Hello i have saxophone which is stamped "copyright 1938 by Herb. Menge Dresd. 28" and i would like know something about it.It has ingraved New Star.Serial number 24570 Thank you very much\r\n Best regards Dejan
I'm not able to reply, because no email address was attached to your message?
The following comes from the 1st period page of my website:
Why are the bass, contra bass ( eight row ) and the low A to high G
alto ( tenth row ) unlaquered and not engraved?
After the war German musical instrument companies in Graslitz were
confiscated with everything in it and integrated into the Amati
collective, the owner of those three saxophones.
Could it be FXH still had them in stock, perhaps in parts, waiting to
be ordered, waiting for an engraving and name on the bell?
Not necessarily ''World'', it could have been ''Klingson'' or ''C.A.
I can imagine rare saxophones like those three were only engraved and
named after being ordered.
Perhaps they were found in the Julius Keilwerth company where, from may
1945, most brands were centered?
To me it's not unlikely Amati putted the parts together and assembled
According to the 2016 ''Faszination Saxophon'' cataloque the alto was
not recognized as a FXH saxophone, this could explain why it has no
''World'' sticker like the bass and contra bass?
Could you please let me know what you think of it?
Best regards Jos
it´s difficult to find an answer on your questions. We only can assume
what´s the reason the instruments have no engraving.
Maybe the instruments without engraving are old remainings from the Hueller
factory. It could be these instruments were a kind of prototype or model(and
therefore were not totally finished). They were not made to be sold.
What we know is, there was the instrument maker school at Graslitz, which
had a big model collection of all types of woodwind and brasswind
instruments. Some of these instruments were bought, some instruments were
selfmade by the instrument makers classes, some were donations by
instrument maker companies located at Graslitz. Maybe some of these
instruments came from this collection. But on the other hand, if I would
make a donation out of my production, my donated instrument would have a
full engraving.So, the theory of a kind of prototype seems to be more
Best regards Ulf
Interesting theory, i heard about this school.
FXH built a beautiful alto ( 2nd period page of my website ) for
Professor Emil Weber who headed this school.
I can imagine FXH donated them but i don't think it were
prototypes because the alto and contra bass were
exsisting models, offered in the 1st period cataloque ( see my website ).
The bass saxophone is kind of odd though, because it's different from
the bass in the cataloque.
It has a double low C tone hole at the bow, which according to the 2016
Fazination cataloque is a copyright of FXH.
I Always thought this was a G.H. Hüller copyright as they built a lot of
horns with this feature?
The Zenit alto on ebay is one of the rare birds! I've seen several
tenors like this with only a FXH bow guard, which
are best compared with JK Tone King Solo saxophones.
Who could have been responsible for those strange horns? I can't believe
FXH and JK allowed fertigmachers to use parts
from both brands to assemble saxophones like this.
Could it be this happend during or after the war when companies were no
longer in control?
Someone told me ones that from may 1945 most brands were centered in
the JK factory, if this is true a lot of horns and
parts, from different brands, were found in this place.
Could it be Amati used it at their start, shortly after the war?
There must have been a great lack of materials like copper and such?
Please let me know?
Best regards Jos
I did think about the problem with the unnamed saxophones again.
What´s very unusual…..with the F.X.Hueller saxophone (low A) shown in the
Markneukirchen exhibition ....it has no silver or nickel plating, it´s just
raw brass. Unusual because in my opinion 99% of all saxophones sold during
that time were plated. Maybe this fact could confirm it was an unfinished
saxophone, which was still waiting in the store until it was sold to one of
the different resellers like C.A.Wunderlich, Johaness Adler, etc. and then
finally had to be engraved with the resellers name and to be plated in
accordance to the demand and wishes? It´s only a guess as all my other
Concerning the bass with the special key, which is identical to the
G.H Hueller patend:
I think a short note was mentioned under one of the DRGM registrations,
which F.X.Hueller held.
With the Zenith....in my opinion it was definitely made after May 1945.
As someone already said... (sure this person also follows the information given in the
books) the production of saxophones ( Kohlert, F.X.Hueller, Max Keilwerth
etc.) at the end of 1945 was unified and carried out under the roof of the
Keilwerth factory. I start from where they used they remaining Keilwerth bodies
and the remaining bow guards of F.X. Hueller company. For sure raw material
was difficult to get and also expensive. Therefore, why not used the still
available rest of production? See also Henri Selmer.. after 1929 .they also
used parts remaining parts from Adolphe Edouard Sax for their Adolphe Sax
Best regards Ulf
Thanks for your cooperation in this!
The bass and contra bass are unlaquered ( raw brass ) too!
This was my point: not engraved, no name and therefor no plating like
silver or laquer.
I discussed the Zenit alto with Tobi too, and like me, he
thought those rare birds could be finished by Amati after the war!
He owns a Ernst Borucker alto which is built with parts of at
least two different brands!
I try to imagine how Amati started when they discovered al those
different brands in the JK factory,
not only the original models but also all the stencils.
This must have been very confusing!
Especially when it comes to the horns that were not yet assembled, which
parts belong to wich brands or to which stencil?
Do you happen to know if they had any cooperation of Julius Keilwerth
himself and if so did he volunteerd at his own free will or was he forced to do so?
Best regards Jos
In the last two years I have seen more and more of this manufacturer
mixed saxophones and meanwhile I would agree and say, these were made
after May 1945 of parts from different manufacturers.
Tobí´s Borucker in my opionion is different, I would say it was manufactured
in the mid 1930´s based on some parts from Kohlert.
As far as I understand, it was the Amati company and its precursor which
collected all parts of the different manufacturers and transported it to the
Keilwerth factory in 1945.
I do not believe Julius Keilwerth worked as a volunteer. Do not forget,
the war was lost and all Germans were considered to be enemies.
There was a lot of hate against the Germans.
The Czech people took over the management of all the factories at Graslitz.
Julius Keilwerth was disappropriated and lost all his property. I my opinion
he had no choice other than to do what the Czech wanted and to cooperate
Best regards Ulf
Many thanks for sharing this info with me!
Best Regards Jos
> i have 2 fx huller saxes, a world alto and a world super tenor. the alto
> is restored and plays really beautifully, such a nice tone and good
> intonation - better then a keilwerth. the tenor needs restoring, seems to
> be from 1939. these are great saxes. peter
Glad to hear you like your FXH horns! It's a comepletely forgotten brand of superior quality!
Not many people know that!
If you would decide to restore the tenor too, you won't regret it!
Best regards, Jos
I corrected the info on the pages, there are now four periods instead of three! It all started by the MK period, followed by the 1st, 2nd and 3rd period.
I also added two FXH cataloques one from 1934 and one from 1939, the 1934 cataloque is divided over the ''biography'' page and the ''1st period'' page.
The 1939 cataloque is added to the ''3rd period'' page.
Beginning this year a Chez collector sended me copies of a 1920's FXH cataloque
Hello, I found your website whilst looking for images to use in a short video about an instrument I have made by Hüller. Your website is very interesting! We'd love to use two images from your website and would like to ask for permission? The video (it's unlisted so not public yet) is here: https://www.youtube.com/watch?v=16zdkbvVEDU&feature=youtu.be If you are happy for us to use the images that would be great - if you would like to credit you just let us know your preferred wording. Thanks in advance, Anneke
Hi Anneke, I don't know anything about the quality of the brass instruments that were made by FXH, so it's good to hear that you like the FXH alt horn ( nice video )! You are welcome to use the two images from my website, if you would mention my website: www.fxhuller.com that would be great! Kind regards , Jos
Einen kleinen Durchbruch: ich entdeckte einen '' Link Holt'' Tenor mit änlichen Teilen wie mein ''REM SUPER DES'' Alt ( sehen Sie die Finally Seite ), wie die typische Bogenschutz, RH- Pinky-Cluster, Becher-Korpus-Verbindung und die gleiche Ringen der Verbindung zwischen Bogen, Korpus und Becher.
Diesem ''Link Holt'' tenor wurde erbaut für einer italianischen Firma: L. Desidera & Figli in Verona, ein Tochtergesellschaft von Stowasser's Söhne? REM SUPER DESidera, aber was bedeutet REM?
Lately i visited the opening night ( 5-21-2016 ) of the ''Fazination Saxophon'' exhibition at the,
Best regards Jos
I wonder which mouthpiece brands were used on FXH saxophones, back in the 1930's?
I own a couple of original FXH mouthpieces but i can't play them, because of the very small tipopening.
They have a big chamber and no baffle at all, so most likely they will sound pretty dark?
If those mouthpieces were used on FXH saxophones, which originally were equipped with no-resonator pads, the sound must have been very dark!
I realize this kind of sound was not uncommon in the 1930's, just listen to pre-war jazz recordings.
Back then, American mouthpiece brands like Meyer and Otto-Link were used a lot by jazz musicians, but i can imagine most FXH saxophone owners were using the original FXH mouthpiece.
By doing so, they probably never discoverd the saxophone's full potential!
My FXH saxophones, that were overhauled, all have top quality resonator pads and i use high end, medium and large chamber, moutpieces which makes them sound incredibly good!
Ich habe Kopien einen sehr altes FXH Saxophon-Katalog auf der ''Biography'' Seite platziert.
Die Saxophone werden nachfolgend beschrieben: Ausführung A, B und C ( Neuestes World-Modell ).
Saxophone im Ausführung A und B sind ohne automatischen Oktav-Klappe und ohne Rollen!
Diese Saxophone waren in fünf verschiedene Stimmungen erhätlich.
Diese Saxophone sind warscheinlich von vor 1923? Bitte schauen Sie das Bilder auf dem '' Biography'' Seite.
Wer kan mehr darüber sagen?
Regular visitors probably noticed that i add or adjust info on the pages ounce in a while.
Half of all the FXH saxophones i've seen so far are stencils and a third of my saxophone collection has no serial number.
I've seen a few horns that besides the company trademark had the name of the shop where they were sold engraved on the bell too.
These saxophones were semi finished by F.X. Hüller and assembled by the shops own repairmen.
I can imagine FXH preferred to use their own trademarks instead of a stencil name because ''World'' , ''Champion'' and ''Professional'' instruments were directly connected to the FXH company.
In this light it's not unthinkable the wholesalers, who took advantage of the fierce competition that was going on, were responsible for a great deal of those stencils. Using a lot of different names for the same, or almost the same instruments looks like a sales trick to me, which especially benefited the wholesalers rather than the musical instrument companies. Some companies placed a stamp on their instruments for recognition. FXH used a stamp too (see pictures biography page), but so far i only saw a few of their saxophones actually marked with it.
I have no explanation for the unnumbered saxophones?
If you do please respond at email@example.com
Ich wäre nicht überrascht wenn entpuppt sich die FXH Saxophon serielle Nummerierung begann um 20000.
Nach jahrelanger Forschung habe ich keine Seriennummer gesehen das gehen tiefer dann 20000.
Daher möchte ich euch alle die daran interessiert sind aufrufen ihre Erfahrungen mit mir zu teilen.
Versucht habe ich, etwas über serielle Nummerierung auf andere FXH Instrumente wie Posaunen und Trompeten.
Aber soweit ich das bisher gesehen habe hatte diese Instrumente überhaupt keine Seriennummer!
Ich wäre sehr dankbar, wenn jemand mich etwas wissen lassen konnte?
Antworten Sie bitte an firstname.lastname@example.org
i have just got a 'world' alto with the menge system, number 25068.