER.

Benda itu bukan benda asing bagi saya. Selama ini Pipa Sigaret atau Sigaret Filter Holder itu (modelnya seperti dalam gambar), sudah saya kenal, bahkan juga sudah saya pasarkan lewat Kedai Mbako Tingwe, namun masih dalam kategori sebagai asesoris rokok saja.

Tapi sekarang, setelah mengenal dengan lebih baik duduk perkaranya, saya harus katakan bahwa SIGARET FILTER HOLDER itu bukan lagi sekedar asesoris rokok belaka melainkan sudah harus menjadi “Barang Kebutuhan Pokok Bagi Perokok!” Dan sama halnya dengan seseorang yang kecanduan rokok, tidak bisa lepas dari rokok, Sigaret Filter Holder inipun harus bisa menjadi sahabat setia bagi para penggemar rokok Indonesia.

Memang sih, bukan soal mudah untuk dapat mensosialisasikan penggunaan Sigaret Filter Holder ini, namun tetap saja saya terpanggil untuk melakukannya sebagai bentuk kepedulian terhadap sesama rekan perokok.

Dan siapa yang nyana, ternyata dibalik kata “kepedulian” itu tersembunyi pula “potensi bisnis Sigaret Filter Holder”. Ya, bisnis Sigaret Filter Holder ini sangat potensial untuk dapat dikembangkan menjadi sangat besar, yaitu ketika semua perokok atau sebagian besar perokok sudah bersedia menggunakannya demi keamanan merokok.


Gitu deh…

B & S SAXOPHONE

TRADITION & INNOVATION
Unlike any other area, the saxon region of Vogtland looks back on over a 100 years of tradition in the development and manufacturing of wind instruments. The first german saxophone was built in 1901 in Markneukirchen , and by the 1920`s, Hüller saxophones were being sold all over the world. During the times of the old east Germany (GDR), the majority of the vogtl. Saxophone manufactures were brought together to form the VEB Blechblas- und Signal-Instrumenten-Fabrik. Today, this tradition lies in the hands of Vogtländische Musikinstrumentenfabrik GmbH , who as well as continuing the handcraft traditions, also works towards
Alto-Saxophone "Hüller" ca. 1930
Alto-Saxophone B&S 2001 1998
developing new and innovative ideas together with leading saxophone players and specialists from around the world.

Romeo Orsi

Prof. Romeo Orsi (1843-1918) was born in Como, and he came young in the Royal Conservatory of Milan, where he got a Diploma just when he was 20. His career began in this way, at the Theatre "alla Scala" in Milan, as a concertist, where he first became Assistant Principal, then himself President. Moreover he was nominated Clarinet Teacher at Royal Conservatory of Milan. Orsi invented the double-tonality Clarinet which had a great success, and, thanks to several orders of this instrument, he joined Paolo Maino's modest factory giving birth to Maino & Orsi factory.

The happy activity of Orsi solved the problem of reducing all wind instruments from old to "diapason" or normal tuning fork; the War Minister entrusted this arrangement to him for militar bands instruments. In 1881, during the competition proclaimed by the War Minister, among all Italian manufacturers, in order to establish precisely the sample of every instrument to rearrange opportunely the Royal Army Bands, all the samples presented by Orsi factory were destined for the competitions and private tenders by the Technical Office. Since that time the House, become a Prof. Romeo Orsi' s exclusive property for some time, continued to widen.

For the special instruments of their works, Masters Mascagni, Puccini, Leoncavallo, Giordano, Montemezzi, Giuseppe Verdi and many others applied to Prof. Orsi' s industrial-artistic capacities, to whom, then, they always expressed their best recognizations.


SINCE 1836, Prof. ROMEO ORSI WIND INSTRUMENTS FACTORY ...

… produces the most complete range of wind instruments, following the construction principles of the great Italian traditional craftsmanship, of which "Prof. Romeo ORSI" represents an outstanding example.

Today, the founder's traditional craftsmanship lives together with the new construction technologies of its masters craftsmen.

The factory still keeps a copy of every wind instrument created and produced by his craftsmen during over 140 years of its fashinating history, along with their constructive plans and diagrams. This makes Prof. Romeo ORSI be the only one in the world today to produce any kind of wind instruments of its unique and vaste collection, including hundreds of models.

The stencils

Usually is called “STENCIL” a musical instrument produced by a great musical company for a small firm or musical store which after put his own Brand on it.
Many musical shops (like Lyon&Healy, Würlitzer…) or small Companies purchased from the most important musical industries as Conn, Buescher, King, Holton, Martin; really also any Brands since 20’s beginning very important could often made his own saxophones by others; it’s just the case of SELMER with his “Selmer NewYork o Usa” builded by Buescher or Conn, and also for KING which purchased saxophones from Evette-Schaeffer or Kohlert and recently with King “Marigaux” models produced by French SML.
Instruments serial number are often not equals to manufacturer serial numbers and than we haven’t for many instruments a right year of production.
Also a SECOND LINES instruments really made by big groups is called “Stencil”; “second lines” instruments came by purchase of minor Companies (as “Cleveland Band Instruments” purchased by KING with “Cleveland” brand or “PanAmerican by Conn). These models were made usually with a good standard quality at popular, low prices.

I propose here a Brands-LIST of Stencils, with relating real makers and just for any case with property and period of production.

ADOLPHE: “Selmer” .
AMERICA FIRST: “Conn” (2nd line). Prop.: Conn.
AMERICAN ARTIST: “Buescher” . Prop.: Progressive Musical
Instrument Corp. (1920-’50).
AMERICAN STANDARD: “King” (2nd line). Prop.: KING-
H.N.White Musical Instr. Co.
ARTIST: “Buescher” ; “Blessing” . Prop.: Sears Roebuck & Co.
BANDMASTER: “Buescher”; “Conn” . Prop.: Elkhart Band
Instrument Co.
BEAUMONT American-Chicago: ------? Prop.: C.Meisel.
BETTONEY: “Conn”; “Martin” (rare).
BRUNO: “Conn”. Prop.: Bruno Musical Instr. Co.
BUNDY: “Conn”; “Buescher”; “Selmer”; “Keilwerth”.
Prop.: H&A Selmer-G.Bundy (Selmer USA).
(1927-oggi).
BUISSON: “V.Kohlert’s Söhne” (Germania/Cecosl.).
CARL FISCHER: “Buescher”; “Evette-Schaeffer”;
Carl Fischer was an important distributor
of european Brands as Selmer or Evette-
Schaeffer and a big Music-Store
in New York.
CAVALIER: “Conn” (2nd line). Prop.: Pan American
Band Instrument Co., after Conn.
CHALLENGER: “Conn”. “Prop.: Pan American Band
Instr. Co. – Conn.
CHAMPION: “Conn”. Prop.: Pan American Band Instr. Co. – Conn.
CLEVELAND: “King” (2nd line). Prop.: King-H.N.White Musical I
Instrument Co.
CONCERTONE: “Conn” ? Prop.: ------ ?
CONTINENTAL: “Conn”. Prop.: ------?
COUDET: “Martin Freres” (Francia). Prop.:Us Government.
C R PERONZE: “York” . Propr.: C.R.Peronze agente per la York.
DEVILLE: “Selmer” (2nd line ?).
ELKHART: “Buescher” (2nd line) ; “Conn”; “Martin” (rare);
Prop.: Elkhart Band Instr. Co. During 50’s this brand
was used only for Buescher instruments.
FRANCO AMERICAN: “Couesnon”. Prop.:------ ?
FREE-TONE: “Buescher”; “Conn”. Propr.: H&A Selmer-G.Bundy. (1927).
GLADIATOR: “King” (2nd line). Prop.: King-H.N.White Musical Instr. Co. (1930 ca.-’40).
GRETSCH: “Conn”; “Buescher”. Prop.: Gretsch Mus.Instr. .
HARWOOD PROFESSIONAL: “Buescher”. Prop.:---- ?.
HORACE-Landay Bros. NY: “Martin”. Prop.: ---- ?.
INNOVATION: “Buescher”; “Martin”. Prop.: Würlitzer Co.
JENKINS-HARWOOD0 o KANKAS: “Conn”; “Buescher”.
Prop.: ----- ? .
JETEL: “J.Thibouville-Lamy (JTL)” (Belgium-France); Prop.:
J.Thibouville well-known craftsman in France.
KALASHEN’S KLEARTONE: “Conn” .
KALASHEN o J KALASHEN: “Buescher”; “Conn” .
KARL MEYER: “Selmer” (or H&A Selmer); prop.: K.Meyer.
KING-“Lemaire”: “Amati” (Czech firm), 2nd line made by
Czech firm for King-H.N.White Co. in
60’s-70’s years.
KING-“Marigaux”: “SML” ; professional line made by
French SML for King in 70’s years.
KING “Tempo”: “Keilwerth” basic professional line made
In Germany for King-H.N.White Co.
KLEAR TONE: “Conn” ? Prop..: Bruno Musical Instr. Co.
KLINGSON: “Hammerschmidt” (Germania).
LAFAYETTE: “Couesnon” ? prop.: Bruno Mus. Instr. ??
(post 1900- ?).
LA MONTE: “Rampone&Cazzani”; Prop.: Us Government.
LA PREALPINA: “Rampone&Cazzani”.Prop.: Rampone&C.
(1919 - ?).
LEFLEUR: “Conn” ; Prop.: ----- ?
LYON&HEALY: Lyon&Healy used many instruments
manufacturer as“Buescher”, “Conn”, “Martin”,“King”,
“Holton” (King and Holton very rare).
L&H. had also a own production probably called
“Couturier”.
This firm or great musical store was established at
Chicago in 1864 by Patrick J.Healy and George W.
Lyon through Washington and Clark Streets; the
Great Fire of Chicago in 1871 involved also L&H
and his activity was damaged.
In1889 P.J.Healy purchased Lyon property preser-
Ving his name.
L&H instruments produced by many manufacturers,
they have of course a various, different design
and also were often named differently.
Any brand well-known was:
American Conservatory,American Professional,
American Star,Champion, Couturier (own models),
Henry Gautier, Inspiration, La Porte, NewChampion,
Vito Resotone.
L&H followed also market variations, also introducing
new innovative models (just for L&H projects) as a
“Balanced Action” sax (really made by Martin) or a
“F- Mezzosoprano” similar to Conn models but with
great tone problems, after it was substituted by a
better similar sax in Bb.
LYRIST: “A.E. Sax” (Adolphe Sax son). Prop.: A.E.Sax.
(1925ca.-?).
MAJESTIC: “Buescher”; . Prop.: Wurlitzer co. (1856-1914).
MANHATTAN: “Martin ”: made by Martin for Selmer.
Prop.: H&A Selmer co. (1927-?).
MARCIL: “Selmer” Prop.: Selmer? (1927-?).
MASTERBILT: “Conn”. Prop.:------ ?.
MELODY: “Buescher”; “Martin”; prop.: Wurlitzer Co.
OLYMPIAN: “Conn” ; prop.: ----- ?
PAN AMERICAN: “Conn” (2nd line). Propr.:PanAmerican Band Instr.
Co. – CONN.
PERFACKTONE: “Conn” . Prop.: PanAmerican Band Instr.co.
PERFACKTEN: “Buescher”; “Conn” . Propr.: Bruno Mus.Instr.co
(Post1900-?)
PERFECTION: “ “ “ “ .
PRIMA: “J.Gras” (Francia). Prop.: J.Gras
PROM: “Conn” . Prop.: PanAmerican Mus. Instr. Co.
RAINBOW: “Conn” . “ “ “ “.
RAYMOND: “Selmer-Paris”. Prop.: H&A Selmer. (1927-?)
REALISTIC: “Buescher”; “Evette-Schaeffer ?”.
Prop.: Carl Fischer Co. (1923-?).
SELMER AMERICAN o US: “Conn” . Prop.: H&A Selmer-Paris.
SELMER NEW YORK: “Buescher” . “ “ .
SERENADER: “Conn”. Prop.: Pan American Band Instr. Co.
SIGNET: “Selmer-Bundy”. Prop.: H&A Selmer-Bundy.
(1927-?).
SILVER TONE: “King-H.N.White”; “Blessing” . Prop.: Sears
Roebuck & Co. (ca. 1930-’40).
SILVER TONE: “Buescher”. Prop.: Montgomery-Ward Inc.
SUPER ARTIST: “Blessing”. Prop.: Sears Roebuck & Co.
SUPERTONE: “Conn” . “ “ .
VEGA: “Martin” ; “Buescher” .
WINTERROTH: “Conn” .
WÜRLITZER: “ Martin” ; “Buescher” ; “Conn” .
Prop.: Würlitzer Musical Co

SML (Strasser-Marigaux-Lemaire)

SML Company was established in Jan 1935 by 3 partners: Charles Strasser Swiss business man, Mr.Marigaux a wind musical instrument maker already worker at Buffet-Crampon, Mr.Lemaire a clarinets maker.
Saxophones production probably started only after 1935.
In a first time company is known especially for his oboes, after also for saxophones, flutes and bassoons.
At top of his productivity SML could made around 500 instruments for month, but usually from 100 to 400.
It seems produced only Altos, Tenors, Bari models, then no soprano or bass saxophones.
Company ended his sax production in 1982, except for “KING Marigaux” models made since ’86 for Us brand KING; maybe his activity ended just for incapacity to compete with Selmer.
Beyond “STANDARD” Models basic instruments for students , SML is well known for any professional saxophones.
It can’t be know exactly serial number list of SML production, but dividing around for periods or basing also on models seen/known, it can be indicate:
“REV. A” (from 0 to 46xx ca.)_ Early model, similar to 30’s saxophones of other brands; Bell-keys are on left side.
They were made only Altos and probably Tenors.
Maybe these models were made also with building differences among them, really it depended by different craftsmen that made saxophones.
In fact often it’s possible see differences about Bell dimensions or key mechanics.
“REV. B” (from 46xx to 6xxx ca.)_ Bell-keys now are on right side, remarkable also the introduction of “Rolled Tone Holes”.
“Coleman Hawkins Models” (from 3xxx to 6xxx?)_ Very similar to Rev.B, this model was made just for the most important testimonial Coleman Hawkins, it was available in two versions: 1 made after Rev.A models, the other after the Rev.B .
Any of these saxophones shows beautiful elaborated engravings with inscription “Coleman Hawkins” in big letters.
Also “C.Hawkins” saxophones had rolled tone holes and sometime a lightly oversize Bell.
“SUPER or Transitional” model (from 55xx to 73xx ca.)_
There’re at least 3 different versions with name “Super” engraved on the bell.
This saxophone is an evolution of Rev.B, maybe is worthy of note a better ergonomic for fingering of G#-C#-B-Bb notes group.
“REV. C” (from 73xx to 83xx ca.)_ Similar to previous models, anytime small improvements.
“REV.D” (from 83xx to 156xx ca.)_ The final evolution of Rev.B/C, with improvements especially on Keys totally handmade, also on screws in hardned steel, all characteristics could be found in following years.
“GOLD MEDAL or MkI” (from 156xx to 202xx ca.)_
The best expression of SML saxophones.
It’s possible find any “Gold medal” Alto already with serial nr. 15xxx.
Gold Medal model was advertised for his technical solutions not possible to find on Us saxophones:
Neck with a locking improved mechanism;
First quality hardened steel Screws;
totally handmade Keys;
more anatomic mother of pearl buttons;
reinforced Key-cups Rim.
Rolled tone holes;
Larger bore Bell.
It seems around serial nr. 18xxx any of these peculiarities couldn’t be.
It was called “Gold Medal” because these saxophones won just a gold medal at the International Music Festival in Netherlands in second-half of 50’s.
“GOLD MEDAL II or MkII” and “KING-Marigaux” (from 202xx to 27xxx ca.)_
It’s an evolution of Gold Medal I , it was the same saxophone made since 1986 for KING-Usa ; But there’s a small decline in quality regards previous model for more poor materials and sound quality lower even if it’s always high.
Remarkable is the “rolled tone holes” missing with the elaborated bell engravings now with a normal logo too.
The Sound of “Gold Medal” models generally was of dark timbre, this characteristic certainly for his complicated, jointed mechanics that made saxophone heavy.

Rampone & Cazzani

In 1818 Francesco Rampone and his nephew Egidio Forni both coming from Quarna Sotto (near Lake d’Orta in Italy) went to Milan working for lab of an important baroque flutes maker, Mr. Luvoni, here they learnt technique of wood-turning and began an activity as wind instruments maker.
After any time they constituted a Company with their titular. When Luvoni for his age and health problems ended own activity, he left his company share to F.Rampone and E.Forni.
But these one came back to Quarna S., here in 1847 Egidio Forni took over company from F.Rampone making for any time wind instruments marked “Forni”.
Forni’s sister, Maddalena married Teodoro Bonaventura Rampone ,kindred but no direct descendant of founder F.Rampone and in following years Forni’s descent wiped out on company direction.
Then at company direction followed Teodoro B. Rampone, after his son Agostino.
During this period in Quarna S. about their activity they were obliged to make use locality resources;
In fact they had the idea to make woodwind musical instruments using local woods, plants: laburnum, pear or box wood and for want of electricity making use of water as motive power for their machines (anyone still
visible in local ethnographic Museum of woodwind instruments) through water mills.
Then, at the beginning in Quarna Sotto in small environments or rooms, often near friends and relatives, they installed wood-turning laboratories near mills and small torrents.
The used tools were bar-lathes, hand saws, hand drills, small pedal-drive lathes.
It began so a slow conversion for Quarna S. from agricultural to industrial centre.

In 1860 Agostino Rampone took over factory by E.Forni and kept in his hands company, in this age he was already an established flute-player at “Scala di Milano”, in the following years he will be real author for increasing woodwind instruments production.
Maybe he was also a refined craftsman because he improved also the Bohm-system for flute.
In the second half of XIX century brought his firm to an international fame as it’s attested in many recognitions received at Paris, Rio de Janeiro, Harvard, New York.
Agostino Rampone produced, first in Italy, a saxophone probably in 1875.
Any of early sax wood-prototypes used for study of key-mechanics are now exhibited in Quarna Museum.
Of course it’s not excluded A.Sax and Agostino Rampone met during various world musical instruments exhibitions and then early wood-sax prototypes were influenced by inventor’s model.
The Wood was utilized for these first models just because Rampone’s craftsmen were from any generation expert wood-turners worked it very well and certainly because it was easier to assemble mechanics testing functionality.
From wood they passed to metal, with creation of early metal sax bodies and parts variously forged.
The first metal body certainly asked considerable investments for the age, however there’s a solid experience in metals working, before it was already started a trumpet and brass-winds production, and then modelling sax-body didn’t give many troubles but it was a problem positioning mechanics, holes on body to determine notes.
1875 was just a very important date for RamponeC. history.

In 1916 or ’18 there was also a marriage of Giuseppina Cazzani (her father was Giovan Battista Cazzani watch-maker and also maker/repair-man of brass musical instruments in Milan) with Egidio Rampone, Agostino’s son.
It was born the “RAMPONE&CAZZANI” or “Ditte Riunite Agostino Rampone & Giovan Battista Cazzani” and with this name especially in 30’s it reached success also for contribution of their extraordinary craftsmen.
The production in these years was probably connected to industry collaborations with musical Companies more important than RamponeC. as CONN Co.; during this period saxophone is not the most important product for RamponeC. too.
The 30’s Rampone saxophones still preserved in Rampone factory are very similar to Conn models of same age; among preserved old models particularly a model entitled “SOLOIST”, a Rampone leading model of 30’s, on this model the company designer Mr. Delle Piane applied a complicated mechanic which controlled with lonely right hand all notes (or keys) normally moved with left hand palm, also obtaining Bb with contemporary opening of low Eb Key.
Another model to mention produced between end of 20’s – 30’s was the “VADEMECUM”, with beautiful embossed engravings on bell, it’s a very rare model now really unfindable but it can be seen on advertise papers or illustrations of the age.
Just by advertise illustrations you can see also a Straight Alto made in same years, probably similar to a Buescher model.
Actually RamponeC. has brought again this project and in 2007 introduced in his R1JAZZ professional sax line a new Eb Straight Alto called “ALTELLO” with an optional G# Key.
During early years of XX century Rampone factory produced also a wood-prototype of a Bb half-curved Soprano still preserved in Quarna Museum, very similar to American “King SAXELLO” but sure previous to King model; this Rampone project was clearly abandoned, but could it be thinkable King copied this model?
Now by around 10 years RamponeC. makes again a beautiful new Bb half-curved Soprano for R1 and R1jazz prof. lines.
Really Rampone instruments mechanics of 20’s-30’s is very similar to Conn saxophones: many alto Rampone models still preserved, show a “microtuner” neck, rolled tone holes equals in aspect to Conn “new Wonder II” examples.
During this period the sax range production included a C- and Bb- Soprano, Alto (maybe Curved-straight), Tenor, Baritone, Bass, maybe any Contra-Bass.
However the 1st and 2nd World War didn’t help company luck, in this period at direction of factory there are also family Arrigoni members with Egidio Arrigoni who married a Rampone’s heir.
Just Egidio Arrigoni directed company coping with economic difficulties because, although there was a low cost of labour, the Rampone employees were really too much: if you look any pictures reproducing company workers you can see that probably almost all Quarna families had someone able to make only one kind of manufacture on instruments.
In 1957 Mr.Saltamerenda a manufacturer, kindred to Arrigoni family purchased Rampone Factory of Quarna, then he moved offices and warehouse at Gerenzano near Varese.
Under direction of Ferdinando Saltamerenda (son of manufacturer) at the age 23 years old, Rampone&Cazzani arrived at the top of productivity never again equalized, for his unquestioned entrepreneurial capabilities but also thanks to low cost highly specialized labour.
From 1957 to ’85 were produced around 800 instruments for month, on this total around 600 were Flutes (same actual Rampone owner Roberto Zolla began at R&C factory making Flutes).
Frequently sax production in these years were “standard”, popular with few attention for manufacture details: sax with lacquered brass body and nickel-plated keys, although of better quality on standard actual products by other brands.
However Saltamerenda’s management in those years although with less quality relating to past quality, it was useful for increasing production and preserve employment of many people of Quarna Sotto.
From 1985 Saltamerenda left company especially because of competition of big industrial groups.
Roberto Zolla purchased R&C Factory in 1989 when Rampone’s saxophones were seen from professional musicians and sax-players simply like Band instruments, so he worked hardly to reach professional level for his saxophones.
Now the new totally handmade production of professional saxophones (from Eb sopranino to Baritone) again dislocated in Quarna Sotto, with “R1” (lacquered models) and “R1JAZZ” (unlacquered models to free better all the harmonics) saxophones and the new models as the “Saxello” (Bb half-curved soprano) and the “Altello” (Eb straight Alto) have brought again Rampone&C. among best world sax manufacturer, very appreciated from many sax-players and pride of “made in Italy”.

Martin

Henry Martin was born in Dresda Germany in 1835, maybe he learnt just there to make musical instruments, but after he went to United States around in 1855 at New York where opened a laboratory for repair musical instruments parts.
It seems he founded in 1865 his own firm “The MARTIN Company” in Chicago where he moved.
In 1871 his factory was destroyed by a fire, so he moved again in 1876 at Elkhart-Indiana where he began the 6th employee of C.G.CONN Co. and worked till health problems in 1902 forced him to retire. He died in 1920.
A 2nd Company was in the meanwhile established in 1904-’06, by his five sons: “The MARTIN Band Instrument Company”, since 1910 these brothers made their instruments at home.
In 1910 they moved to Elkhart , where opened their factory in Baldwin st.
In 1928 Martin Co. purchased “The Indiana Band Instrument Co.” which was a separate firm with own production since 1942, making always a popular musical instruments line.
Just at the end of 30’s was produced the most famous trumpet made by Martin, the “Committee”.
In this project, about “Committee” design had a basic rule just Renold Schilke; it was for many years the trumpet of many jazzmen as Miles Davis, Chet Baker, Dizzy Gillespie and others.
Really Martin had always a limited production relating to other brand like Selmer, Conn, King, but with a high quality standard.
In spite of production almost clandestine during WWII and Korea-War it survived just for his reputation.
Many people as Chet Baker told quality production decreased from second half of 50’s, maybe after any fusion, union with other companies like “Reynolds” and “Richard Music Corp”; only during 70’s under property of French LEBLANC, Martin instruments conquered again popularity and high quality.
Sax MODELS:

“HANDCRAFT”_ Similar to Conn “ChuBerry” this sax is heavier of Conn for Neck,it has the characteristics “Bevelled Tone Holes”: raised side of holes where go to lean pads, they are not part of sax but soldered and then not obtained for extrusion.
Sound is definitely of dark timbre, with very good tone.
“COMMITTEE”_ the first Committee saxophones were made in 1938-’39, made with collaboration of any professional players or technicians, particularly for collaboration of Steve Broadus a reeds-mouthpiece maker, well known player and Acoustic technician too. They were similar to “Handcraft” models but with tone and mechanics certainly improved.
Bell-Keys are both to left side regard previous model not one on right and one on left.
Sound has always a dark timbre but definitely stronger and centred.
It was the preferred from many professional players as Art Pepper; by second half of 40’s were made also a “COMMITTEE II” Model.

“The MARTIN” Model created at the end of 40’s with a more actual and fluid mechanic, it had still Bell-Keys on left side but Neck had an under inclination giving this sax higher than previous.
A particular big clamping screw was on front side of neck; frequently these models had very rich engravings.
Sound is typically dark with perfect intonation.
Another remarkable model was
“The MARTIN MAGNA” produced during 50’s-60’s, it had generally same tone-colour characteristics, a sonority really nearest to Committee.

King-H.N.White

The Company was founded in 1893 by Henderson N..White as musical Publishing House and also as Company for repairing Wind Musical Instruments in Cleveland-Ohio, at this time one of the important financial, industrial, cultural centre of United States.
Already in the first time production H.N.White Co. begins a collaboration with a famous local Trombone-player Thomas King and a first musical instrument line (particularly trombones), was called just “KING”.
The success of these instruments persuaded Company to extend production for other Brasswinds, and also to confirm “KING” as definitive Brand name.
From 1908 in answer to a mounting request, KING Co. begins to distribute first saxophones made by French Evette-Schaffer, less expensive and than competitive with Usa saxophones.
But in 1910 Evette&Schaffer sold exclusive rights for his saxophones to Carl Fischer importer of New York forcing KING to change, importing saxophones made by Kolhert co. in Germany.
Only in 1916 the H.N.White Co. arranged to made own saxophones, but only Alto models, marked KING.
From 20’s KING produced also Tenor, Baritone and C-melody models.
KING obtained very soon a great reputation as sax-maker just after Conn and Buescher.
But in 1926 it extended his saxophones range with introduction of a C-Soprano, straight and curved Bb Soprano, and particularly with an half-curved Bb Soprano model called “SAXELLO”.
Besides from 20’s to 30’s H.N.White Co. could propose 3 sax and brasswinds lines with different price ranges: “KING”(1st.line), “Cleveland” and “American Standard” (both 2nd line).
In 1932 were made new models of Alto and Tenor sax, known as “VOLL-TRUE II”.
In 1935 the early “ZEPHYR” models, really a “Voll-TrueII” modified saxophones especially for high-E mechanism.
Around in 1940-41, was introduced for “Zephyr line” the “socket neck” mechanism, to reduce clearance and dispersion among Neck and Body ; besides in 1939 KING introduced also a new “ZEPHYR Special”, many of these models were made with a Solid-Silver Neck.
After WWII in spite of many problems concerning world market troubles, KING introduced a new, legendary model,
The “SUPER 20”: the first models were substantially a “Zephyr”-modified with more elaborated bell or key engraving and with a different Neck which was a distinctive mark of this model, designed by Fred Meyer.
After “SUPER 20” was proposed also with a Solid-Silver neck and bell.
But already at the end of 60’s, KING saxophones quality including “Super 20” it begins to be really poor , especially when production was transferred from Cleveland (historic location) to Eastlake.
There was also a discontinued production of “Super20” till 1975, but in 70’s industry profits decreased.
From 1960 since 80’s KING imported a sax line too,
The “MARIGAUX” from French SML (Strasser-Marigaux-Lemaire), it was very similar to SML-“Gold Medal II” model (No “rolled tone-holes” model), and than it was a SML not a King sax.
IN 1995 KING seems came back to past fame, announcing a new top professional model production: the “SUPER 21”.
It was shown in any exhibition and were made around a dozen saxophones, but after “Super21” project was quite left.
Actually KING (like Conn) is in a Industry Musical Company , under Selmer control, it makes only a student musical instrument line.

Keilwerth

The Keilwerth brothers were three: Max, Richard and Julius, this last began in early years of XIX century to work for KOLHERT company at Graslitz then in Czechoslovakia, this was first most important Firm for winds musical instruments in Germany; after this experience Julius and Max established their own workshop in 1925 just in their home.
In a first time they worked for many other small Companies or factories dislocated in Markneükirche- Germany, historic location of most important craftsmen and woodwinds/brasswinds in Germany, at 30 miles ca. from Graslitz, particularly for ADLER small and well-known musical instruments brand left after WWII and also for F.X.HǗLLER another small maker Max K. developed saxophone production in about 1923-’25; Max and Julius worked also for SELMER building the “Pennsylvania-Special” models.

“EARLY MODELS”_ It’s possible to find it with different various names as “King”, “Soloist”, “Deluxe”, “Exclusiv”, the same “Pennsylvania special” (Keilwerth stencilled) it can be considered among early Keilwerth saxophones.
All these models seems very influenced by Usa saxophones, especially from CONN-NewWonder models, not only about mechanics but also for any innovations as “microtuner neck” and “rolled tone holes”.
Many saxophones made in Germany since 30’s are very similar or equals, really they’re just few factories which make saxophones in Germany during these years, first of all Keilwerth brothers and Kohlert company they worked with.
In fact Julius K. began to work often giving sax Bodies and parts to some German brands, these last added only keys-mechanism and finishing, all began before and after WWII.
Before of WWII J.K. became one of most important saxophone maker in Germany, he had at this time around 150 workers, except for Kohlert Co. which had ca. 600 employees, there was no other comparable musical industries.
During war time there’s no informations about Keilwerth co., it’s known Nazi regime judged saxophone like a menace of “degenerate” West, but it’s real few companies still continued to make saxophones.
After war in 1948 Keilwerth co. dislocated in East Europe in Czechoslovakia was nationalized like other firms as “Amati”, F.X.Hüller, Kohlert which formed together a collective combine.
Richard K. just worked for “Amati” since 1949, Max K. since ’51; just Amati co. continued using for his saxophones models frequently same name of Keilwerth “Toneking” models; actually you can see many similar saxophones Amati or Keilwerth named “Toneking”.
IN 1947 Julius Keilwerth escaped to Nauheim in Germany where he returned to his activity with a new factory.
In 1962 he passed management to his son Josef.
Max K. during 50’s left Amati going to Germany, here he continued buiding saxophones for HOHNER Company since 1967, particularly creating a very good sax model “the President”.
Richard K. also left Amati moving to Markneükirchen in Germany where he established his factory building woodwind instruments, especially clarinets; he continued making saxophones for other companies,particularly for WELTKLANG Co. (already F.X.Hüller co.) in following renamed “B&S” Comp. (a division of JA-Musik).
KEILWERTH MODELS_
After early models, the most important saxophones produced by J.Keilwerth co. are 2 models:
“TONEKING” and “NEW KING” (from end of 30’s to 70’s): there are many versions of these models as the “Special” or the “EX” (Exclusiv) models, relly equals; on many saxophones it’s possible find “rolled tone holes” on each other no more.
They were made Bb Soprano, Alto, Tenor and Baritone models.
Lonely and regular diffenece about TONEKING and NEW KING Models (except for “Special” of both) was the High F#-Key usually absent on “NewKing”.
Really the “NewKing” could be considered as “younger brother” of “Toneking”, built poorest tools, materials relating to other model, however 2 models were equals except for engraving/name on bell.
Then high F# key was introduced on these models just few years before war.
Over all saxophones is engraved the characteristic brand “JK – the Best of the world” written inside a circle, it was Julius K signature.
There are 4 SERIES of these saxophones and looking easier to “NEW KING” it’s possible make a difference between:
“SERIES I” (from 10xxx to 20xxx ca.) _ Maybe the nicest models, built insecon half of 30’s, with beautiful Bell engravings, a Key correcting high E, with microtuner neck / rolled tone holes too.
“SERIES II” _ They were made probably from 500 to 1000 examples after WWII, just before/after Julius escaped in Germany.
They’re totally different by early first models, they missed “rolled tone holes” but had “bevelled tone holes” like Martin or Couesnon saxophones in this period.
It’s possible to meet also “Toneking-AMATI” models, a Keilwerth copy and on each other of them to see the JK signature.
“SERIES III” (from 21xxx to 45xxx ca.) _ It begins to find the characteristic beautiful “Angel-Wings” Keys-Guards (on Alto-Tenor models) describing an half-arc over all Bell-Keys till low C key, made of Plexiglas or metal.
Missing the mictoruner neck, on many models there’re rolled tone holes.
“SERIES IV” (from 45xxx to 905xx ca.)_ There’s no important changes regards to previous models, however were used poor materials and finishings, the “angel-wings” key-guards is missing.
About differences among AMATI and KEILWERTH “Toneking”, frequently (not always) on Amati saxophones there’s not JK signature and microtuner, never also the “angel-wings” keyguards and finishing are poor relating to Keilwerth models.

Present models “ST-90”, “SX-90”, “EX-90”(rolled tone holes) made in Series I-II-III-IV of last years can be considered as an evolution and involving of previous “Toneking”/”NewKing”.
In 1989 Keilwerth was purchased by Boosey&Hawkes company, and these last in 2003 sold Keilwerth to T’M Musical group.

KEILWERTH-“Stencil” Models:
Before war K. made saxophones for many German manufacturers, maybe producing also for Brands referable to same K. as “DORFLER-JURKA saxophones.
The collaboration with SELMER began in 20’s and also in following years since 50’s, with alto, tenor, Baritone models made by Keilwerth.
It was the 50’s model “BUNDY-“ or “BUNDY-Special-H&A SELMER”, they are same “Toneking” seriesIV, sold as intermediate-student model but very appreciated for quality and sound; on these we can find they’re marked “made in Germany” too.
Also BOOSEY&HAWKES co. after war asked saxophones to K., they’re intermediate level models, each one produced also with brand “Champion”.
Keilwerth Co. From 1965 to ’86 made for Herbert Couf director of WT-ARMSTRONG Co., 3 sax models marked “H.COUF-“ “SUPERBA I”, “SUPERBA II”, “ROYALIST”, also these very similar to “Toneking-Special” (Superba I) and “Toneking” (Superba II) this one without high F#-key.
In 60’s-70’s also KING-H.N.White imported Keilwerth saxophones, the “KING-TEMPO” models, very good quality instuments, similar to “NewKing-seriesIV”.
Recently in 1987 they were produced the “PETER PONZOL-KEILWERTH” saxophones, a limited edition of professional models made just for three years.

Holton

Frank Holton, a trombone-player begins selling new and used trombones at Chicago in 1897.
In 1904 established the “FRANK HOLTON Company” offering a complete brass-winds line from trombones to trumpets, cornets and other horns.
His activity expanded when in 1917 Company was transferred at Elkhorn in Wisconsin, where it continued for many years exceeding “Great Depression” and war period during 40’s .
From his birth Holton Co. was known especially for his brass-winds instruments but it began to make saxophones around in 1912, producing Alto, Tenor and C-melody saxophones often made with an extra-keys system, advertised as new-innovative system but really copied from 1908- “apogee” system by French Evette-Schaeffer.
The “NEW REVELATION” Models introduced in 1924 included Bb- or C- Soprano, Alto, Tenor, Baritone, Bass all with range from low Bb to high F: nobody manufacturers could offer a C-Soprano with same range notes in this time.
Holton Co. publicized many innovations of his products for increasing interest about his instruments as the “Holton Master-Keys”: D-G-G# Trill keys with silver soldering of tone holes.
In 1926 was introduced also a “No Cork-Neck “, publicized as a Mouthpiece Tone-System more quick and efficient relatively to traditional system: it was a Bakelite mouthpiece with a terminal screwing side over a no-cork Neck with screwing side too. Intonation was just regulated screwing/unscrewing the mouthpiece from neck, of course was available also a cork-adaptor and a normal mouthpiece for a traditional use.
Between the innovations also the collaboration with famous Cmelody-sax virtuoso Rudy Wiedoft, well known sax-player in popular music of 20’s-30’s.
Early “RUDY WIEDOFT” Models is of 1927, it was the first example of sax bringing a name of a famous musician.
Beyond to innovations and extra-keys already on previous models , “Wiedoft” model introduced a direct movement for low Bb, putting B / Bb Holes on left side of Bell, and then a double-fingering with a G#-key (really already existent).
However this Keys-system arrangement in total was really remarkable.
They were made Alto, Tenor, C-Melody, Soprano saxophones, on sopranos particularly with an alternative innovative High-F key.
In 1928 was added an extra-hole near low C-hole which remained open for all notes up low C, it closed when low C-key was pushed; totally this system tried to reduce the air-resistance given by curving of instrument.
Really Rudy Wiedoft collaborated few about these innovations, on the contrary many of his ideas or opinions it seems were ignored from Holton.
In fact at the end of 30’s Wiedoft and Holton Co. left their cooperation.
After during 50’s or 60’s Holton Co. made especially popular sax lines for student or musical bands:
The “COLLEGIATE” Model was a good instrument for Bands largely used.
IN 1964 Holton Co. was purchased by French Leblanc Musical Co.

Dolnet

Founded by Henry Dolnet in 1880, it seems began produce saxophones around in 1888.
Mr. Dolnet founded his factory with other two partners Mr.Pigis and Lefevre; Company was in Mantes, 30 miles around from Paris, this town will be the historic location of most important wind musical instruments makers in France.
In fact Dolnet instruments had many similarities with other wind musical instruments made in France, as building technique, as for easy mechanics and with normal imperfections for sax of this age.
In a first saxophones production, just about early known models of early XIX century (…We haven’t exact serial numbers for Dolnet), about that we can call as
“SERIES I” (1930/’35 – ’40 ? _ From 0 to 12xx?), the model design it seems very similar to “SML” or particularly to “COUESNON”, especially for arrangement and aspect of Keys.
However in this time Dolnet sax production is not prevailing on other instruments; maybe it didn’t make more of 500 saxophones a year.
“SERIES II” Models (ca. 1940-’50?_ from 12xx ca. to 34xxx/42xxx ca.):
These models introduced characteristic hexagonal ArtDeco’ key-guards and a simple brace to junction between Body and Bell.
Frequently you can see beautiful floral bell engravings.
“BEL AIR” SERIES or “IMPERIAL” (1950 ca. – ’70 ca._ from 34xxx/42xxx to 80xxx):
They went to determine design/technique characteristics seen on previous model and improvements; it was introduced the typical Brace with a “diamond” Artdecò design between Body and Bell.
On key and also on key-guards we find frequently
mother of pearls, action and key arrangements is very similar to Selmer models of the age, with a quick, fluid mechanics and a very easy sound emission especially on low range in B-Bb couple.
“Bel Air” it seems came from any rare models of the series engraved with this name.
Any time it can find the inscription “Imperial”, but the Dolnet logo shows always the brand inscription inside a small flag.
Any models of this series was called “Royal Jazz”, it has a characteristic microtuner on neck visible on alto-tenor saxophones (similar to Conn alto models of the age).
Very famous is a photo of 40’s of Lester Young playing a Dolnet “bel air” Tenor ; in fact like other French wind instruments Dolnet saxophones were very appreciated by Us jazz players.

“M70” Models (ca. 1970 – ‘80_from 80xxx to 00000 ca.):
These models have the trade name M70 near serial numbers.
It was really a perfected model similar to previous “bel air” especially with a more rounded, ergonomics keys-group G#-C#-B-Bb, easier for left hand action.
The cane and bell dimensions remembered another previous models of the age like Buffet “superdynaction” or Buescher “Top Hat and Cane”).
M70 name maybe it meant open new series of 70’s Dolnet saxophones.
“UNIVERSAL” Models (1980 ca- ‘84_ from 00000 to 01xxx ca.):
It’s the last Dolnet saxophone made.
It seems a modern version of M70, but no modified.
We don’t know exactly when has been produced the last Dolnet sax , probably at the half of 80’s.
However Dolnet saxophones became to be produced (similar to “bel air” models) under other brands as “Jean Cartier”, “Le Chambre” or “Jules Revan”.

Couesnon

The Firm was established in 1882 by Amedee Auguste Couesnon adopted child of P.L.Guatrot which was one of directors of Guatrot-Durand et Cie. also appreciated musical instrument craftsman, maybe one of best Sax rivals.
However Couesnon Company was established again in 1931 as “COUESNON S.A.”, as a kind of fusion of any small manufacturers and wind musical instruments workshops, including for example the “Association Generale des Ouvriers” or other Craftsmen as Feuillet, Guichard, Lecomte, I.Lot, Massi et Thibouville, Marquet, and still others.
In a first time saxophones production wasn’t very important, Couesnon seems more directed on brasswinds production, however it seems be a gap between early models and models made from ’35 when appears early saxophones with own Patent firm.
Particularly from collaboration with “Dolnet&Pigis” was born a first patent on saxophones (Pat. March 11 1888) with an improved mechanism for:
passage between F – F# key and closing G# key ;
exclusive closing and producing low Bb;
new positioning of Eb key;
Improving for G# trill key;
Extension of range to high F.

FIRST SERIES (1882-1936 ca.): it doesn’t know exactly Couesnon serial numbers, but these models included instruments with various inscriptions or engravings as: “monopole”, “armee”, sometime “Opera”, “National”, “universel”, “model SO”.
The instruments Dating on many models (including Brasswinds) you can see from a little number inside a small pineapple engraved on bell.
Technique characters are similar to 1888 patent.

From 1937 appears a different address on instruments engravings, “COUESNON SA, 105 rue Lafayette”.
“MONOPOLE” SERIES I Models (1937-‘49ca._from 1 to 82xx):
The new foundation in 1931 introduces also new building elements on saxophones.
Now there are a “rolled Tone holes” system according better productions in these years.
Now the Keys-Bell are positioned on right side not on left; there’s also an original Key-guards design which goes for all sax-body on bell and down.
Serial numbers also restarted from “1”.
“MONOPOLE” SERIES II (1950-’80 ca.):
Saxophones production is slightly poor relating with previous Monopole Series, really these models are very similar to Monopole I except for a new improved Neck.
Probably Couesnon ended his production at the half of 80’s.

Conn

Charles Gerard CONN (1844-1931) founded his musical instrument industry at Elkhart, Indiana, in 1874. He had great techniques abilities (he played various brasswinds and violin), and also a great creativity was the reason that took him to create one of big musical instruments industry never done.

His industry was the first to make saxophone in United States, and also introducing unusual models from 20’s to 30’s as Eb Sopranino, C- Soprano/Tenor(or c-melody), till rare models never produced again by other manufacturers like the “Mezzosoprano”, the “Conn-o-sax”: F-saxophones , that doesn’t meet a favourable market, and than their production was almost immediately interrupted.

During a First period of production, till XIX century end, Conn factory made only Soprano, Alto, Tenor, Baritone saxophones. From 1907 Bb Curved soprano, C-melody (or C-tenor) and Bb Bass saxophones too.

Charles CONN took in consideration suggestions and opinions of many sax virtuosos, just to improve his saxophones, than he engaged some of them as Lefèbre, Moerman, Henton for supervisors.

Particularly Lefèbre arrived to Usa in 1870 bringing his alto Adolphe Sax model and he used this sax like pattern for early Conn “Wonder” series saxophones.
In 1915 C.G. CONN Company was purchased by a Society with Carl Diamond Greenleaf for major stockholder; with C.Greenleaf CONN Co. production was remarkably increased till 2500 instruments for working day. Especially from 20’s was increased saxophones production.

There were different models in these years after the “wonder models”, like the “New Invention”, “New Wonder” (artist,virtuoso,transitional models), till the
“New WonderII” model (usually known as “ChuBerry” models).

During the 30’s a general decline in saxophone production it coincided for CONN Co. with a change in sax production restricted to Alto, Tenor and Baritone models.
Other types were made only on order.

The most important Conn sax models from half of 30’s were “6M”(alto)-“10M”(tenor)-“12M”(baritone) models, called also “ARTIST” or commonly “Naked Lady”, of course for naked lady engraved over the bell.
The best period for these series “M” models it’s just considered between 30’s – 40’s.
Particularly the Alto series identified as “6M modelVIII” till today has been judged as the best series.

At least since 1948 the “M” series saxophones were made with any characteristics already well known for collectors and sax lovers:
“microtuner Neck” (for Alto): really already on the New WonderII models; the neck (chiver) of sax had a kind of screw-valve, it should be to serve for tune variation of instrument. This system vanished in 1954.
“Rolled Tone Holes” (for all saxophones): the rim holes (on these holes it puts the key), is just “rolled”, in this way it could be a better-large surface of adherence for keys will close the hole.
This system were left in 1948, it seems because accidentally was broken or damaged the mould for 10M-tenors; the matrix remade was manufactured in a different way, but a new “design” was used also for the other models of “M” series.
The “Conqueror” models of 30’s are a perfected variation of 6M/10M, in fact were produced only Altos(26M) and Tenors (30M), with a more strong sound and more exact intonation.
After the “Constellation” models left high building quality but didn’t pull up the Company by difficulties.
CONN Co. probably already from 1955 introduced The “Director” models, a popular models called also “shooting stars” for engravings on the bell.
The purchase in 1959-’60 of Best Manufacturing Company of Nogales in Arizona, it moved big side of production in this location, with a poor quality of saxophones.
Maybe the last original Conn sax were produced at early of 1970 .
After few years CONN Co. was purchased (with King H.N.White Co.) by the same Selmer Group, actually it made only student instruments.

Buffet - Crampon

Denis Buffet-Auger a craftsman and wood-turner of wood musical instruments opened in 1825 in the centre of Paris, his laboratory. Here he began in a short time a famous, appreciated wind musical instruments maker. Particularly he developed mechanics and quality for 13 Keys clarinet. In 1830 Jean-Louis Buffet Denis son took factory in his hands and in 1836 marrying Zoe Crampon created the Buffet.Crampon brand. Really the Buffet-Crampon Brand appeared for first time in 1844.

From a collaboration between Louis-Auguste Buffet (Jean-Louis uncle) and Hyacinthe Klosè, a clarinet virtuoso, Teacher of clarinet at Conservatory of Paris, they developed an adjustment on Clarinet of German BOHM System patented for flute.
For first time this improved clarinet was exhibited in 1839, so it had a great success and BUFFET Co. to satisfy instruments request in 1850 changed factory location near Paris at Mantes-la-Ville.

In 1866 BUFFET produced his first Saxophone, of course favoured (like other manufacturers) from Adolphe Sax Patent terms.
Then the SERIES I (1866-‘70_from 0 to 792) : These early saxophones were made copying faithfully Sax “design”, probably because Buffet was also a Maison Sax Agent.
SERIES II (1871-‘87_ from 793 to 7xxx ca.): Jean Crampon reorganized Company and just in this period it’s possible see early instruments marked “Buffet-Crampon,Cie”.
But about these models there is no significant change in design respect to previous A.Sax-copy production.
To note in XIX century in France there were different musical “Pitch Standard” and when early Buffet Sax were produced, probably they were Sound Frequency instruments with A=435hz because it was from 1914 when International Standard Pitch became A=440hz “.
Frequently Buffet marked also on his instruments LP / Low-Pitch or HP / High Pitch(American standard A=457hz).

In the meanwhile in 1885 Paul EVETTE and Ernest SCHAEFFER purchased Buffet-Crampon and we find a first saxophone with “Evette-Schaeffer” brand in July 1887.
Early international recognitions already arrived for Buffet, as that received in 1888 at Exposition Universelle in Paris. In 1918 Buffet-Crampon entered in Us-market acquiring the world leadership between clarinet-makers.

EVETTE-SCHAEFFER “System” Models (1887 -1927_ from 7xxx to 294xx ca.):
They’re included models made with “Evette-Schaeffer” Brand, there are models still very similar to first Buffet production maybe sold at lower prices regards to more up-to-date models (“non-patented” and Evette-Schaeffer “patented”) with improved Key-mechanics and with larger acoustic range. In this period especially for exported Us-models made for Carl Fischer or H.N.White-King you can see an engraving with brands “Buffet-Crampon” - “Evette-Schaeffer” together. Certainly from 1916 it was introduced the standard Octave-Key system, they were produced also A=457hz and A=440hz saxophones. Any of these instruments has a “Conn” brand engraved avoiding export fees from France.
BUFFET – EVETTE Models (1918-‘33_from nr. 1 to 2xxx ca.):
They are really similar to previous Evette-Schaeffer patented models, with new serial numbers from nr.1 and mother-of-pearl keys.
“APOGEE SYSTEM” Models (1908-‘30_from 18xxx to 30xxx ca.):
These are very innovative models with alternative Key-system introduced in this period only on a short number of saxophones, it provided for addition of 2 Keys: 1st key got a central G#3 also with right hand through a lever on right side of sax near F-3/E-3/D-3 Keys group; 2nd key got to close LowBb-2 hole with right hand little finger, giving for left hand easily Bb2-B2 Trill (very hard fingering for other saxophones where lowering Bb-2 key was closed B2 key). on “Apogee” models you can see also a modified easier low-Eb key but for the rest it was a normal Alto.
BUFFET-POWELL Models (1930-‘39_from 30xxx to 35xxx ca.):
These saxophones were totally designed (patented) and really handmade by Edward V.Powell (son of famous Verne Powell founder of known Powell Flute Co.), when E.Powell himself worked in Boston. This strange Instrument has 4 Octave-Key Holes, early two holes on back side of sax perpendicularly one after another from D to G#, the other couple of holes is on neck, one of these to right back it opens from high A to h-D, the second farther on left from high D# up. Mullions, levers and keys of right hand are positioned with their fulcrum to right side instead of left like standard saxophones. It seems about sound, intonation quality these are remarkable instruments, but really these series was made in few models just for any years.
“S.A.” - “18-20” or “Series VII-VIII” Models (1940-‘49_ from 1 to 1xxx) :
The models called S.A. or “18-20” for their engraving on the Bell (S.A.= Sociète Anonyme ? Maybe similar to English “Incorporated Company” while 18-20 were address numbers of Buffet), show some differences about used materials and for design; from 1940 to ’44 keyguards have a “wire metal” look typical of many saxes of the age, from ’45 to ’49 like metal stripes or small plates. The acoustic range is still from low Bb to high F. These are very good saxophones with no particular building elements.
“DYNACTION” Models (1950-‘57_from 1 to 47xx): Previous models of most famous “SuperDynaction” not much different regards “S.A.” models. However sound and tone have an high standard, with a lightly darker timbre of Selmer-“superaction I” and other saxophones it must competed in this age.
“SUPERDYNACTION” (1957-‘75_from 47xx to 226xx ca.): The most famous and maybe the best Buffet saxophones, one of better competitor of Selmer MarkVI. The engraving “Superdynaction” is on the Sax-body, some time they have High F# key and all models are with no G# trill-key. They have also the famous logo “BC” on a small plate used as junction between Body and Bell of sax, it is also on previous models, generally it left a free vibration for sax body and bell too. Sound and tone are by Highest quality saxophone, it is considered one of best saxophones made in all times.
“S SERIES” :
S1 (1973 - ’88);
S1 “Prestige” (1981 - ’88);
S2 (1983 – ’86);
S3 (1995 – since today);
S3 “Prestige” (1989 – since today).
These are up-to-date versions of “superdynaction” models, with small differences about keys and shape-dimensions of bell, but really very similar to previous models.
Of course High F# key is became a standard key.
The “Prestige” models sax-body is in Copper (silver-plated for option), for his soft and warm timbre more suitable for a classical-orchestral use.
In 1981 Buffet-Crampon was incorporated in “Boosey&Hawkes”-London Musical Company.
In 2005 became again an independent brand under supervision of Paul Baronnat.
In 2006 Buffet-Crampon purchased 2 historic brasswinds French brands: Antoine Courtois and Besson

Buescher

Ferdinand Q. “Gus” BUESCHER worked for CONN from 1875 to 1888 (someone tells till 1895); he was the first to attend to manufacture of early saxophones made in USA like Responsible for project inside Conn-Elkhart factory.

The first saxophone produced by Buescher for Conn was probably an Alto Adolphe Sax copy property of Edouard Lefèbre, one of the most famous virtuoso of this instrument and Adolphe sax friend. In fact Lefèbre was engaged like Conn-adviser. It seems the Buescher Band Instrument Company was founded just in 1888 at Elkhart and at the beginning produced only a Brasswinds line; only any year after it begins saxophones and woodwinds productions.

Early saxophones considerable line was called: “TRUETONE” (after it becomes a slogan of Buescher brand). The Truetone was one of most popular and sold saxophones in 20’s ; really it was one of few wind instruments which assured a valuable mechanics, building care with a excellent intonation.

From 1915 to 1930 ca. Buescher Company extended saxophones range and beyond a Eb Alto, Bb Tenor and a Bb Soprano, also with an Eb Sopranino, a C Soprano, a Bb Curved Soprano, a “C Melody” (or C tenor) one of the last A.Sax “survivors”(indeed in a first time Adolphe Sax projected and produced his saxophones especially for a C and F tonality), a Bb Bass and a strange innovative “Straight Eb Alto”.

Ferdinand Q. Buescher remained with his Company since 1930, with different assignments; the research and productions still continued with many valid craftsmen and musicians, probably they were formed, influenced widely by himself.

Maybe between 1930 and 1934 was introduced in a first time the New ARISTOCRAT” model, after called “ARISTOCRAT”: made only as Tenor, Alto and Baritone, certainly with improvements in mechanics and intonation. A lucky series of Aristocrat saxophones was made during second half of 40’s since early 50’s, usually it has been known as “BigB” : many people says “BigB” was one of best saxophones ever produced in Usa: this series took its name from a big “B” of Buescher with other 30’s-ArtDecò decorations engraved on the bell.

After in the 40’s was produced, the “400” Models with more large bell / interior cane, often it was made with silver-plated keys, lacquered body and beautiful, flowing engraving too. The most famous “400” series, well known by all saxophone players was called “Top Hat and Cane” it had a big, large engraving with many decorations (particularly with a hat on middle of the bell), and a brace over all rim bell too.

Before of WWII Buescher Co. produced also for SELMER-Paris another famous saxophone, actually very rare, known as “Padless” models, just a sax without Pads, an innovative project, but it wasn’t continued.

During the WWII Buescher was reconverted for Arms industry like Conn and other musical instrument industries.

After the war, foreign demand and past successes it begins to be lacking; so with ups and downs Buescher Co. risked bankruptcy and definitive closing.

But in 1963 it was purchased from the same Selmer Company; However from this moment, the Buescher produced only a student saxophone line similar to Selmer-Bundy line