I recently bought a Couesnon Monopole Conservatoires alto sax with serial number 11103. It came with a 'CERTIFICAT D'ESSAI ET DE GARANTIE', printed on Monopole Conservatoire certificate paper, with the serial number 11103 written in by hand, dated in Paris by hand November 15, 1960, and signed and stamped by M.
A: Kanstul instruments are used by many high profile, accomplished artists, such as Wallace Roney, Herb Alpert, Doc Severinsen, Arturo Sandoval, Greg Adams, Marcus Belgrave, Richard Carson Steuart, Claudio Roditi, Tim Wendt, Bennie Cowan, Chuck MacKinnon, Phil Driscoll, Walt Johnson, Dontae Winslow, George Roberts, Mike Suter, Steve Reid, Charly Davis, Beth Mitchell, Rashawn Ross, John Engelkes, Les Benedict, Andrew McCandless, Alan Kaplan, Bob Payne, Mike Roylance, Robert Carpenter, Carson McTeer, Joe Barati, Jeff Cortazzo, Craig Gosnell, Phil Teele and many others.
As far as I am aware there is no list for Couesnon Saxophone serial numbers. My Monopole 2 alto is 92XX, which I believe is around 1958. Does anyone else have any dates of theirs, if so post them here so we can compile it and forward it to saxpics.Leave the last 2 numbers as XXs to keep them anonymous.
THE SERIAL NUMBER IS 70371. I DON'T SEE A MODEL NUMBER ON IT THE CASE IS A BLACK HARD CASE.
There is no serial number chart extant for Couesnon. I do, however, find it difficult to believe that they produced saxophones after 1980, as their construction is far inferior to the Buffet SuperDynaction 'transitional' models or S1, the Dolnet M70 or the Selmer Mark VII/S80. Couesnon Flugelhorn(est. Late 1970s) The serial number is 73844. Accurate Couesnon serial numbers are not available due to a factory fire. Non-sequential numbering and missing records. Based on the more modern bell stamp and blogs of other owners, I am estimating that this horn is from the late 1970s.
Our outstanding instruments can be heard at Disneyland, Medieval Times, and in our nation’s capitol including the top military service bands and ensembles: the Naval Academy Drum & Bugle Corps, the US Marines “Commandant’s Own” Drum & Bugle Corps, the 3rd Infantry “Old Guard” Fife and Drum Corps, the US Air Force Concert Band, The US Army Band “Pershing’s Own” Herald Trumpets, the Navy School of Music, the United States Military Academy at West Point and more.
A: All of our instruments are manufactured in Anaheim, California, right here in the United States of America. We are located about a mile and a half from Disneyland. Please note: Information on this website is for reference purposes only. Our doors are closed permanently and we will no longer be responding to phone calls or emails.
A: Please note: Information on this website is for reference purposes only. Our doors are closed permanently and we will no longer be responding to phone calls or emails.
A: Please note: Information on this website is for reference purposes only. Our doors are closed permanently and we will no longer be responding to phone calls or emails.
A: Our instruments are built to order, and the process usually takes four to six weeks, depending upon the volume of work in the factory at the time of order. Please note: Information on this website is for reference purposes only. Our doors are closed permanently and we will no longer be responding to phone calls or emails.
A: Unfortunately, due to safety and insurance concerns, we are no longer able to provide tours of the factory.
A: We do not offer repair services on instruments other than Kanstul products still under warranty. If you need repair work done on any other instruments, contact your local dealer, or you may be able to locate a repair shop at the National Association of Professional Band Instrument Repair Technicians website.
A: As with any antique or unique collectible, the value of a used instrument is simply what another person would be willing to pay for it. Kanstul does not buy or sell used instruments, and is unable to offer appraisal services. Many music stores offer appraisals, and you may also be able to find information on websites that sell used instruments, as well as online forums where enthusiasts discuss topics such as collectibility and value.
A: Please note: Information on this website is for reference purposes only. Our doors are closed permanently and we will no longer be responding to phone calls or emails.
A: Please note: Information on this website is for reference purposes only. Our doors are closed permanently and we will no longer be responding to phone calls or emails.
A: Please note: Information on this website is for reference purposes only. Our doors are closed permanently and we will no longer be responding to phone calls or emails.
A: Monel is a trademarked commercial alloy that is available with a high degree of consistency from a number of sources. It is a compound of nickel and copper, and resistant to pitting or corrosion. Monel is a malleable yet durable material for pistons.
A: Kanstul Musical Instruments was founded by Zig Kanstul in 1982 and is celebrating 35th year. Zig had been designing and building horns since 1952, and his illustrious career included lengthy stints at Olds and Benge, and he had consulted for numerous other companies over the years. See more about Our Story on the About page.
A: That line is supposed to be there. Our copper bells are made from a single sheet of copper. The line is where the bell seam is joined by brazing. The filler metal (brazing material) is bronze-based, and yellowish in color in contrast to the reddish color of the copper.
A: We do not recommend any particular brand of valve oil, however any high quality pro oil is acceptable for use on Kanstul horns.
A: Please note: Information on this website is for reference purposes only. Our doors are closed permanently and we will no longer be responding to phone calls or emails.
A: The following information is reprinted with permission from www.mouthpieceexpress.com
Confused about tapers? Don’t feel bad—you’re not alone. Here’s the scoop on flügelhorn mouthpiece tapers. Just remember, if you are using the wrong taper, you may be experiencing poor intonation and response!
LARGE Morse taper
Commonly known as Standard Taper, the LARGE Morse taper is used by Yamaha, Getzen, Callet, Benge/King/Conn, Holton and older Kanstul 1525 flügelhorns.
Note: Only a very limited number of early Model 1525 Signature flügelhorns were built with mouthpipes to accept the large Morse (Yamaha) taper. If you own a Model 1525, more than likely it has a receiver that accepts the small Morse (Bach) taper. The mouthpipe is marked with a letter “B”.
The so-called “Bach Taper.” Bach, Courtois, newer Couesnon, Kanstul 1525 and some European flügelhorns use the SMALL Morse taper.
FRENCH (straight) taper
Also known as Couesnon Taper, French taper is used by original Couesnons, Flip Oakes “Wild Thing,” Kanstul CCF 925, and original F. Besson flügelhorns.
A: For horns with a lacquered finish, wipe clean with a soft cloth, such as double knap flannel (like a cloth diaper) or microfiber. We use Tarni-Shield on silver plated horns. We mix the product half and half with water. It goes on evenly, dries quickly and polishes off easily with double knap flannel.
A: The Amado water key, while quite popular, has a much smaller hole where it is attached to the crook. It is best to keep the inside of your slide(s) free of debris by cleaning them frequently using a snake. For best results, simply tilt the horn downward and open the water key. The water should drain on its own, or with a light “puff” of air. Do not blow hard into the mouthpipe because this will push the water past the hole.
A: In addition to our own full line of Kanstul brasswinds, we are a supplier to the industry, providing services, tooling, parts and instruments to many companies in North America and Europe.
A: While we are happy to have endorsements from players of our instruments, we do not offer formal sponsorship or endorsement programs at this time.
A:We work with yellow brass, bronze and copper. Our bronze is sometimes referred to as 85-15 and is roughly the color of champagne. We also work with red brass, that’s 90-10. Bell materials are generally available in thickness ranging from .017″ to .040″.
A: Please note: Information on this website is for reference purposes only. Our doors are closed permanently and we will no longer be responding to phone calls or emails.
A: Please note: Information on this website is for reference purposes only. Our doors are closed permanently and we will no longer be responding to phone calls or emails.
Additional information about Besson instruments, including model numbers and descriptions, can be found at The Besson Loyalist.
A: This model Besson C trumpet (sometimes referred to as the Besson Meha C) shipped with three mouthpipes, each marked with a two-digit number to distinguish them from one another. The first digit referred to the mandrel – either the no. 6 (ML) or the no. 7 (Large Bore). The second digit referred to the number of eights of an inch from the small end that the pipe is cut. The 68 mouthpipe, for example was from the no. 6 mandrel and cut 1″ (8/8ths) from the small end.
A: For years, Kanstul Musical Instruments manufactured a range of horns for Boosey & Hawkes (now known as The Buffet Group). Some information about F. Besson instruments, including model numbers and descriptions, can be found at The Besson Loyalist.
A: Wrap and pack the horn carefully, and ship via UPS Ground (or your preferred carrier). Please do not send us the case—just the instrument. It has been our experience that the horn can be made more secure when not packed inside the case. Thank you in advance.
In the unlikely event that a horn arrives with shipping damage, we will advise you to contact the carrier.
A: In the unlikely event that your horn arrives with shipping damage, it is very important that you SAVE THE CARTON. Then contact the Kanstul factory for instructions.
A: A standard piccolo trumpet mute fits the 920, and the A and Bb bells of the 1520. A D trumpet mute fits the G bell of the 1520.
These cases are custom made for us by G & G Quality Cases in Los Angeles. The deluxe style case has solid brass combo latches, and instructions for setting the combo are included in the case. In the event that your case arrived without the instructions here they are:
With the lock open, slide the button inward towards the number wheels and hold
Set the number wheels to the desired combination
Release the button
Make a note of the combo in case you forget
We can email a small pdf file that includes a diagram.
We do not know how to reset or open the case if the combo is forgotten.
Q: Whatever happened toCouesnon?
Couesnon is one of the great names in brass instruments, inbusiness over 170 years. It grew to include eight factoriesemploying, at one time, over 1800 people in France. In the USA in the1950s, the Couesnon flugelhorn became very popular as a doublinginstrument for jazz trumpet artists. Their flugelhorn sounded great,was readily available, and was cheap. They were everywhere. Itsdesign is copied by the overwhelming majority of instrument makerswho now make and market flugelhorns.
Why is it, then, that one can no longer buy such a popularinstrument?
A:
Couesnon Flugelhorn Serial Numbers
Actually, you can. Here's the story.
The Couesnon company was started in 1827, in ChâteauThierry, a small city on the Marne River, 50 miles east of Paris, anarea traditionally associated with the making of brass instruments,according to Richard Dundas, in his book, Twentieth Century BrassMusical Instruments in the Twentieth Century (third edition). Thecompany was purchased by the Couesnon family in 1883 and already hadan outstanding reputation as a maker of fine instruments. Theproduction included percussion, woodwinds (including double reeds),small and large brasses, and military bugles. Under the personaldirection of Amedee Couesnon for 48 years, the company won manymedals and awards for quality production and technical innovation.
They made many horns which were imported into the United States,including many that were sold under the names of music stores andother private labels.
By 1911, Couesnon had expanded to eleven factories and more than1000 workers, meeting the needs of many performing groups andmilitary bands. During this time the products were highly soughtafter and were played by many of the virtuosos at the time. To get asense of this, take a look at theCouesnon1915 Catalog. Although they made virtually any musicalinstrument, during the 1930s they began catering to 'Fanfare bands'(marching brass bands very popular at the time), and gradually becamealmost the only supplier of marching brass instruments in France. Atthis same time, prior to the war, the Couesnon trumpet factory inParis was located right next door to the F. Besson trumpet factory,where the premiere trumpets prior to World War II were made.Curiously, the Couesnon trumpets of the time look virtually identicalto the F. Besson models.
At the end of World War II, the music business started to change,but Couesnon continued to deal primarily with the special needs andinstruments of brass and military bands. The C/Bb trumpet marketbecame dominated by Selmer, Courtois, LeBlanc in France and even thelarger American manufacturers. The public continued to associateCouesnon with the brass band; not the orchestral or jazz band.Starting in the 60 's and during the next 20 years, Couesnon tried toexpand its share in markets other than fanfare bands. They made aline called 'Monopole Conservatoire' higher quality instruments,trying to gain more customers in conservatory (music students). Forexample, they employed Mr Bernard Soustrot (first prize in the 1976Maurice André Competition in Paris) to try all the piccolostrumpets made in the workshop and to give his 'blessing' to these newinstruments. Unfortunately, these efforts proved ultimatelyineffective, and their traditional market continued to decrease inpopularity to the point that brass bands have almost all disappearedin France. According to Richard Dundas, sixty percent of theproduction was exported throughout the world with as much thirtypercent sold in the United States. However, as sales declined, theprofits dwindled and the losses mounted. Factories were sold off andin 1969 the main factory in Château Thierry was badly damagedby fire, destroying the archives. In 1978, the contract with Gretchto import Couesnon instruments to the United States was terminatedand new Couesnon instruments have been very rare in the US since thattime.
Couesnon Flugelhorn Serial Numbers Manufacture
The fire resulted in loss of all the company records, includingthose which would make it possible to determine the year ofmanufacture from the serial number. This question arises all the timeand there appears simply to be no information available. I've triedover a number of years to see if anybody in the US or France has thisinformation, or any key to the odd numbers that are found stamped allover some Couesnon instruments. There seems to be no key or patternto them. And worse yet, so very few Couesnon instruments are in thehands of the original owners that attempting to establish a data baseof serial numbers and date of manufacture (as has been successfullydone with Benge trumpets) is impossible.For a while one major retailer of used instruments used to attachdates of manufacture on the Couesnons they were selling based on theserial numbers. I inquired as to where they were getting thatinformation (only wishing to provide web space for it), they answeredvaguely and then discontinued the practice entirely withoutexplanation. Sorry about that.
Here, however, might be some good news: Steve H., a correspondentwho has purchased several Couesnons, writes:
A customer in France who deals in vintage hornsgave me this info which seems to work, judging by condition andstyling of various examples. In the 'grenade,' the circle with flamecoming out of the top [editor's note: some people think that it's'the pineapple,' pictured nearby, and they only appear on someinstruments], below the word PARIS is a number which indicates theyear of manufacture, 6 would mean 1906, 24 would mean 1924, 65 means1965 and so forth.
So, everybody take a look. Matching the estimated age of yourCouesnon with the number described, If you think it might be possiblethat it is the date of manufacture, pleaselet me know.
Althoughtoday the company has only 25 employees working in its sole shop inChâteau Thierry, Couesnon is still in business. In 1999, theFrench drum maker P.G.M. bought the name, the tooling, and thefactory to give it new life. The company is now known as P.G.M.Cousenon. Their most popular products are hunting horns and tambourdrums mainly for the French market. Unfortunately all the mandrelsand tooling needed for the making of C, Bb and piccolo trumpets hadbeen stolen, so the workshop is making only brass band instruments,such as the flugelhorn ('bugle' in French), cornet, tuba, a trueFrench French horn, with piston valves and extended stems for lefthand operation, hunting horns, and a natural trumpet (Jeanne of Arcmodel) and of course military bugles ('clarion' in French) includingbass bugles, cavalry trumpets and so forth. Many of these instrumentshave unique designs. As the instruments are hand made in very smallquantities, the quality, I am told, is exceptional.
The company is now a very small family owned business whoseownership is found in the company's name, P.G.M.
Couesnon Flugelhorn Serial Numbers
P comes from the family name Planson, the ownerof the drum company who bought Couesnon in 1999. Both mother andfather work at the company, mother in the office and father in theproduction. They have two daughters Sophie and Isabelle who actuallyown the company today.
G comes from Sophie's married name which is Glace. She runsthe company now, and her husband Stephan Glace works as productionmanager.
M comes from Isabelle's married name which is Moret. She isa sewer and makes instrument bags. Her husband does not work at thecompany.
The company is all situated in one building, containing office,manufacturing, storage, and lacquering. Only silverplating and casemaking are done elsewhere. Production facilities are old-fashionedand the employees are skilled hand craftsmen, somewhat similar toSchilke--no computer controlled devices and just a littleelectromechanical machinery. All of the Couesnon instruments are tobe regarded as handmade. Strangely enough nobody at the factory couldplay, at least not a flugelhorn, and professionals musicians werecalled in for the final testing.
They make three flugelhorn models, to wit:
137 Tradition, which is the small one (2003 price 1031 Euro, in lacquered version which is standard),
142 Monopole (1721 Euro) and a 142 CR (Cuivre Rose) which has rose brass bell (1892 Euro).
144 which is the 4 valve version (1804 Euro).
I've heard rumors of an all copper version and silverplating isavailable on request for all models except the 142 CR.
Production of flugelhorns is about 50-60 a year, and except from afew sold in France, most are sold to Japan. Because the production isso small, they are not found in large quantities in music stores,even in France. There are no distributors. Thus, the only way toacquire a new Couesnon instrument is to order directly from thefactory.The company struggles and its marketing efforts are from thesame age as the tooling. They don't have a web-site, they don't havee-mail, they don't take credit cards, and they don't seem to have adistribution network. Communications and transportation to ChateauThierry is poor . There are only a few trains to/from Paris, and nobuses. No brochure could be found anywhere in Paris, only in theiroffice.
Couesnon Paris Trumpet
Couesnon can be reached by phone at 0323835675 (Sophie Glace, whoanswers the phone, speaks pretty good English), and by fax 0323836797(responses are somewhat slow in coming).
In January 2005, PGM-Couesnon slipped quietly into the computerage, launching their ownwebsite. It isvisible in both French and English.
I'm indebted toJean-MichelSouche, a young French trumpetplayer and teacher who was able to research and tell me much of theinformation about the current status of the company and its products.I am also grateful for OlafBrattegaard of Oslo, Norway, who visited the company in February2003 and reported to me much additional and more current information.Feel free to contact Mssr. Souche if you are interested in any ofthese products or Mr. Brattegaard if you have more questions. For the1915 Couesnon catalog link, I'm grateful to Jean Monange.