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Super 20 Fan Club

318K views 1K replies 236 participants last post by  Instrument Attic 
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#1 ·
We're baa-aaaack! Super 20 players, stand up and be counted.

Super 20 tenor, 364xxx, silver neck, brass bell, no pearls on the side :(

I've had this horn since 1974 (sophomore year high school). Dad paid $75 for the horn, then another $100 for a complete overhaul/relacquer (it needed it).

Despite what you may have read, these are very flexible horns, adaptable to all musical styles. The combination of the sterling silver neck along with bore taper/neck curve/bow curve allows the Super 20 tenors to bring out the best in a variety of mouthpiece setups.
 
#2 ·
Two-Timin'...

I have a Eastlake Silversonic tenor that I go back and forth to. Don't shun me! :oops: I am a huge fan of these horns, but mainly use a VI. Previously, I owned another Silversonic of similar vintage that was dead mint! I parted with it because I was drawn to the modern ergonomics of Keilwerth. I now regret ever letting go of that baby. Hands down, the King smoked the JK, tone and response-wise. I sold the JK for a mint 103K Mark VI which I currently use. But, I have recently rejoined the King family by acquiring this 2nd Super 20 as a back-up horn. As you know, VIs and Super 20s are SO different in so many ways. It's a mood thing. The VI suits my more mellow side and I pull out the Super 20 when I want to part people's hair or remove paint from the walls!! I have the best of both worlds!
 
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#3 ·
I have a vintage King Super 20 Silver Sonic Alto circa mid 60's (411xxx).
Still playing it after all these years. I just can't seem to duplicate the feel or the sound of this horn compared to others I have played. Presently doing some Doo *** stuff with a great show group (4 singers and 5 backup band members). This type of music isn't my main bag but it's a fun group to be with. Done some studio recording with them too. 8)
 
#6 ·
Add another Super 20 player to the club. I have a Super 20 Silversonic (510xxx) tenor I bought new in 1973. Has the silver neck and bell. Bell is silver on the outside, brass on the inside. Are all the silver bells that way? It's been a great horn, one that will last a lifetime. I had been blowing on a Berg 120/1 for nearly 20 years and recently went to an RPC 120, and it's working very well. And being one of the unique group that we are, I use Rigotti Gold reeds. Anyone out there using them? I've been really happy with these reeds but no mention of them on the Forum. Guess I could throw it up on the Reeds thread.

Good to hear all you Super 20 players blowin' strong!
 
#589 ·
I also have a later model Super 20 Silversonic (525,XXX). The inside of the bell is gold plated, I think. I've played earlier horns, both Silver Sonics and brass bell/silver neck Cleveland horns and I haven't found one that I like better than mine. It has great intonation and the most consistent (and beautiful) tone of any horn I've ever played. I owned three Mk VI's before moving to the King. The early numbered MK VI had a certain something in the tone, but intonation problems that made me eventually try some higher numbered horns. One horn, around 110k, played very well, but just never excited me. A later horn, 185,XXX had the best intonation of the bunch, and a nice, responsive low end, but was thin in the upper register and I wanted a fuller sound. Perhaps I'll find that perfect MK VI that will blow me away, but every time I pick up my Silver Sonic, I remember why I like it so much.
 
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#7 ·
Mike R.,
Thanks. The ride pics were taken last September, mostly in the High Sierras (Sonora Pass area) and eastern Sierras around Bridgeport Calif.
On Topic: I think that the Super20 engraving is some of the nicest around. Not overdone, just about right in my biased opinion. -Chris
 
#8 ·
Count me in a a big fan of the Super-20 Tenor. I have had #4334xx since 1967 & have played the wheels off of it. It's sound is distinct and it will handle the all the air you can put through it. I really get off on holding away from my body lightly with my fingertips, blowing a fat low Bb & feeling the vibartions of the beast.

The Super-20 has my vote as best tenor for Big-Band/rock/R&B.....IMHO.
 
#9 ·
I bought a 488xxx Eastlake (all brass, underslung octave key) super 20 last summer. Saxdaddy rebuilt it for me a few weeks ago. Wow!!!!!!!!! This tenor really wails. It is really starting to feel like an extension of my hands (especially since the rebuild). It plays better than I do--very, very fast and precise. A rock and roll tone just floats out effortlessly with a dukoff D model and darkens up quite well when wanted. Now I want a Super20 bari....
 
#10 ·
#3852XX full silver/gold inlay mint 1961 Tenor, got it recently to replace one just like it I had yrs ago that got flattened by 100 Tahitian Dancers at Harrah's.
Randy Jones did the pad/resos WOW whatta Horn. Currently using a DG on every Tenor I got. Inc my Selmer VI, SBA and Buescher TH&C.
I'm a believer.
 
#12 ·
Well it's been told before and it's still painful even 15 yrs later..I'm playing with a showband outfit at Harrah's in Tahoe and a private party booked our main room one nite..their private entertainment was a large Tahitian dance troupe(unbeknownst to my group) we take our regular break and their entertainment busts out running from somewhere in the back of the showroom and proceeds to hit the stage dancing wildly.. Well the Super 20 was on a stand near our drumset..after the "entertainment" ceased we returned to the stage for our next show.. I find my Tenor was propped backwards in the stand bow crushed and bell flattened, neck bent, trashed and mangled and not a dancer in sight..I woulda shot every mother#$%^&*n one of 'em that nite..
 
#13 ·
Ouch! Crushed tenor story hurts. I fell in love with the Super-20 Silversonic when I joined Wayne Cochran and the CC Riders in 1971. For quite a while we all played King Super-20 Silver Sonics in the sax section except for Bob Gable's Selmer Mark VI baritone.

We never got an endorsement deal from King, but when I slipped on the ice getting off the bus in Beloit Wisconsin and bashed my silver bell tenor, The factory in Eastlake did a complete restoration with lacquer for $150.00 back in 1972-73. They also overhauled "Junior Michaels" silver bell tenor and engraved his real name, Michael Palmieri, on the back side of the bell in huge script for the same price. Many of the craftsmen from the Cleveland factory were still working at the Eastlake factory at the time. When they figured out that we really loved and respected our Kings, they gave us spare parts (guard screws and pivot screws and lock washers and lock nuts) so we could keep playing during weeks of one night stands. I visited the factory twice during the early 1970s, and the old guys on the production line were really good to me. I'll never forget them and I'll never stop playing my three King tenors.
 
#14 ·
Why can't the do this now, huh? I don't understand why modern saxophone manufacturers resfuse to make horns comparable to the vintage ones. I know there are some companies making vintage style horns, but I haven't heard many getting a whole lot of respect. I understand why reeds aren't as good as before (b/c of the cane fires in France) but why is it that current companies don't produce horns w/ the same materials/ qaulity that Kings, Conns, and Selmers did in their heyday? Was it a change in brass? Are the profits just not there for the companies?
 
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#15 ·
I love these great old horns, but I'm not convinced that today's pro-level horns aren't (at least) their equal in terms of design and craftsmanship. It's likely I'll never own another tenor besides my Super 20, but I regularly test out new horns just for fun. If I ever did have to replace my tenor, there are a few models of new horns that I'm sure I could live with.

In my mind, the main thing we're missing out on with current production horns is variety in bore taper designs. With the notable exception of Keilwerth (and possibly Borgani, I'm not sure), pretty much every other new pro-level tenor is a descendent of the Mark VI. And I never enjoyed playing the Mark VI tenors. Too much resistance.
 
#16 ·
I think Mike R. may be about right, insofar as the Mark VI influence goes. The Mark VI was the undisputed king of the heap coming out of the 60's after most the other American makers had collapsed (along with the saxophone market in general, I think -- guitar was the overall king). I could easily see the horn makers deciding that emulating the Mark VI was a safe bet, since it obviously worked & was good for all-around musical styles. Once the asian clone-masters cranked up copying the Mark VI, the trend became locked in. Thus horns with a more luscious-toned construction Aristocrats just didn't get produced.

Hopefully, that's changing!!
 
#17 ·
Yo Saxtek

I used to see you guys with Wayne
when you came through the Dearborn
TownHouse where I was in the house band. (Occasionally still see Bob
Gable down in Toledo). You were
playing pieces that Dukoff made you
custom and that sent me off on a
chase to get him to do it again--unfortunately he had entered into
his pot metal mass produced period
from which he has not left. Do I
remember this right?
 
#20 ·
I've been playin' my late 60's Silver Sonic tenor since 1975 when I found
it in a Baton Rouge pawn shop for $500.
Current setup:
--Brilhart Level Aire #9
--Rover Eddie Daniels II lig
--Bari* hard reed
Horn / setup is very responsive and blows the MVI's off the stage.
Also play a '51 Zephyr Bari and a '53 Zephyr Alto.

Jon Smith (White Trash Horns / Boogie Kings) still plays a '20.
I love the tone.....
 
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#22 ·
addissax....What a steal you made on that horn of yours...I was at a repair shop last year and a guy came in to get repairs on a Super 20 Silver Sonic alto he picked up like you, from a pawn shop for $500. I'll bet you were in seventh heaven when you got your horn.

I bought my horn new, an alto Super 20 SilverSonic, in the mid 60's (411xxx) for $563 and now I can get $2500 to $3000 for it. I would'nt sell it for any amount of money. Still playing it and it sounds just like it did when I bought it way back when.
 
#23 ·
This is a re-post-I have a 576xxx (1976) all brass/underslung neck that I bought new in 1977. I know the year it had to be manufactured because it sat in the shop I bought it ($725.00 new!) from for nearly a year before I bought it. I now have a Gloger Handkraft silver underslung neck on it and it is an absolutely great sounding tenor! I love Supers. For R&B to Pop to Rock to Jazz, I think they are one of the most versatile horns ever built. and beautifully free-blowing as well.
 
#24 ·
I paid $1800 for my 488xxx super 20 last summer, used in a music store --put another $700 in it for a rebuild by Saxdaddy (who did a truely great job by the way). I probably put too many $ into this horn, but I don't care a bit because it plays great. I fall in love with it more every day.
 
#26 ·
:shock: Warning - I'm going off-topic here;

saxtek - Incredible! Just gotta say I was a huge fan of Jaco's (lucky to see him play live in 1981 - he was amazing - truly one of my musical heroes). I remember listening to his solo album and his early Weather Report stuff an literally not being able to figure out what instrument I was hearing - I literally couldn't believe the SOUND of his music. Too much, man! There are a million questions I'd like to ask - don't worry I won't!
 
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