Very good used King Super 20 Eastlake Model Alto Saxophone, serial number 507,xxx re-gold plated (not relacquer) body and keys, with mate silver color neck. Overhauled a year ago with Black kangaroo pads and reso-tech brass, nickel plated resonators. Custom screws on the F#/Biss bridge.
Pads are in very good conditions. Have some minor scratches on the body and a few small dins on the bell, but plays very easy from top to bottom.
If you are a professional player you will find that the horn is very even in intonation. For aparece references take a look of the pictures, and feel free to ask. The instrument have a very good projection and easy response and a warm tone. Comes with vintage (not original) case. WHITE KING SUPER 20 ALTO SAX FULL PEARLS SILVER NECK 285xxx RECENTLY OVERHAULED.THIS SAXOPHONE IS IN EXCELLENT CONDITION.PLAYS GREAT FROM TOP TO BOTTOM.HAS UNDERSLUNG DOUBLE SOCKET NECKNO DENTS OR DINGS JUST SOME SCRATCHES ON THE BELL.HORN HAS ORIGINAL FACTORY LACQUER.CANNONBAL ADDERLEY PLAYED ONE LIKE THIS.YOU CAN PUSH THIS HORN MORE THAN A MARK VI! AND GET A GREAT SOUND.COMES IN ORIGINAL CASE IN GOOD CONDITIONOVERSEAS SHIPPING WILL BE VIA EBAY GLOBAL SHIPPING.LET ME KNOW IF YOU HAVE ANY QUESTIONS OR NEED MORE PICS. All You Need with King Super 20 SaxophonesThe saxophone continues to lead in music and uses a combination of hollowed pieces for sound and tone.
The vast King Super 20 saxophones are versatile and peak your airflow over many genres of music. This brand uses a simple, lean design to ensure that nothing but your keys are in command. How does sax airflow create sound?The mouthpiece of a polished King Super 20 saxophone is already fitted to maximize airflow throughout the body.
The process captures your volume as a specific tone, which is set through the reed and the thin opening it allows. These saxes are calibrated for tone and the different pressures of air sent through them. Each reed sets a stable flow-rate to not muffle or distort your voice. Where you begin your search for saxes?A slick King Super 20 saxophone is versatile and uses the same principles for sound, but it uses a set of different bodies. The body options include:. Baritone: The baritone is a large sax and may require you to sit while playing it.
It provides a bass tone and deep frequencies with ease. Soprano: The way air moves through the soprano sax makes it a straight horn with no bend.
Its size makes it easy to push air, and you’ll reach the highest pitches possible for saxes. Alto: Altos are designed for high pitches also, but they use a bend for volume and to boost circulation. Tenor: The tenor is a jazz and solo instrument. It fits between bass and treble, which gives you a wide range of notes to play.
Student: These instruments come in all tonal ranges but with features that are simplified. Their simplicity makes it easy to learn a sax without the extra “bell-and-whistles” to distract you.Why your sax is ready, set, and geared to playGetting a saxophone ready to play starts with testing and inspection. Here’s what gets approved before these saxes leave the factory:.
Balance: Balance is done for a comfy fit in your hands. Hinged straps: Hold onto the sax more securely with the help of a strap. Lacquer sealer: Keep the brass polished with this sealant. The sealant helps prevent slight dings and scratches and protects the metal against deterioration. Scale tuning: The tone is key and calibrated for full effect. Keys: Let these saxes sit in your hands as the keys are conveniently positioned for this objective.Content provided for informational purposes only. EBay is not affiliated with or endorsed by King Musical Instruments.
This saxophone is sold!This is a beautiful, original lacquer King Super 20 Alto Saxophone from 1950. It has pearl side keys and G# like Cannonball Adderley’s Super 20, and Charlie Parker’s Super 20. It has that tone too – warm, projecting, jazzy. It’s pretty hard to beat.This horn is in excellent condition. Cosmetically, it has almost all of its original lacquer intact, and it has no dents, no dings, no past repairs. Gta vice city free download. The original, solid silver neck has the matching serial number. The original case is even in excellent condition.
The engraving is beautiful, including on the bell keys. This saxophone is sold!This is a beautiful, original lacquer King Super 20 Alto Saxophone from 1950. It has pearl side keys and G# like Cannonball Adderley’s Super 20, and Charlie Parker’s Super 20. It has that tone too – warm, projecting, jazzy.
It’s pretty hard to beat.This horn is in excellent condition. Cosmetically, it has almost all of its original lacquer intact, and it has no dents, no dings, no past repairs. The original, solid silver neck has the matching serial number. The original case is even in excellent condition.
The engraving is beautiful, including on the bell keys. Pads are medium way through their usable life, and have domed plastic resonators. It plays well, so no need to do a full overhaul at this point I think.This is a beautiful, clean, original example of one of the best alto saxophones ever made.
These horns are 10x as hard to find as a Mark VI, and they are more fun to play. Get this one before it’s gone!
In my experience all Eastlakes are every good, but the ones marked USA are definitely made in a different way ( some have quoted people who worked at King's and reported that the body tubes of these horns were actually manufactured in Japan by Yamaha) and those are the ones that tend to be hard to sell and very cheap. I own one tenor 460xxx and it is a great horn (I also have owned a 466xxx).I then bought an alto in the 600xxx range (can't remember exactly) and it was a very tough horn to play in tune, the same happened when I once went to a shop and they had the most beautiful silversonic alto in that series (overslung) which I couldn't play in tune nor could the owner of the shop ( an expert baritone player).I personally would stay away from USA marked Super 20 and would definitely consider buying an Eastlake because they are cheaper than the Cleveland one but every bit as good. Our beloved SaxPics may be of some help: s/n 426xxx to appx. 540xxx are the 'series V' horns. 'At 426xxx, the company was purchased by the Seeburg Corporation and moved to Eastlake, OH (you can note the engraving changes on the bell from 'Cleveland' to 'Eastlake')' Yours is a 420, so still a Cleveland model?
Could it be that the USA engraving is in fact a US engraving? It is a military horn in that case. Don't be shy in picking up that one, in that case. That is, with the usual caveat: it is best to playtest the horn first.Reine. The one I'm talking about has an 'underslung' mechanism but no double socket neck. Does this fact shorten the quality?Some players find the double socket necks to be an ill advised design and somewhat problematic in the long run (and I'm one of them).
Years ago when I was in the market for one, I did months of research and took my time sifting through the various opinions and online factual resources before settling on a 454,XXX Silversonic tenor (a horn which I am very, very happy with). Though this is strictly opinion, if you want an arbitrary cut-off serial number, I'd say above 460,XXX I wouldn't take a gamble on one that I didn't play first; if you're going the Ebay route. I've owned several Clevelands and Eastlakes, and though early Eastlakes can be good players, I've found the Clevelands to be generally richer sounding horns. However, once you get up to the single-socket neck Clevelands (ca. 1961), to me they are not that much different from the Eastlakes in that both are cleaner sounding and not as rich as earlier Super 20's.Breaking down the Clevelands, basically the earliest Super 20s are the darkest and richest going up to around 340,xxx (though still relatively bright compared to other horns of the period).
Then those from 340,xxx to the last ones with the DS-neck are still as rich but brighter sounding. Finally, you have the early '60s single-socket neck Clevelands, which are just as bright as those from the late '50s but as noted, a little cleaner sounding and not quite as rich as the 1950s DS-neck variety.Keep in mind that the richness of sound of the late '40s and 1950s Super 20's doesn't have much if anything to do with the DS-neck. The neck is just a way to identify what I and many others consider to be the best Super 20's. And actually I'd say it has more to do with the construction of the sax body itself, such as possibly the quality and thickness of the brass.
For example, when weighing a ca. 1950 King tenor against one from the late '50's, the earlier King was just a tad heavier.As far as the DS-neck being problematic, this is crazy as the most famous Super 20 players of all, such as Wilton Felder and Johnny Griffin, played (or in Felder's case-still play) S20's with the DS-neck. Ever hear Felder's solo on the Crusader's 'Street Life?' He's playing that on a DS-neck Silver-Sonic tenor. As far as the DS-neck being problematic, this is crazy as the most famous Super 20 players of all, such as Wilton Felder and Johnny Griffin, played (or in Felder's case-still play) S20's with the DS-neck.
Ever hear Felder's solo on the Crusader's 'Street Life?' He's playing that on a DS-neck Silver-Sonic tenor.All fine and dandy, but it doesn't mean that there were any tangible advantages to such a design and many techs will attest to the problems that can develop with same, and the more difficulty involved in repairing them. Anyway, by several accounts given by ex-workers of the factory that you can find on line and that I have read in the past, apparently the two plants run alongside one another for some time and, although the horns were then engraved ' Eastlake ' they were, in fact, being assembled at Cleveland for some time from stock present at that plant which was not transferred to the new plant close by.I own a 1938 King Zephyr tenor with the double socket arrangement (and an early Conn Tranny alto). Frankly speaking anyone can see how this would complicate manufacture and create potential problems while the hypothetical scenario in which the double socket would be better at preventing leaks hardly ever materialises or, in fact, should anything be damaged in the tenon or receiver of a double socket horn, could be much even much more difficult to fix or detect.In any case all the companies which had double socket fitting, at some time or other, saw that there was no need for this complicated and expensive feature. Of course, if one takes the mythical Mark VI as an example of a top quality saxophone, Selmer only ever used single socket and history has proven that they didn't do a bad job after all!Also another feature of the King saxophones (and other brands of saxophones) was brazed toneholes.
Some people go wild about this feature (present also in the Eastlake series but lost on the USA series which, I am convinced now by accounts given on this forum by ex-King workers, had body tubes with drawn toneholes made in Japan by Yamaha) when, in fact, the most famous Selmer models never had anything else than drawn toneholes and didn't seem to suffer as a consequence of such a misguided feature (tongue firmly in cheek!).There s a lot of mystique in SAXONIA and most of it is just propagation of legends and expulsion of hot air fried and re-fried by ad libitum repetition. On SOTW you will often find that a lot of those who accuse other members of repeating stuff about horns that they read online will then turn around and post replies that do not appear to be backed up by much experience but by inductive reasoning and other assorted logical fallacies based on information acquired online! For example: 'The Mark VI did not use silver-soldered tone holes and many consider it the best saxophone ever. Thus saxophones with silver-soldered tone holes are no better than those without them.' :TGNCHK:With that in mind, my next question is, how many Cleveland-made Super 20's have the other folks contributing on here in the guise of being experts, played? But if you forget about the double-socket neck for a minute-which if you reread my earlier post it's clear that I do not attribute this to the difference in sound quality-Actually, you used famous players in an argument against such necks being problematic; further calling it crazy to consider them as such. That kinda missed the point of looking at the double socket neck from a design/repair angle.
But as for my own experiences with these horns, I used to play a Cleveland Super 20 alto back in high school and own a Zephyr alto with the double socket neck. I don't have the serial number range for the other altos I've tried over the years, but have compared my own Silversonic Eastlake Tenor head to head with at least two Cleveland Super 20 tenors (and also a Zephyr tenor within that prime range), as well as a later Eastlake model. Now perhaps these experiences don't measure up to your own, but I clearly expressed my original opinion based partly upon sifting through the opinions of others (which is helpful once you identify common themes). So, rather than attack the members here that you disagree with, why not simply answer the original question and state the cut off for serial numbers where you might believe the quality went downhill. Folks are simply going to discount your opinion and experiences if they don't like you. Actually, you used famous players in an argument against such necks being problematic; further calling it crazy to consider them as such.
That kinda missed the point of looking at the double socket neck from a design/repair angle. But as for my own experiences with these horns, I used to play a Cleveland Super 20 alto back in high school and own a Zephyr alto with the double socket neck. I don't have the serial number range for the other altos I've tried over the years, but have compared my own Silversonic Eastlake Tenor head to head with at least two Cleveland Super 20 tenors (and also a Zephyr tenor within that prime range), as well as a later Eastlake model. Now perhaps these experiences don't measure up to your own, but I clearly expressed my original opinion based partly upon sifting through the opinions of others (which is helpful once you identify common themes).
So, rather than attack the members here that you disagree with, why not simply answer the original question and state the cut off for serial numbers where you might believe the quality went downhill. Folks are simply going to discount your opinion and experiences if they don't like you.Why make this personal?
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If anyone cares to go back a page and look, I started out by answering the question posed by the OP. It was you and another member who initially questioned my input, and not the other way around. And yes, at that point, I am going to defend my answer based on experience which I carefully chronicled after it's just been discounted by other members who did not appear to have gone to the trouble to mention how many horns they had played to reach the conclusions they reached.Look, I have followed these threads that turn into Eastlake vs. Clevelands for a while now, and have noticed that you and the others who own the former will defend your Eastlakes nearly to the death, it would seem.But let's put this in perspective. It's just a chat room. No need to take the conversation away from the horns as you have managed to do here.With that said, I have decided that from now on I will faithfully give my opinion on this subject, and will simply ignore your input to avoid being attacked by you in the future.
Then the OP in each case can weigh the information presented and make up their own mind.But I should add that that doesn't mean I will not continue to compare Clevelands to Eastlakes, which based on my experience I feel were not as great of saxophones as the H.N. White models made back in the 1950s.And if you value open forums such as these and the concept of the marketplace of ideas where folks can assess the pros and cons of whatever's being discussed, I would hope you would value this approach too over one in which members who have an opposite view than you are intimidated into keeping quiet and not sharing their experiences.Nuff said.
Look, I have followed these threads that turn into Eastlake vs. Download video belajar huruf hijaiyah bersama diva. Clevelands for a while now, and have noticed that you and the others who own the former will defend your Eastlakes nearly to the death, it would seem.Oh, I fully realized I compromised in choosing my Eastlake Silversonic. And that's really what this thread is about, as deals can be had for Eastlake Super 20's. Now I didn't compromise when choosing a cherry 1940 silver plated 10M as my main tenor, but I was looking for a back-up tenor that I could take to rock and roll bar gigs and lucked out picking up a heavily discounted, beater Eastlake Silversonic.
Funny thing is, it's fast becoming my go to tenor. Now I fully expected the Cleveland Super 20 tenors I've tried since to further wow me, but I guess I just got lucky and got an amazing horn; which a few others here have tried and can attest to.If anyone cares to go back a page and look, I started out by answering the question posed by the OP.
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It was you and another member who initially questioned my input, and not the other way around.This is simply not true; at least in my case. You called my position crazy, and only afterwards probably realized you missed the point. Nice and hot, Grumps.
King Super 20 Saxophone Serial Numbers Chart
That the RPC that you're using? For what it's worth, I think it shows the flexibility of these horns (Eastlake or Cleveland, Clevelake or Eastland). I played mine at a jam again, this afternoon, and again I was amazed at how easily you can flex the notes. A joy to play!At the OP: it is probably clear that these horns get people very excited. The alto you looked at is, judging by the serial # you stated, a later Cleveland with a neck without the double socket - just like my tenor.
If the price is right I'd say go for it.Reine. Resurecting this thread- Isee and independent dealer has a 480XXX silver sonic alto for $3000. Is that a good deal?Yes, a very good deal!
Provided it looks good has good pads and needs no repairs.These are Eastlake of the very first period and they were assembled, often times, with parts made in Cleveland (not that it really makes a big difference).Kings are not extremely easy to sell because for that kind of money you are already into Selmer territory, so you may try to get the price even a little lower.