Julius Keilwerth

CX90: made in Germany by Keilwerth (discontinued after 2010)

EX90 series I: made in Germany by Keilwerth

EX90 series II: made in Germany by Keilwerth until 2003

EX90 series III: Parts made in Germany by Keilwerth. Assembly and finishing by Amati in the Czech Republic (discontinued after 2010)

ST90 series I: made in Germany by Keilwerth

ST90 series II: Parts made in Germany by Keilwerth. Assembly and finishing by Amati in the Czech Republic until 2003

ST90 series III: Made and assembled in Taiwan

ST90 series IV: made in Taiwan by KHS (continued as ST series after 2010)

Champion (early student)

The New King (late prewar and postwar, informally grouped into Series I, II, III, IV, and V, base for stencils)

Toneking (deluxe models produced concurrently with New King)

Most of these historical models were also available with different "packages", such as "EX" ("Exklusiv") with more elaborate engraving, additional keywork, additional mother-of-pearl inlay, or drawn and rolled tone holes.

Julius Keilwerth also produced a limited quantity of a trumpet called the "Toneking 3000". There may have been other brief forays into making other woodwinds or brasswinds, but no records were found as of February 2012.

In 1986 the company hired jazz saxophonist Peter Ponzol as a consultant to refine and redesign Keilwerth saxophones for the jazz market. This resulted in the "Modell Peter Ponzol" alto and tenor saxophones. The modern lineup of Keilwerth saxophones is derived from the Modell Peter Ponzol.

Stencil manufacture

A "stencil" saxophone is a saxophone made by a manufacturer that is then sold to another company that (perhaps literally) takes a stencil and engraves their own name/information on the horn. The Julius Keilwerth company provided not only complete saxophones to other companies as stencils, but also saxophone bodies for other companies to affix their own keywork to. As a general rule, Keilwerth stencil saxophones are stamped "Made in Germany". Some Keilwerth stencil models have rolled tone-holes, and others have conventional straight tone-holes.

Some of the best known of the Keilwerth stencils are those made for the W. T. Armstrong Company:-

Some H. Couf Royalist saxophones, named for Herbert Couf, the vice president of the W. T. Armstrong Company (1965-1980s)

H. Couf Superba I and II saxophones (1965-1980s)

Conn DJH Modified after the 1981 acquisition of Armstrong by C. G. Conn, named after Daniel J. Henkin, owner of Conn (1981-1986)

Armstrong Heritage saxophones

Note: later H. Couf models, like the 3200 and Royalist II were made by United Musical Instruments, not the Julius Keilwerth company.

Other significant complete-horn Keilwerth stencils include:-

Academy

Alexandre

H. & A. Selmer Bundy Special (1950s-1960s)

Buffet Expression

Calvert Deluxe, Champion, Crestone

Heritage

Gotz

Imperial

Jazz King, Jubilee

King Tempo saxophones (1960s)

Major, Manhattan, Martelle, Marco, Miraphone

PIA, Prelude (made for Hakkert)

Ravoy, Reynolds, Richard Gareis, Roger, Royalist

Silvertone, Star

TAM, Troubadour

US Admiral

Vedette

Vincent Albert

Wikina, Winsall

Note: some saxophones (e.g., Voss, Roxy, Senator, and De Villiers etc.) that appear to have been made by Keilwerth were in fact manufactured by another German company called Dörfler & Jörka (also based in Nauheim) between 1949 and 1968. The design and location of the neck screw (which is completely different from the type used by Keilwerth) is a simple but accurate method of identifying Dörfler & Jörka instruments. D&J used a distinctive, large thumb screw located on the front of the receiver to tighten the neck, whereas Keilwerth used a traditional side-mounted screw.

Keilwerth stopped supplying stencil instruments after introduction of the Modell Peter Ponzol in the mid-to-late 1980s.