Just bought a 1942 King Zephyr, after someone at Cambridge's Wood, Wind, and Reed said I ought to try it. Not expensive, and at least as good as my VI that is worth a great deal more. I just never considered Kings, for some reason, but am so glad I did. Very easy to blow, especially low down (it has been beautifully set up), perfect intonation, fabulous bright but rich tone, projects, even the ergonomics are not bad. I will now, of course, be on the look out to try a Super 20, but, to be honest, can't see it sounding any better, though the ergs may be better.
Mhm, I really like mine from the same year.
Only thing I really have a problem with on it is the G# Cluster, which isn't as good ergonomically as I'd like, but otherwise mine is fine.
How much did you pay for yours?
This is a tenor and I have no ergonomic problem with G-sharp, but maybe because I also play an old Conn. Price comparison between UK and US makes no sense, so I'll keep that to myself, as you would think it was too much.
My '47 Zephyr also has that wonderful "King thing" sound going on that is so captivating. Fast, punchy, flexible, smooth. Very under-rated horns IMO. Mine blossomed after a set up by Aaron Barnard who enabled the full potential of the horn. Before and after was night and day. Like you, I want to try a Super 20 but I also can't see one sounding any better.
P.S. I think the Zephyr is over looked because, after the introduction of the Super 20, it was relegated to a second tier price position (although perhaps not a second tier sound). Prior to the introduction of the Super 20 from about production number #180XXX to around #305XXX, the Zephyr was King's pro model with the Zephyr Special being the ne plus ultra of that line. Given the many sound and measurement comparisons I've read maybe the Zephyr during that period was like a Yany TWO1 vs a TWO10.
Anyway, in my book they're certainly underappreciated horns.
I was floored by the sound of the one Zephyr alto I've had my hands on, rich with a metallic woodiness that sounded like I could break things with it. I wish I'd had the money to buy it.
I've got a 46 zephyr that just plays fantastic. The tone, response and ergonomics are spot on. I believe the zephyr was made to be a top-tier instrument, but marketing for Selmer later on took away the fire.
I've got a 46 zephyr that just plays fantastic. The tone, response and ergonomics are spot on. I believe the zephyr was made to be a top-tier instrument, but marketing for Selmer later on took away the fire.
I have a '45 Zephyr tenor that I picked up in January. It's an awesome horn, although I do miss the tabbed G#. Otherwise, ergonomically I agree with you.
Huge sound with a malleable tone. It took a couple of weeks to get used to how free blowing it is. It took a few months to learn to play softer with control.
With a Link or "Link like" piece it's easy to get a huge, warm sound. The first time I played it at a lesson my instructor was floored. He has a 10m though I don't know the vintage. He enjoyed playing it as well.
My tech has a '48 Zephyr and it plays a little brighter than mine, but not bright.
Plus the unique aesthetic with the eyebrow keyguards is an attention getter.
Then again we are on a King sub-forum so we might be a little more enthusiastic than others.
Sent from my Moto X 2015 Pure Edition using Forum Runner
In my opinion the G# roller mechanism reminds me of an arcane torture device... I like the "zeph special" or later zephyr ones better. strange because you'd think the roller would make things easier but it just seems clunky
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