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Usually a Zephyr Special is much cheaper then a early Super 20.....

any good reasons why ? ......

I played both / both are great horns....
 

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Cannonball Adderley didn't play or endorse the Zephyr.:mrgreen:
 

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The Zephyr Specials are gussied up versions of a very old design; good horns in many regards but with some issues (primarily but not exclusively ergonomic). (tenors addressed here)

The Super 20's are a "new and improved" model that really was just that. Very, very similar verging on identical in tone but just "different and-again to me- better" in my hands as I played the horn.

I've had two Zeph Special tenors and eventually traded both off- they were , for me, good but not exceptional except in appearance.

I had a 1952 Super 20 tenor and would have it still but that it was stolen from the trunk of my car.

I find the altos to be an awful lot closer and would take a nice Zeph Special alto over a run of the mill Super 20. In point of fact I have on my stand at the moment a plain Jane Zeph (305XXX) alto which I kept in lieu of a 1968 /Super 20 which looked great but played just OK.

That Zeph vice S-20 alto comparison is "on the averages" of course- any particular horn has got to be played by the player to be sized up. There are surely some GREAT Bundy's out there...
 

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The Super 20 has that "cool" factor, the top-of-the-line at the time thing going on, the bad-*** rep (the Cannonball Adderley thing). If you are a collector or prestige-seeker, that is important, and drives up the price. Market prices do not directly correlate to how well a horn plays. (This is true for many products, not just saxes.)
 

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well, aside from cool factors, the ergonomics are different (at least from Super 20 series II onwards) in the later Super 20 (my favourites are series IV to V .......yes, this last one is a Eastlake made ) the differences and finishing make the two horns absolutely incomparable in mechanical terms.
 

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The mechanism on the modern S-20's IS far superior to the Zeph's.

For me though, while there was a real practical playing difference on the tenor's, the effect on the alto's was noticeable head to head but once one had played either horn for more than a few hours it faded into insignificance. Other's might well find it more glaring.

I tend to play a lot of alto's from the early part of the 20th century so I'm, perhaps, more flexible in terms of pinky ergonomics on the alto's. The size of a tenor accentuates pinky cluster clumsiness on the older tenors.
 
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