The next
revision of the SML horns came around s/n 45xx, when the bell
keys were switched to the right side of the horn (as you're
playing) -- a technical innovation that tenor and bari sax
players applaud. Other features appeared to be the same as
Rev A horns, but it's distinctly possible that there were
more modifications to bore size, etc. Note also the subtle
differences in keywork on the horns pictured here (esp. the
chromatic F#) and that the engraving is significantly more
elaborate than the Rev. A horns.
(Stupid SML trivia note: by 1947, the 6-pointed star[s] on
the bell became 5-pointed.)
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Other model names (courtesy
of Wichita
Band Instruments):
(quote from ad) s/n:
5117 "Super Luxe" alto
Rolled tone-holes, 95% original satin silver plate, the
bell with Art Deco engraving and "SML Super Luxe" engraving
in addition to the normal SML logo and address. Rib construction
for the stacks, chromatic F# and palm keys, rolled tone-holes
but no adjusting screws to the stacks. G#/C#/B/Bb cluster
curved like the later "Gold Medal" instruments. Neck has
normal SML strut under it. Pearl key touches for LH 8va.
key. Additional keywork for high C to D trill, RH G# trill
and 1 & 3 forked Eb for the right hand. Low B & Bb pad cups
are away from the player. Rare alto incorporating some of
the features of the later "Gold Medal" sax.
For further notes on SML model
names, please see my comments on the Rev
A horns. |
