A great saxophone for the student This may have been made in 1989 from the serial number info that I found but I Vito Saxophone Serial Numbers It seems that this oval Noblet emblem was in use from the 1940s through about 1962, then use of the diamond logo extended to about 1990. Extra reed, mouthpiece, and cleaning accessory. Comes with a nice hardshell case in great shape with strap. Heres a nice vintage Vito alto saxophone made in Japan.This one was made for Leblanc U.S.A. I had a Beaugnier tenor in the past that was a Revere stencil for Sorkin Music. Beaugnier of France made many of the saxophones carrying the Vito name and also produced saxophone parts that were assembled into finished instruments at the Leblanc complex in. If your only interest is the mechanics of fixing up an old sax, you can probably skip to where saxophone pictures start appearing in any of my blogs.The Vito Instruments have been made by a number of companies that stenciled the Vito name on complete saxophones and then exported the instruments to the United States. Whatever applies to one saxophone applies to most. For the most part, rebuilding a Beaugnier is the same as a Dolnet, which is the same as a Selmer, the same as a Holton, the same as a Kohlert, etc.Based on the serial number, we believe that this is a French Beaugnier Stencil alto sax made in the early 1960s. From imported parts.Marked Vito but made in Japan The serial number is 032829, I was told that is was from the 1950s wondering if this is true and what the value of it would be Best, -JazzThe Vito Beaugnier has excellent projection and is particularly loud for an alto saxophone. Because there is no " COOL designation," I would guess it was assembled in the U.S.
Vito Saxophone Serial Number Info ThatModification after importation allowed a lower tariff on the major value of the vehicle, as pickups were taxed much lower than SUVs. The first Toyota 4-Runner was essentially a pickup truck with a fiberglass cap and rear seats added after importation (turning it into an SUV, which would have had a higher import tariff rate). How your imported item was classified or "scheduled" made a huge difference in your profit margin. Trade law at the time was controlled by complex tariff laws or "schedules." For instance, a imported rubber ball that was solid rubber paid a different tariff rate than a hollow rubber ball. There’s no mechanical damage, and the sax is very. Finally, there would be a significantly different tariff if the imported raw material was classified as "sticks" rather than "fiberous vegetable matter." There are at least four federal cases of Rico Products vs. If reeds are cane, they have still another rate (the same rate as rattan furniture). If it claimed that reeds were made of grass ( arundo donax is a giant grass), there was another rate. Rico Products found that if it claimed that reeds were made of wood there was one tariff rate. The claim took more than a year to resolve, by which time Toyota had earned an SUV reputation (and gained a share) in the market.Soprano and Baritone Saxophones were not manufactured as Mark 7 (although there could very well be a few Mark 7 Baritone Saxophone prototypes in existence).The same hanky-panky went on with other imports, including saxophones and accessories. Accordion manufacturers to lobby Congress for higher U.S. Or maybe it was because there were no U.S. It appears that if you had a Congressman who liked accordion music, that instrument would have a lower import tariff. A lot of this costly legal wrangling was eliminated by subsequent "free trade" agreements, but those agreements created their own problems.The old tariff schedules for musical instruments were also a convoluted mess. Leblanc et Cie made their clarinets in a facility in La Couture-Boussey (30 km southwest of Mantes). Manufacturer both made instruments domestically and also imported a second line of instruments.Vito Pascucci, the CEO of Leblanc U.S.A., began by importing and selling Leblanc instruments made in France. And tariff schedules created a "disharmony " where a U.S. Instrument manufacturers would be behind the request for a higher tariff on imported competing instruments. Mac 10 connected for lifePascucci realized that he could have the saxophones delivered un-assembled. In another blog).Either because Beaugnier didn't have sufficient manufacturing output or, more likely, because of the U.S. Wholesalers (as we saw for Sorkin N.Y. Beaugnier made saxophones for Leblanc et Cie (France), Leblanc (U.S.A) as well as stencil horns for several U.S. Beaugnier et Cie, a company later purchased in part or in whole by Leblanc et Cie. The Vitos that I've seen that appear to have been assembled in the U.S. Which added more than 50% to the instruments value.The theory is also supported by the Vito serial numbers. Parts from France and final assembly in the U.S. That is likely what happened with my Beaugnier/Vito tenor. Necks, including cork and octave key, may have been completed in France and shipped separately from a particular horn, meaning that even the completed necks could be shipped as "parts." Determining whether a saxophone without a neck is "parts" and what constitutes 50% of a saxophone's value would be complex and so the constant arguing over trade tariffs.The "simple" engraving on some Vitos may have been done in the U.S. Key posts may have been already soldered on in France and the keys attached here. If you are thinking of a body tube and a box of keys being imported, that probably isn't what happened. So despite the engraving, it could be that a serial number followed by "A" (for America?) tells us where the final assembly took place.Depending on the cost of production in each country, the degree of assembly could be complex. In the mid-1800's, annual death by "dress fire" had approached that of women then being murdered. The importer cited to the incidents where women literally went up in flames at social events from wearing ball gowns. Territory in the Pacific and had the dresses quickly sprayed with a flame retardant, claiming that the process added more than 50% to the value and therefore the dresses were "made in the U.S.A." and not subject to import tariffs. Made in Asia, the importer stopped at a U.S. And just how much value does engraving add to a saxophone? All of that could be the the source of another tariff schedule dispute.One of the most famous tariff disputes was over the importation of women's fancy dresses. It is sort of like Italian clothing designers and manufacturers claiming that they are in Milan. Some even had Paris mailing addresses (usually a music store that sold their goods), but not really an office. Many French woodwind manufacturers claimed Paris as their headquarters even though they were located 80 km west. More accurately, they were near Paris. I don't think that this is accurate, even though Leblanc and Beaugnier had "Paris" stamped on some items. Now, back to saxophones.You can find internet references to the Leblanc and Beaugnier factories being located in Paris. In 1960, the year of this picture, the paperclip contrabass was in full production. Here he is with a BBb octocontrabass paperclip, which apparently never went into full production. I have owned one and it had all the indications of being a Beaugnier built saxophone.Houvenaghel also designed the famous Leblanc "paperclip" contrabass clarinet. Houvenaghel is credited with designing the Leblanc Rationale system (a Boehm system saxophone) that had innovative alternative fingerings and incredibly accurate intonation. Leblanc et Cie became famous in part because George Leblanc employed a well know acoustician, Mr. Stamping your instruments with "Paris, Milan, and New York" looks and sounds good to the consumer.The woodwind company G. This time I found a little luggage tag with the name of the Thompson - Kramer Music Company in Decatur, IL. Usually I will find missing screws. Carefully (I once found a hypodermic needle). How do I know this? When cleaning out an old case I always carefully slide my fingers into every nook and cranny. Houvenaghel's long association with Leblanc et Cie.The Beaugnier/Vito tenor that I am rebuilding was purchased in 1965 and played for three years in middle school, then put in the closet. Regardless, Leblanc and Beaugnier had a very close relationship for saxophone production and it is likely that Beaugnier's reputation for accurate intonation is related to Mr. You will dribble some and the lubricant is hard to remove from lacquer.I'm going to describe using a Teflon shrink tube for various friction points. There wasn't a pull through swab in the case and putting it back wet is a killer on pads, especially the low Eb pad.Be careful trying to apply the lubricant to hinges once the horn is reassembled. It had been put back into the case wet a lot of times (a classic kid maneuver). It then spent the next 50 years in the closet.I could deduce some of the history just by looking at the sax. It had been played in middle school from 1965 to 1968. I contacted the Ebay seller and learned that this is the seller's uncle and a little more about the history of the horn. ![]()
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