Some even used the Keilwerth serial number chart! I'm not quite sure if Amati just decided to use Keilwerth saxophones as their template for future models, but the 'second generation' of Amati horns, such as the 'Classic Super' is fairly reminiscent of Kohlert, not Keilwerth, designs. Review (mpn: 221762 for sale) 221762 Kraslice 314 Amati Nice Clarinet Serial Acl Number. Made in czechoslovakia bore, 7 rings, 19 nickel plated keys, wood body and bell, eb lever. The piece that goes right below a mouth piece. Amati Kraslice acl 314 clarinet serial number nice missing top piece. Comes with case. Key of bb, french system.

Dave, is this Amati made of Ebonite or Ebony? If wood, I 'd have a very close look at it for any cracking, especially around the tone holes of the top joint. Also the serial number seems low indicating a 1950/60 s model. That would mean that it was made during the communist period.

Amati was not of the same quality then as it is now. I think that, depending on if you can find a skilled woodwind repair person who could get it back into good working order, it would make a good 'knock-about ' instrument. * Your photos make this clarinet look like it 's made of Bakelite.

I purchased my first tuba this year with the hopes of learning enough to play TubaChristmas 2008 in Portland, OR. I've been learning mostly on my own, although I certainly realize I need a better teacher. The tuba in question is a 4-valve rotary with S-linkages, bore of 0.795, bell diameter 15 3/4 inches and length of 40 inches. It has had one previous owner, a former student of John Griffiths who I'm told helped him select the instrument when it was purchased new around 1979 from Boosey & Hawkes(?) in Canada. It is stenciled as an Amati Kraslice, although my local music repair shop (Wally's Music) tells me that because of the rotary valves it is probably a Cerveny. Most of the lacquer is still present.

I've had the tuba ultrasonically cleaned, valves oiled and linkages adjusted. I've also had it briefly played by the tubist for the Portland Symphony Orchestra who confirmed it looked like a Cerveny instrument, indicated that the tuba was in good condition and did not seem to have any obvious playing flaws (listening to him play made me realize just how good this tuba can sound). Are there any serial numbers on this instrument that could confirm the date of manufacture? I'm including a picture of the Amati Kraslice for your viewing pleasure. Attachments Amati -front.JPG (36.84 KiB) Viewed 7937 times bugler Posts: 54 Joined: Sun May 25, 2008 1:04 am Location: Portland, OR.

Additional necessary files are Msvcrt.dll and msvcr6.dll probably. They are in Windows System32 folder. Look for files vfp6r.dll and vfp6renu.dll. It will just require run-time libraries which you can copy from the old PC.

Cnc contra 007. • Introduction of 'Super Units'. Each general has a unique super unit. The limit is 1 per player (like hero units). Is greatly enhanced. Super units require 5th rank.

The Amati-Denak company apparently uses this system of naming and numbering its models: On their website all of the rotary brasses are Cerveny and all piston brasses are Amati. However the denomination of the rotary instruments is more complex. The more valves, the more nickel silver trim, and the more advanced the links in the valve transmission system, the higher the first digit in the model #. And only the models with a first digit higher than or equal with 5 are engraved Cerveny. The 4XX lines and lower are engraved Amati. However some Amati rotary instruments are superb players, which is not too surprising, as their acoustical design is the exact same as with the corresponding Cerveny models. Nickel silver trim is good for durability, but brass tends to be more responsive.

I have tested a lot of instruments for schools, colleagues, bands, and friends. I have a set of standards I want to be met for my own instruments, but these are not always relevant for the buying person, whom one strives to get the optimal instrument for. In a recent thread I mentioned that my preference of tenor tuba type euphoniums is irrelevant for a young player, who needs a lighter instrument. Some of these tested instruments stand out in my memory, because I should have bought them for myself. One of these was an Amati oval Tenorhorn in Bb. It had been taken out of communist Czechoslovakia by a traveling Danish trumpet soloist as the only way to get his fee in a form that could be exchanged to Western cash.

I was hunting for some other brasses for a local music school, when a Copenhagen store offered me this Amati Tenorhorn. I immediately liked its playing properties, but the school didn’t need it, and I did not dare to try to buy it myself for family reasons.

However it would fit the needs of a local band, which I had conducted a few years earlier. The price was fair even if there was no lacquer, no silver, not even nickel silver. Down to the screws in the ball-and-socket transmission, everything was brass. The store had the instrument in commission and was eager enough to sell it, so I could take it home and present it to the band. They bought that Amati Tenorhorn, and when I entered the band as a player after my retirement I met that instrument again. I tried to buy it from them, but the price they wanted wasn’t fair, so it is still with them.