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#Plastic selmer clarinet serial numbers serial numbers#
#Plastic selmer clarinet serial numbers serial number#

1935–1953) the L, M and N series (both with and without the *BT* emblem on the top and bottom joint)

#Plastic selmer clarinet serial numbers serial numbers#

1931–1934) the K series of serial numbers after K7000 The Breveté mark and the Déposé mark were never meant to describe or label the clarinet they are just French terms meaning, roughly, 'certified' and 'registered', respectively. A 'Déposé' from the N-series will have characteristics very different from those of one from the K-series.

#Plastic selmer clarinet serial numbers serial number#

no model name, often called 'Déposé' (1930s, 1940s and 1950s) These are often differentiated by the letter at the beginning of the serial number and referred to as 'K-series', 'L-series', 'M-series' or 'N-series'.

no model name, often called 'Breveté' (1900s, 1910s and 1920s).

Mark VI (1954–1975 for alto and tenor, 1954–1980 for all other types of sax).

(see also Selmer-Maccaferri Guitar and About Selmer-Maccaferri guitars) Historical list of Selmer instruments Saxophones-Paris The guitar was closely associated with famed jazz guitarist Django Reinhardt. Although Maccaferri's association with Selmer ended in 1934, the company continued to make several models of this guitar until 1952. In 1932 Selmer partnered with the Italian guitarist and luthierMario Maccaferri to produce a line of acoustic guitars based on Maccaferri's unorthodox design. At one time in 1977 there were over one thousand damaged, broken and disassembled Gibson guitars stored in an unheated warehouse in Braintree, Essex. The consequences were that these very expensive musical instruments were used, damaged, and returned unsold to the UK warehouse, where attempts were made to repair them with the limited facilities on hand, as the distribution agreement with the manufacturing base in Kalamazoo, Michigan, did not allow for the return of defective items. This was considered an excellent marketing ploy had it been controlled but the reality of the situation was that instrument loans were made freely available to any musician and bands who made a request. The marketing policy adopted by management involved allowing its distributors to arrange short-term loans of Gibson instruments on a trial basis. After being passed around several other owners, Selmer once again found itself owned by the Gibson Guitar parent company, this time through a holding company called Norlin Music USA.