Hi, i have a selmer usa alto saxophone, it was bought in the 80's, it is serial number 823255. I cannot seem to find reliable info on what model it is, or how much it is worth. It is in very good playable condition, no pads need to be replaced, no leaking, etc. There are some scratches, and one small ding on the bottom of the bell.
This old picture formerly on the Leblanc site but has since disappeared. Ab Sopranino.
Eb Sopranino. D Sopranino. C Soprano. Bb Soprano. A Soprano. (missing basset clarinet in A).F Basset Horn.
Eb Alto Clar. Bb Bass Clar to low Eb.Bb Bass Clar to low C. EEb Contralto to low C (paperclip model).BBb Contrabass to low C (paperclip). EEEb Octocontralto to low C.BBBb Octocontrabass to low CThe last 2 were built for some exhibition oranother in the 1930s. The BBBb was supposedly the lowest pitched wind instrumentever, going down nearly an octave below the piano keyboard. One or theother of them was supposedly lying around the Paris factory as late as the1970s, but no sign of them has been seen or heard since.There was (I believe) only one Octocontrabass built, and threeOctocontraltos.
They were all in the private collection of Leon Leblanc, but(again, I believe, but don't quote me) the Octobass and one of the Octoaltos nowreside with Terje Lerstad.The Octocontrabass sounded an octave below theContrabassoon, which made itindeed one octave lower than the lowest Bb on the piano.You'll note that all of the horns in the photo were products of LeblancParis. Omitted from the photo were the 'Bassett Clarinet' (which did not existin their line at that time), the A Bass Clarinet (which only Selmer has made inmodern times), but examples of which have existed since the 1800's.T he FB andarticulated models, they went out of production in the 60s.Leblanc History The year 2004 marked one of the mostsignificant milestones in the long history of Kenosha,Wisconsin-based Leblanc, Inc., known until recently as G.Leblanc Corporation.
On July 21, 2004, contracts were signedfor Leblanc to be acquired by Steinway Musical Instruments,forging a partnership of undisputed greatness within themusic industry. The transaction was completed on August 12,2004.
Leon Pascucci retained his key management role aspresident of Leblanc, Inc., and the company is now managedas a division of Conn-Selmer, Inc. Other recent milestones have also markedLeblanc's centuries-old history and traditions. The Nobletname, for example, still vital as a brand within the LeblancFrance line, marked its 250th anniversary in the year 2000,and the Frank Holton Company, Leblanc's brasswind division,celebrated its centennial in 1998. Leblanc Corporationitself, founded in 1946, marked the beginning of a new eraof vigorous leadership in 2003 when Leon Pascucci assumedthe primary management role upon the death of his father,Vito Pascucci. Since its modest beginnings in America asa two-man shop, the company grew to a position ofinternational prominence under the leadership of itscofounders, LuFFFDon Leblanc (1900-2000) and Vito Pascucci(1922-2003). The Kenosha-headquartered corporation employs afamily of some 300 workers at three sites in Wisconsin (twoin Kenosha, one in Elkhorn) and about 40 workers in LaCouture-Boussey, France.
The story of Leblanc's inception andultimate growth is one of the most captivating and wellknown in the music industry; the stuff of which, as thesaying goes, legends are made. French roots. Leblanc in America tracesits origins to the founding of Ets. Noblet of France in1750, when the great flourishing of instrumental music atthe court of Louis XV created a demand for musicalinstruments of all kinds.
More than any other instrumentmanufacturer, Noblet refined and developed early woodwindmanufacturing techniques, securing for the French nation itspreeminent reputation for producing the best windinstruments in the world. Based in La Couture-Boussey fortwo and a half centuries, it is among the oldestcontinuously operating companies in France. In 1904, having no heirs, the Nobletfamily passed its holdings to Georges Leblanc, descendant ofa long line of distinguished French instrument makers.
![Lookup Lookup](/uploads/1/2/5/4/125448118/964025548.jpg)
Bythe time he acquired Noblet, Georges Leblanc had gained areputation as one of the finest woodwind makers in France.The workshop at the Leblanc headquarters in Paris became ameeting place of the great woodwind artists of the era.Working side by side with Georges was his wife, Clemence,who actually managed the factory while Georges fought duringWorld War I. From the beginning, the Leblancs wereconstantly guided by scientific principles and inspired bytheir inborn musical genius. As a result of this relentlessdedication toward progress, Georges Leblanc and his son,Leon, set up their Paris workshop as the first full-timeacoustical research laboratory for wind instruments. Theyrecruited the talents of Charles Houvenaghel, regarded atthe time as the greatest acoustician since Adolphe Sax. The subsequent growth and success of G.Leblanc Cie. As a manufacturing entity was largely due tothe work of Leon Leblanc, who in addition to his reputationas an instrument maker and businessman, was also a giftedclarinetist, holder of the first prize of the ParisConservatoire, the first and only instrument maker to haveheld such an honor.
He had before him a brilliant career as aconcert clarinetist, but chose instead to remain true to hisheritage, feeling that he could make a greater contributionto music by combining the talents and sensitivities hedeveloped as a musician with his skills as an instrumentmaker. Together, Georges, Leon and Houvenaghelpushed the theoretical limits of instrument design toproduce the first truly playable complete clarinet choir,ranging from sopranino to octo-contrabass, encompassing arange that surpasses that of the orchestral string sections.Perhaps even more significant, the Leblanc firm was thefirst instrument maker in history to manufacture clarinetswith interchangeable keys, resulting in instruments thatwere easier to play in tune by artists as well as beginners. As Leon Leblanc once noted, 'Musicians oftoday should not be handicapped by the deficiencies of thosebefore me.
Acoustical, mechanical and musical improvementswill be made. To this end, I have dedicated my life.' Monsieur Leblanc served as chairman of the American companyand president honoraire of the French firm until his deathin 2000 at the age of 99. The history of Leblanc in Kenosha,Wisconsin, dates to the last months of World War II and achance meeting between Leon Leblanc and Vito Pascucci. The American connection. Born in Kenosha,Vito Pascucci showed a marked interest in music and playedcornet in the Kenosha High School band. He became fascinatedwith the construction and design of musical instruments andlearned their repair as a summer apprentice at the FrankHolton Company (the Elkhorn, Wisconsin, brass-instrumentmanufacturer that Leblanc would later acquire), and then,while still in high school, augmented his family's income byoperating an instrument-repair shop at his brother's musicstore.
In 1943, Pascucci was called into thearmed forces. His instrument-repair skills were rewardedwhen he was assigned as a trumpeter and repairman to ArmyField Bands, then to the Army Air Corps Band, led by GlennMiller. He began with the Miller band in New Haven,Connecticut, then traveled with them to Europe.
Stationed inEngland, Pascucci and Miller formed plans to set up a chainof music stores after the war. Miller's untimely death put an end tothose plans, but when the band was sent to newly liberatedFrance, Vito paid a visit to G. Leblanc Cie., and his guidethat day was Leon Leblanc. After service discharge in 1946,Pascucci returned to Kenosha, where Mr. Leblanc asked him toestablish a foothold for the French company in America. A shop for the purpose of disassembling,climatizing and reassembling wood instruments was set up aspart of the new firm. After shipment to America by sea (andlater by air), the wood was allowed to stabilize under thenew atmospheric conditions, and the instruments wererestored to original factory specifications, reassembled,adjusted and thoroughly tested.
Thus the instrument retailer was assuredthat wood clarinets would be delivered in perfect playingcondition. Discriminating clarinetists were assured thatevery instrument would be musically as well as mechanicallycorrect. And band directors were assured that theinstruments their students played would possess a harmonioustimbre, have correct intonation and be free of mechanicaldeficiencies. Soon, in the 1950s, due to anever-growing school market, demand for Leblanc instrumentsin the United States was far greater than the French concerncould meet, so Leblanc began producing plastic-bodiedclarinets in Kenosha. The Vito line of musical instruments wasthus born, thrusting Leblanc to the forefront of the studentclarinet market. In 1951, construction of Leblanc's Kenoshafactory was completed, a plant that to this day provides amodel for the industry in its modern equipment, efficientoperation and attractive appearance.
Ever-increasingproduction called for the factory's subsequent expansion in1953, 1960 and 1966. In 1999, Leblanc added 37,000 squarefeet of modern manufacturing and warehousing space to itsKenosha headquarters, bringing even greater flow andefficiency to its work flow. Through the years, Leblanc's staffdeveloped innovative methods that brought the production ofplastic-bodied instruments to then unknown levels ofaccuracy and consistency.
Rough-cut body blanks of aspecially formulated plastic called Resotone were craftedinto clarinets with the same care that wood instruments wereafforded, rather than merely injection-molding the finishedclarinet joints as some other manufacturers were doing atthe time. Unique precision boring machinessimultaneously bored out the plastic body blanks, drilledtone holes and the holes for keyposts.
Developed internally,these drilling machines enhanced consistency and efficiencymanyfold. If all their operations were to be performedseparately, it would have been impossible to achieveLeblanc's legendary consistency and precision inconstruction. These machines revolutionized the way plasticclarinets were made, and today, have been replaced by evenmore sophisticated CNC drilling machines. In 2004, a new line of student woodwindswas introduced bearing the Leblanc USA brand, a marketingshift that now allows clarinetists to play 'Leblanc forlife.'
Decades of growth. In 1964, Leblancacquired the Frank Holton Company, located in Elkhorn,Wisconsin, one of America's most prestigiousbrass-instrument manufacturers. With this acquisition,Leblanc not only gained the revered Holton name, butprocured the priceless experience of the craftsmen who hadworked there many years prior. Holton's famed Collegiate line madeLeblanc a major presence in the school brasswind market, andthis student-priced line then and still does set the schoolstandard. With the acquisition, Leblanc also gained a friendin Philip Farkas, one of the world's leading hornists andteachers. The line of instruments to which the late Mr.Farkas still lends his name comprises the world'sbestselling student and professional French horns. In 1968, Leblanc acquired the WoodwindCompany, a respected manufacturer of clarinet and saxophonemouthpieces.
Under the guidance of G. Leblanc Corporation,the Woodwind Company brand is widely recognized for theexcellence of its manufacture and performance.
The Martin Band Instrument Company wasacquired by Leblanc in 1971 from the Wurlitzer company andwas relocated to Kenosha from Elkhart, Indiana. Martin,founded in Chicago, would have been America's oldestcontinuously operating band-instrument manufacturer if notfor the Great Chicago Fire.
The famous Committee trumpet,favored by Wallace Roney, Chris Botti and other top jazzartists, and the innovative Urbie Green trombone both carrythe legendary Martin name, made in a progressive, modernplant. On January 1, 1981, Leblanc was grantedthe exclusive rights to market Yanagisawa artist saxophonesin the United States and Canada. Considered the mosttechnically advanced saxophones made, Yanagisawa instrumentsare played by some of the world's foremost saxophonists. In April, 1989, Leblanc USA acquiredmajority interest in the esteemed French firm and assumedresponsibility for its management.
A new generation. Leon Pascucci (namesakeof Leon Leblanc) joined his father at Leblanc in 1971,serving in various capacities throughout the company'soperations. In 1991 he was named president, and in 2001 hebecame chief executive officer. The shareholders of G.Leblanc Corporation, meeting the week after Vito Pascucci'sdeath, named Leon Pascucci to the position of board chairmanon August 28, 2003.
In addition to his many years of serviceto Leblanc, the younger Pascucci has volunteered hisservices to numerous organizations, both locally and withinthe music industry. Pascucci currently serves on the boardsof the Music Distributors Association, the NAMM Museum ofMaking Music, the American Music Conference, the NationalBandmasters Association and the Berklee College of MusicBoard of Visitors.
He is a past president of the NationalAssociation of Band Instrument Manufacturers and a pastboard member of NAMM, the International Music ProductsAssociation. Pascucci is also well known for hisdesign abilities, which he has applied to Leblanc's exhibitsat NAMM, to the company's offices and factories, and to agallery of miniature interiors, which have been nationallypublished. What's more, Leblanc's new student clarinet caseis a reflection of Leon's design sense. A look behind, a look ahead. In the yearssince its inception, Leblanc has earned a solid reputationas an innovator in instrument design, manufacturingtechnique, modern marketing programs and award-winningnational advertising campaigns.
Even more important, no othermanufacturer can offer as wide a selection of brass andwoodwind instruments crafted with the same integrity anddedication to excellence as does Leblanc. Through all stagesof the company's growth, advancement and acquisitions, ithas never lost sight of the principles on which it wasfounded.
Long ago, Georges Leblanc established the basictenets of integrity, musicianship and creativity for hisfirms to live. At Leblanc, Inc., these principles stilllive on, propelling the company into the 21st century.Since 1750, Leblanc has been and remainscommitted to the highest standards of excellence, all in theservice of musicians and of music itself. 'Carolyn Sue Kincaid Chesnut Serial Number Files' LEBLANC CLARINETS MODEL NUMBERS#l27,#1167,#1610,#1611,#1612,#l200,#l300,#1189,#1190,#1276Leblanc 530Leblanc 61409Leblanc 650Leblanc Leblanc Bass Clarinets Models #400,415,417,425,430,32014844Leblanc 417 Bass ClarinetDisc.Disc.Leblanc Classic 219778873.
YearModelSerial Number1922Model 1921921921926Model 219219219201930“Cigar Cutter”/”Super Sax”-573301934“Radio Improved-217501936“Balanced Action”-5639-9742-1545-3748“Super Action”-1551-1854“Mark VI”-3457-0460-73963196519671969197119732001974“After 231,000/Mark VII”297629782980303101- “Super Action 80”398339853001986“Super Action 80/Series II”398849904992400.