Saxophones Martin Indiana Saxophones - History and Models

Martin Indiana Saxophones Part 1 - The Indiana Band Instrument Company

I have been trying to learn more about Martin Indiana saxophones recently. The Indiana was the brand name for Martin’s second-line instruments.

I thought I would write down what I have found out. None of this information is new or original - I’m just trying to put it all in one place. And of course there may be mistakes in what I am writing.

My main sources have been “The Martin Story”, SaxPics, saxophone.org and SOTW.
The Martin Story website is an excellent resource for people who want to learn about Martin saxophones:
The Martin Story - All there is to know about Martin saxophones


The Indiana Band Instrument Company
The Indiana Band Instrument Company was created in 1928 by the Martin management as a brand for their second-line instruments. IBICo never had a separate existence from Martin and IBICo never had a separate factory. Indiana saxes were made in the main Martin factory in Elkhart. (See below for sources.)

There is an informative article on the history of Indiana saxophones in the Bassic Sax blog:
The Indiana Band Instrument Co. | The Bassic Sax Blog
This article quotes Greg Holtz, the grandson of the Martin Manager Fred Holtz:

“In December 1928, in order to broaden their customer base, Mr Bassett (majority owner and G.M.) and Grandad incorporated The Indiana Band Instrument Company. Like Conn had done several years earlier with their Pan American brand, and then Buescher, with their Elkhart Band Instrument division, it allowed Martin to produce and market a line of less costly instruments to those who could not afford the premium Martin offerings.

“These entities were wholly owned by their parent, but at least in the case of MBI, both Martin and Indiana lines were built on the same line by the same craftsmen. These were long before ‘student horns’ were ever conceived. Rather Martin brought older retired top-of-the-line models (with existing tooling) back to life. The Indiana horns were of excellent quality (the Indiana saxophone, for instance, was a dead ringer for the older Handcraft Standard premium horn).

“During war production buildup in 1942, Martin dropped the Indiana Band Instrument logo, and subsequently , labeled the horns as “INDIANA by Martin”. MBI did keep the serial numbers on a separate ledger.

“In 1961, Paul Richards, a businessman with little band instrument experience, purchased three companies (Martin, Blessing, Reynolds and their factories) to produce as many student horns as possible. With the success of ‘The Music Man’ on Broadway and the movie in the works, he had dreamed of a huge student horn boom. Sadly he was wrong and faced bankruptcy in less than two years.

“Wurlitzer, a longtime Martin client) picked up the pieces and operated the Elkhart plant for several years, until the Leblanc sale. The Indiana horns were produced throughout all those years.”


In another thread, another grandson, Chris Holtz, wrote:
“As many have noted the Indiana product line made use of older designs and tooling , perhaps also removing a feature or two.”
Source: Post #33 in the SOTW thread

https://www.saxontheweb.net/threads/a-bit-of-martin-family-history.175073/page-2

And thomsax writes on a Cafe Sax thread:
“This is my own conclusions/thoughts. They are based on articles, books, contact with guys who knows and have worked on Martin saxes and a former Martin worker (in the 50') that I had contact with in late 80's.

“Where were they made?
I don't think they were made in separate buildings . But two companies IBICO (Indiana Band Instruments Company) and Martin Band Instruments. In the 50's they were made in the same building but not at the same time. The staff was told to clear out the benches/workplaces and make ready for Indiana production. They used old tools for Indiana. The tempo was high and the quality control was less. The shouldn't spend so much time on each saxophone. So they did lots of Indianas during a short (some weeks or months?) time. And If you see the serial charts many Indiana were made in late 50's. But It was also during these years the big market for student saxes increased.”
Source: Post #14 in the Café Saxophone thread

https://cafesaxophone.com/threads/saxophone-evolution.29351/#post-435686
indiana.jpg
 
I have an Indiana alto from 1960, which was selected for me by my teacher in 1982. For all kinds of reasons, e.g. switching back to clarinet (and later to tenor sax), I didn’t play it much.

Years later, in the mid 1990s, I used it for a short while in a classical woodwind band (with a Selmer S80 C*), which wasn’t a success. Not really a surprise, knowing what I learned about older American instruments in the meantime.

However, I was convinced that my Indiana had intonation and tone quality issues, and I bought a Selmer Series II alto. My Indiana spent years in its case. Despite also finding a wonderful Martin “The Martin” tenor, I had all but forgotten about my Indiana.

But recently I picked it up again, blowing it with a Runyon 22 I got in a trade, 15 years ago. And wow! That alto is so much better than I remembered! Intonation is great, and it feels (and sounds) like a high quality instrument. Given that I have played a Martin tenor for years, the keywork feels natural to me.

It’s a great change from my Selmer, and a lovely player. The only question nagging me now … should I trade up to a Committee III alto, given how good my tenor is?

(I will share a recording soon)
"The Indiana" by Martin are good saxes. But you must consider that these saxes were made in a furious tempo and with less quality control. After a set-up they are often playing well. I wrote earlier about Indiana owners that have paid (IMO) too much for thier saxes. "The same sax as The Martin .../Committee" are just arguments for a seller to charge a higher price !?!?!?!

A Selmer ser II is a fine sax. I don't play alto anymore so I'm not the right person to say if a "The Martin Alto" is better than a Selmer ser II . I offered my The Martin Alto and Martin Handcraft Comm II to two young players that were looking for new saxes. They were playing YAS 23/25 but they bought used YAS 62 and Selmer SA II. They are playing in big bands, concert bands, smaller combos ... and the prefered modern saxes. I understand them. So my altos are back home again.
 
A Selmer ser II is a fine sax. I don't play alto anymore so I'm not the right person to say if a "The Martin Alto" is better than a Selmer ser II .

I'm strictly a "hobby player", and I don't play alto that much, so the Indiana suits me fine, of course. Some bands I played in, can have a quite strong opinion on Selmers versus anything else, so the Series II is a good way to avoid discussions 😉

I mainly play tenor and baritone, and my "The Martin" tenor is a great instrument. But to be honest, my Indiana alto has very good intonation (as far as I can judge), and I own it since 1982 ... so there's not really a need (apart from a sentimental one towards the "The Martin" saxes) to change anything.
 
Though I am not really qualified to opine, I think the difference between The Indiana and The Martin is about like the difference between a Camry and a Lexus, an Acura or an Accord. All four of those have very high quality standards though the Camry and Accord will lack some of the luxury features and social status of their more expensive brothers. As for Selmer of Paris, though I don't know much of anything about them from what I understand they make the Lamborghinis of saxophones. Most of us don't need a Lamborghini, an Acura, or Lexus and would really only buy one for the prestige of owning it when all we really needed was a Camry.
 
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Though I am not really qualified to opine, I think the difference between The Indiana and The Martin is about like the difference between a Camry and a Lexus, an Acura or an Accord. All four of those have very high quality standards though the Camry and Accord will lack some of the luxury features and social status of their more expensive brothers. As for Selmer of Paris, though I don't know much of anything about them from what I understand they make the Lamborghinis of saxophones. Most of us don't need a Lamborghini, an Acura, or Lexus and would really only buy one for the prestige of owning it when all we really needed was a Camry.
Your auto makes is quite valid for most of us, but Lambos, like Ferraris or most Porsches are clearly focused on 1) a luxury market, 2) quite exceptional performances. In the world of saxes, the performances can't be measured in horse power, top speed or torque. Now when driving from point A to point B on roads with more and more speed limits and radars, who cares what you are driving? Nowadays most recent cars have plenty of power and ample torque, with top speed we can't reach unless we want to lose our licence...

You are from the US, so what I'm going to reveal will probably not talk to you, but Europeans will likely understand. I work for one of Porsche holding's companies, who owns Porsche obviously but also Lamborghini, Ducati, Bentley, Audi, Volkswagen, Skoda and Seat. I drive a Skoda as a company car and it is a great car. Comfortable, efficient, frugal and well equipped. So it is very much like the Camry vs Lexus. My dad used to own a Camry when he lived in the USA, so I know exactly what you mean.

When it comes to playing sax, I fell into the buying frenzy or GAS for a while, but given my limited abilities, I never considered spending too much to acquire a Selmer or Yangisawa, although I have friends who did and I don't blame them. I own a couple of Martins, but I mostly have Yamahas because they are generally speaking taking me from point A to point B, reliably, comfortably and I can't find anything I miss in a sax that I'd find in another brand.

In the Luxury market, I find the analogy between Android and iPhone is a pretty good one. I am an Android user personally, but I just received an iPhone as my professional phone and it works well. Does it make a difference to me? No. I honestly can't find a good reason to buy an expensive iPhone or high end Android device, given what I do with them. And I use my phone rather extensively... Far more than my saxes lately! 😵
 
For most players, including me, a sax à la Martin Home Model would be just fine. Keyed from C1 to C3. No more struggle with the bell keys/tones. And forget the palm keys. Also much easier to when it comes to mouthpieces. Just play the good tones and stay out of the ****!

I talked to a Martin guru for some years ago. Martin Indiana vs Martin Committee. He said: "Of course, there are differences. It's complete different horns". A good Indiana is a fine sax. I bought a mint 1959 "The Indiana" by Martin tenor. No damaged and a good original case as well. But the sax was not playable. We ( I couldn't do it on my own) had to spend several hours with the keys. Off centered key cups, wrap key cups, bent rods ...... and after the operation we also gave the Indiana new pads and a set-up. The 1959 Indiana was a better horn than the worn out 1955 "The Martin Tenor" that I bought at the same time. A bent body that we couldn't straighten up without loosen some of the soft soldered tone holes. Out of rescue!
 
Perhaps I am suffering from GAS or just really like Indiana's and wanted one with IBIC logo, maybe both but I bought this today on Reverb. Got the seller to come down quite a bit. I believe that is a 1940 or 41.
View attachment 23476
View attachment 23477
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Nice. And seems to be in good condition as well. The "Chief Of All" logo is so cool. Maybe I will buy a IBIC Indiana sax as well😉 . Is it a neck plug on the case picture ?
 
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Nice. And seems to be in good condition as well. The "Chief Of All" logo is so cool. Maybe I will buy a IBIC Indiana sax as well😉 . Is it a neck plug on the case picture ?
I am hoping that it is the neck plug and that the seller uses it. I also asked that he wrap the upper stack with bubble wrap. I reckon that I will find out when UPS delivers it tomorrow.
 
Looks nice, is it an original case? I did wonder why cases don’t come with
a buffer down the centre of the lid like that, my case for my yts 32 is a yts 875
its quite good but rattles slightly, I might have a go doing that with Velcro.
Dale
 
It arrived today. The seller did not use the neck plug nor did he pad it well or even bother to buckle the strap in the case. It nevertheless survived the trip and even plays. I did use some petroleum jelly on the pads which will have to be replaced anyways. Overall condition is not bad but there is one significant dent in the body that does not seem to affect playability. Of the MPs that came with it, the Otto Link is unplayable, there is one that looks like it use to say Accent that is too buzzy and the one on the left with the metal ring plays pretty good. The case is a lost cause and smells of must and mildew to high heaven. It really does need corks and pads though someone has recorked the neck. Also just the little time that I played with it this afternoon I got the feeling that it is probably a bit higher quality than my 1950s Indiana by Martin tenors.

20230802_174412.jpg 20230802_174354.jpg 20230802_174421 1.jpgr20230802_163328.jpg20230802_180055.jpg
 
Matching serial number on the body and neck? Did the Rovner Platinum ligature came long? The seller must be a lefty according to the placement of the lig. And up-side down as well. "Tenner sax"..... . But it has bell keys key guard like a Handcraft Imperial. Needs some dent and solder work. Can be a strong player. Don't cry over the case. Most old cases are in bad condition. Better to buy a new one with better material and protection.
 
Matching serial number on the body and neck? Did the Rovner Platinum ligature came long? The seller must be a lefty according to the placement of the lig. And up-side down as well. "Tenner sax"..... . But it has bell keys key guard like a Handcraft Imperial. Needs some dent and solder work. Can be a strong player. Don't cry over the case. Most old cases are in bad condition. Better to buy a new one with better material and protection.
There has been some debate over the lig placement. A fellow that often posts his videos on FB has his the other way around. I have tried it both ways and have an easier time lining up the reed with the screw on top. It didn't seem to affect the sound either way. It is a cool looking cheapy that I found on Amazon, very easy to place also. I am certainly not left handed and for the life of me cannot figure how that would change any position except for the bell keys. I have had them held shut or open by my pants when playing while sitting down, which is most of the time. I have a tenor Gator Case if I need to transport but I am not to that point yet.
 
Rovner ligatures like Platinum and Van Gogh are IMO playing best with the "pins down". Just the pins that are holding the reed. Versa (X) is also holding the reed on two spots. I play a Ed Daniel ligature with re-placeable inserts and flabs. I prefer Ed Daniel lig to Platinum. Both are good. You can change the screw from right to left. I'm right handed and want the screw on three right side. I have a better tone when most of the stock of the reed is free.
 

Similar threads... or are they? Maybe not but they could be worth reading anyway 😀

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