Name

  E-mail Address

Message

Hi Ulf,

 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.
 Wunderlich'' too?
  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 were from may
 1945 most brands were centered?
 To me it's not unlikely Amati putted the parts together and assembled
 them.
 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

 Hi 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
 plausible.

Best regards  Ulf

Hi 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

Hi 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
 thoughts before.
 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
 line.

 Best regards  Ulf

 Hi 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
 differnt 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, wich
 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

 Hi 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
 with them.

 Best regards  Ulf

 Hi 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


Hi 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.

Enjoy  Jos

Beginning this year a Chez collector sended me copies of a 1920's FXH cataloque
( see biography page ) it contains French style ''World" saxophones in the models A, B and C. Lately I received pictures of a ''Professional'' split bell key tenor which was marked: '' F.X. Hüller & Co 30-8-35 ''. Tobi, a German collector, pointed me on the 1930 FXH ad ( see MK period page, 2nd row, 3rd picture ) wich shows a French style ''World" saxophone too. This means I have to correct the info on my website. The 1923-1931 period did not contained split bell key saxophones but the French Style ''World'' saxophones like in the 1920's cataloque and the 1930 ad.


Anfang dieses Jahr ein Sammler aus der Tschechischen Republik hatte mir kopien von einem 1920er FXH Katalog geschikt (siehe Biography Seite) Es enthält französischen Stil '' World" Saxophone in den Modellen A, B und C. Kürzlich erhielt ich Bilder von einem ''Professional'' Tenor mit getrennten H und B Becherklappen, diesen horn war markiert: '' F.X. Hüller & Co 30-8-35 ''. Tobi, einem deutschen Sammler, wies mich auf die 1930 FXH Ad (siehe MK Period Seite, zweite Reihe,  Bild 3) die zeigt auch einen französischen Stil ''World" Saxophon. Dies bedeutet, ich habe die Info auf meiner Website zu korrigieren. Die 1923-1931 Periode enthaltenen nicht die Saxophone mit getrennten H und B Becherklappen aber die französischen Stil ''World'' Saxophone, gleich in den 1920er Jahren-Katalog und die 1930 Ad.

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?

LG Jos

Lately i visited the opening night ( 5-21-2016 ) of the ''Fazination Saxophon'' exhibition at the,
Musikinstrumenten-Museum Markneukirchen, a Mecca for ''Germanic'' saxophone lovers!
All the pre-war German brands are there, over a hundred saxophones!
F.X. Hüller is well represented too, including a ''World'' contra bass saxophone!
If any of you foreign ''Germanic'' saxophone enthousiasts are planning a trip to Praque,
you really should pay a visit to this heritage of German saxophone builders!
Markneukirchen lies only two hours away from Praque, the exhibition lasts until 10-31-2016.
If you can't make it, a beautiful cataloque ( written both in English and German ) of the exhibition,
can be ordered at the museum: www.museum-markneukirchen.de

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!

Jos
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?

LG,  Jos

Regular visitors probably noticed that i add or adjust info on the pages ounce in a while.
I will keep on doing this, every time something new comes up!
There is still a lot to be discoverd about the brand!
If you got questions or suggestions, please don't hesitate to contact me!

Thanks,  Jos

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 info@fxhuller.com

Thanks,  Jos
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 info@fxhuller.com

LG,  Jos
i have just got a 'world' alto with the menge system, number 25068. 
it has a further marking above the serial number on the neck, which reads 2V.
it's rather battered and won't play yet, but it's fascinating. best wishes peter

Congratulations Peter,

You bought a great alto, if you look very well you will find the little mark ''2V'' on the horn ( right above the serial number ),
on the neck and maybe on the back of one or two palm keys?
Please check out the 3rd period page for an explanation concerning the high D ''system Menge'' key.
I would strongly recommend a comeplete overhaul and not to save on the pads!
Once it's ready, you got yourself an alto you won't believe!!!

Kind regards, Jos