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It is rare to find a prized vintage saxophone in such a pristine condition. I had the privilege of instructing the owner on how to do the gold pen plating inside the engraving which he did entirely on his own. I also installed the pads for him because he was so busy in his "day job" he didn't have the time to do it himself. I know he put a lot of time, love and attention not to mention expense into this complete restoration. It really deserves a good home and an owner who will take good care of it.
 

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It is rare to find a prized vintage saxophone in such a pristine condition. I had the privilege of instructing the owner on how to do the gold pen plating inside the engraving which he did entirely on his own. I also installed the pads for him because he was so busy in his "day job" he didn't have the time to do it himself. I know he put a lot of time, love and attention not to mention expense into this complete restoration. It really deserves a good home and an owner who will take good care of it.
It makes me drool to look at it. $14k is about double what I would be willing to pay for any sax. That one would make me change my mind if I wasn't married. I sometimes watch "Chasing Classic Cars" where Wayne Carini searches for one of kind classic cars for customers. He's had his hands on cars worth up to $40million; a rare Ferrari. Your job kind of puts you in the sax equivalent of his, working on and perfecting rare and/or one of a kind instruments. Very cool.
 

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Help me understand the allure of this horn other than it's rarity. Are they good playing horns? I really am curious, I have heard of these, but know very little about them.
 

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Help me understand the allure of this horn other than it's rarity. Are they good playing horns? I really am curious, I have heard of these, but know very little about them.
The one in this ad is an amazing player. Cannonball Adderly chose to play on a King Super 20 early in his career before he switched to a Selmer. Some of the members here who are Adderly aficionados may be able to name some of the recordings he made while still playing on the Super 20.
 

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It's beautiful, but $14k for a relaq is (in my opinion) too high. I guess if he can sell it for that - it's not, but only time will tell - and we may never know since someone will probably make an offer he will eventually accept.

The S20 altos are great playing bits of kit - I play one (Nice - but not that nice cosmetically) and I love it.
 

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If money were no object I'd snap it up. But I play music for a living so I'll just drool on the keyboard for a while.

It's a beauty. I played a friend's S20 alto with only a sterling neck and it was a great player. I have a 1925 King silver plate alto and it has the voice of an angel. The intonation is not as good as modern horns, but the tone is like silky satin.

Insights and incites by Notes
 

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It's beautiful, but $14k for a relaq is (in my opinion) too high. I guess if he can sell it for that - it's not, but only time will tell - and we may never know since someone will probably make an offer he will eventually accept.

The S20 altos are great playing bits of kit - I play one (Nice - but not that nice cosmetically) and I love it.
Quinn sold a tenor a couple years back, original laq in decent but far from perfect shape, for about 16k if I remember right. Then a relaq tenor sold for 12k a year or two ago.

This alto started higher and is down to 13.5k now ... I'd be surprised if it lasts much longer before someone pulls the trigger. People know they're extremely rare birds.
 

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If money were no object I'd snap it up. But I play music for a living so I'll just drool on the keyboard for a while.

It's a beauty. I played a friend's S20 alto with only a sterling neck and it was a great player. I have a 1925 King silver plate alto and it has the voice of an angel. The intonation is not as good as modern horns, but the tone is like silky satin.

Insights and incites by Notes
I don't play for a living. I would be afraid to take something like that out to a nightclub. You leave to go to the restroom and come back and it's gone. IT's like having a $200,000 car. You love to drive it but you can't park it anywhere.
 

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In this case, since it's done so well and since most parts of it were bare silver, I'm not sure the lacquer matters much. The engraving looks sharply cut still. I wouldn't pay $14k for an alto. Maybe half that would be reasonable.
 

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It is unfortunate that "relac" has become such a derogatory term in the saxophone community. Done properly it makes an instrument look new again. Folks who collect and restore classic automobiles don't look down their noses at "repaints" do they? ;)
 

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It is unfortunate that "relac" has become such a derogatory term in the saxophone community. Done properly it makes an instrument look new again.
I submit that it is derogatory in the Collectible community because that has become metric of collectible value. If you want a pretty horn, you buy a relac for a price commensurate with "player" vs "collectible". At least some people are open to the notion of non-original pads (with original resonators).

Folks who collect and restore classic automobiles don't look down their noses at "repaints" do they? ;)
Yeah, well this ain't cars, is it?
 

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I submit that it is derogatory in the Collectible community because that has become metric of collectible value. If you want a pretty horn, you buy a relac for a price commensurate with "player" vs "collectible". At least some people are open to the notion of non-original pads (with original resonators).



Yeah, well this ain't cars, is it?
I'm aware that a beautifully relacquered and overhauled MarK VI is not worth as much on the market as one with the original lacquer with a body that is pitted and ugly. I suspect it is based more on mythology and tradition and a misunderstanding of acoustics than anything else. I don't see the equivalent of that kind of thinking in the brass or flute world. The fact that such cosmetic work as polishing, replating, and relacquering extends the life of the instrument seems to carry more weight with those groups than it does with many in the saxophone community.
 

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What about coins and bicycles???
 

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I don't play for a living. I would be afraid to take something like that out to a nightclub. You leave to go to the restroom and come back and it's gone. IT's like having a $200,000 car. You love to drive it but you can't park it anywhere.
I do play music for a living, and you have a great point. Even now I bring my 'good' sax to certain gigs and my 'not quite as good' sax to others.

Insights and incites by Notes
 

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It is unfortunate that "relac" has become such a derogatory term in the saxophone community. Done properly it makes an instrument look new again. Folks who collect and restore classic automobiles don't look down their noses at "repaints" do they? ;)
I can't agree more. IMHO it's stupid.

I would venture to say that 95% or more of vintage saxes have been relacquered. When I was growing up and for the first 20 years of my pro career, when you put your horn in for an overhaul, they just relacquered it as part of the job. I toured the country, they did this everywhere.

Then some time, I'm thinking I remember it was the 1980s, the EPA enforced new rules about lacquer, and the repair shops couldn't bear the expense of the new clean air gear so they quit lacquering. So any horn that was overhauled before then has new lacquer - if you believe that old Mark VI or Aristocrat has original lacquer, I have a bridge to sell you.

And if a relac ruined tone, how did Getz, Turrentine, Prez, and so many others keep their tone when they always played shiny saxes that have been relacquered?

The relac thing doesn't apply to trumpets, trombones, and other brass instruments, IMHO it's just a stupid sax thing.

Feel free to disagree.

Insights and incites by notes
 

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What about coins and bicycles???
Or antique guns. I get it. I just disagree when it comes to saxophones. Disclaimer: I restore vintage saxophones and would like them to be worth more in the marketplace to compensate for the time, effort, and skill it takes.
 
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