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Other Instruments



Conn 7M Alto Sax, 1973

One of our favoite, and most Unicorn-y, Altos...a Conn 7M from the early-mid 70's

These do not come up often ~ and actually a decade or so ago, we could find nobody who had even ever seen one.

This model was Conn's attempt under Macmillan ownership to make a pro-model Alto to replace the legendary 6M Artist. This model seems to have existed for a period of around 6-7 years. It's discontinuance was not due to its quality, but rather because it appears this model never caught on in the market.

Puzzling, and too bad ~ because what Conn, Mexico created here was a darn GOOD Alto. Using the body tube spec of a 6M, they went to right-side bellkeys and a modern keywork layout. A nice combo, as she is responsive under the fingers while keeping that signature Conn tone...on the wide, dark side with a good, edgy attack when pushed.

Like most MX-made Conns, they are intrinsically solid, reliable horns and simply need some tightening up of certain keywork details; swedging, regulation and the like. Once done, they hold regulation well and they SMOKE ! We've done all that, plus more: chem bath, hand polish, hole leveling, and installed 33% new pads !

A very nice modern-ergo Alto with an old-school Conn tone., a great choice for those who want a reasonably-priced modern style horn which doesn't sacrifice a beautiful tone.


Vito Kenosha USA Model 37 Alto Sax

These were the Kenosha, WI horns assembled from imported Beaugnier, France parts. The standard-fare Vito Alto offering of the late 60's-early 70's.

We...well...we LOVE these horns. Everything about the Model 37 is solid: great build, comfy ergos, good intonation, and that sweet vintage French tone; the perfect balance of low-mid-high overtones with a smooth spread and a touch of focus which Beaugnier was known for. A nicely balanced free-blower with just a small, small touch of resistance. Like all of the best French designed horns, not as wide in tone as a Conn or Keilwerth- but she still has plenty of lushness to her tone compared to post '80 Altos. She can purr sweetly, or she can rip like a mutha'.

Holes leveled, keys swedged, chem bathed and hand polished, keywork regulated. 40% new pads, the rest are doing just fine. Original lacquer around 75%; some typical scratches and spotting but nothing unusual. We did some dentwork on the bow and there was a tad of lacquer loss as a result; so while not the most aesthetically pristine example, all in all she looks clean and shows well.

A very nice example of a Kenosha horn.


Vito (Yamaha YAS21) Alto Sax

Your go-to, basic student horn, a Japanese-made Vito stencil. This is the identical model to the Yamaha 21; earlier sibling to the Yama 23.

We ALWAYS keep these in stock. This particular one, while in solid refurbed shape, is not a fantastic looker. Original lacquer 70-75%, and she has her share of scratches and a few bare brass areas. Some minor pitting on a few of the keycups, although all in all the key plating is in pretty good shape.

Disassembled and completely overhauled: chem bathed, hand-polished, new set of MM pads, holes leveled, significant dents and dings removed, keys swedged. Neck had some pulldown and a slight impaction at the saddle, both of which we took care of; as a result there is a bit of lacquer loss on the neck tube.

Plays up and down nicely; good ergos, great intonation. Not a prom queen but a solid, easy-laying and reliable workhorse in all aspects. Comes with unoriginal case in fair aesthetic but structurally sound shape..


Martin Indiana Alto Sax, late 1950's

This here is one sweeeeeet ol' Alto.

A nice Martin Indiana from the mid-late 50's.

The horn is in good structural, physical, and playing condition. No beauty aesthetically, as her original Lacquer = 65% and there is a fair share of spotting and some bare patches here and there. 50% of the pads are new. A few post resolders, professionally done. The bow had some dentwork done and is in good geometry, a teeny-tiny bit of waviness remains to the bowguard in a couple places, although this is being very picky.

Perhaps no prom queen, but trust us - prom queens are overrated. Really, they are. Everywhere it counts, this Alto really smokes ! Really built well. Nice action, comfy ergos, in-the-pocket intonation, and that HUGE tone...wide and lush and a lot of low and midrange overtones happening here. Indianas give a tad more bite up high, a little more reed and brightness than the Committee models, which tend to be a bit darker-toned.

Nice old Alto for a $ong, really.



Klingsor by Hammerschmidt, Germany Alto Sax, c. 1960's

A very interesting and somewhat rare bird.

This is a Klingsor Alto, made by the small Hammerschmidt factory in Germany. Best info on the web regarding this company is provided by Helen at bassic-sax.info

Horn in very nice shape, original lacquer 80%. Some very minor scratches here and there, and some very minimal spotting. Full pearls (sorta). Pearls on usual stack touches plus palm and side keys; pinky table and spats have white laminate touches. She also still has her original Plexiglass guards, no cracks.

Came to us with no body issues at all save for one post needing a resolder, which we did cleanly; and a few small bare patches at the side of the bell (likely where it sat in sax stand), on a few keycups, and near the bow guard.

Rolled holes, completely repadded with new MM pads, metal domed reso..

Worked up nicely and in great playing shape ! Possesses that nice, old-school German tone a'la Keiwerth-Kohlert. Comes with gig bag.



Here are our current Tenor offerings - but if there's anything in particular you don't see, which you are looking for, feel free to send us a message.

Evette-Schaeffer Tenor, Santoni, Italy, 1970's


Alfredo Santoni, Italy, took over production of the Evette line for Buffet after R. Malerne closed its doors, in the mid 70's. Although Malernes were made with some Santoni parts (or perhaps vice-versa...history is unclear, the Santoni versions of the Evette are superior in their keywork design and response.

These were actually a go-to horn in Europe throughout the '70's-80's, before the Japanese fully established themselves on the market. But make no mistake, the Italian Santonis are a high-quality instrument with a much better sound and build than the Japanese student models which displaced 'em, eventually.

Great sleeper horn here. Not the prettiest lass, with original lacq at around 70% and her share of scratches and some spotting to the finish. But everywhere it counts she has been serviced and is up to par: holes leveled, keywork free and snappy, body plumb, all significant dents/dings taken care of. Pads are 50% new, the rest have plenty of life left in 'em.

Comes with unoriginal case in fair but usable shape.




1960's Conn 16M Director, USA "Shooting Stars"

This is an Elkhart USA-produced 16M from the late 60's

As usual, she has had a complete 2ndending refurb done to her: around 50% of the pads are new, it has been chem cleaned and hand-polished, new corks/felts as required, toneholes leveled, keywork swedged, lubed and regulated.

Horn is worked up into fine playing shape; looks-wise, she is only so-so (or 'vintage-y' if one prefers euphemism).

Body is in good shape, significant dents and dings have been removed; however as is sometimes the case during dent repair, some crazing has occurred on the lower body tube and bell areas. Some minor, insignificant dings remain here and there. Then your typical scratches to the finish. Nothing alarming, once again body geometry is good; but there. A few resolders here & there as well; clean and structurally sound.

Remember folks, these 16Ms sport the exact same body and neck specs as their richer 10M cousins, so you get the same classic 10M tone. Conn only ever rolled one body type off their Elkhart lines for both their Artist and Director/PanAm series horns. It was the keywork which differed slightly.

Speaks up and down easily.

Nice tone, a lot of smoothness and tons of Conn dark, dark dark. But stil with plenty of pop and edge as well. Comes with a case in fair aesthetic but solid structural shape.


80's's Vito (Yamaha YTS-21) Tenor Sax

A nice, classic Vito-branded YTS-21, older sibling to the 23 model. The 'go-to' student horn for over a generation, the Japanese-made Yamas are rightfully considered the best.

This horn is in solid shape: 75% original lacquer, we replaced around 33% of the pads, the rest have plently of life left in 'em. Not the prettiest Belle at the Ball, we gotta admit - she has aesthetic wear: some scratches in the lacq, some bare brass areas here and there, some spotting to the lacq as well. Some lacquer crazing occurred during dent rollouts in a few areas on the bell and bow....nothing major, but there.

All in all, however, our goal is always to get the horns back in good, solid geometry and structure, and this one is no exception: Chem bathed, hand polished, holes leveled, keys swedged, fully regulated. Speaks up and down easily, with the signature Yamaha modern, focused tone, leaning to the bright side. This horn arrived neckless so we paired her up with a Yamaha 31 neck which we acquired as a replacement; fits and intones exactly as it should,just has the Yamaha logo on the octave key as opposed to the Vito/LeBlanc one.

Comes with unoriginal case in solid structural, fair aesthetic shape.


1967 Conn 10M Tenor Sax

A 10M of the late 60's, still made in Elkhart, still their pro offering of the time. We have taken calipers to various 10M's and these late 60's ones are the exact same spec as the '30'-'50's ones. Same body tuibe, same neck tube specs, same bowpiece, same bell...and 90% of the keywork is completely interchangeable with a Naked Lady. A few minor tweaks to the keywork, the switch to an underslung neck, and a lighter lacquer color and nickel keys were the changes made here in the 60's. Conn never much messed with the 10M formula, and of course why would they ?

This horn is in good playing shape; looks-wise, not all that sexy, however. Original lacquer around 70%, we have done some dentwork which resulted in a bit of lacq crazing here and there.

Body geometry back in very good shape, we took care of significant dents and dings; but she does have some minor dings here and there as well as a fair amount of scratching and some bare patches. She sports 50% new pads; the remainder are in good shape. The double-socket neck collar has been patched (not the neck tube, just the tightening collar) as this had a stress crack in it which prevented full tightening. Professionally done, all up to snuff now.

We have refurbed over one hundred 10M's at this point, of all eras, and can confidently say that these mid-later models give no ground to their RTH cousins. If you want all the classic 10M Mojo at a really good price, grab her now ! She really rips !

Unoriginal vintage case included..



1946 Conn 10M Tenor Sax ~ The Naked Lady

A 10M of the mid 40's. The Eb forked key is gone from this model at this point , but that appears to be the only difference between it and the late 30's models, really. The early-vintage 10M's have a reputation for being the "sweet-spot" horns, and this one lives up to that.

When this horn arrived to us it was obvious she had been played...and played...and played. There was no significant damage or issue, nothing toe'up....just clearly a horn which had been out & about for a long time. We did the usual workup: chem-cleaning, dents and significant dings removed, neck pulldown repaired, new pads/corks/felts as needed, swedging, regulation. 70% of pads are new, body and keywork in good shape. She plays up and down with ease ! The original lacquer is around 60% and there's a fair amount of spotting and some bare patches. Not the prettiest 10M, finish-wise, but clean as a whistle. The low Eb key was missing when we got her, so we have put a nickelplated one from a 60's 10M in its place. Here is proof positive that the spec on the 10M really remained consistent during its 40-year run; the key fit in almost perfectly, only minimal swedging needed.

The rolled holes are in good shape except for the lower stack F hole, which had been filed down to the degree that it lost some of its rolled edge. We leveled it and removed the remaining RTH portion, so it looks like a straight hole now & functions fine. Now, there are 2 ways to go here: leave it as-is, and it's the only hole like it...or ...we can solder on a new rolled edge replacment at no extra cost. All other RTH's are in good shape.

This particular Lady happens to be, um.... showing QUITE a bit more than usual, shall we say ! Poppin' and playin' well, too.

Yet another 10M which proves this model deserves every accolade bestowed upon it over the generations..




Vito, Beaugnier (France) Special Tenor Sax

These do not come up often. This is a very late model Beaugnier-made Vito Special. Arguably the best horns Beaugnier ever produced as they have the RH bellkeys and a king-post, modern-style pinky table. These were made near the end of Beaugnier, France's run...in the early '70's.

This one is in excellent shape. As always, she had out usual going over including a chem-bath, polish, replacement of bad pads/corks/felts, key swedging, dent removal, and a complete regulation. She sports around 75-80% original lacquer. There's an area of bare brass on the bow and one also on the back of the bell....the latter area also has some lacquer crazing due to some dent removal work we did there. Besides that, just some typical spotting and a few very minor and insignificant dings here and there.

This here horn, like all old Vitos, is a well-made, sturdy instrument with a huge punchy tone. Lots of spread to the overtones both high and low, and a lot of edge and cut to her tone. Not quite as dark as some other European vintage horns, but definitely much smokier and lush in tone than any contemporary horn. This puts it in a nice tonal place for many a player.

We once heard Beaugnier referred to as "the greatest sax maker you've never heard of". We would concur. Their stuff is always top-notch, definitely professional level instruments.



1962 Conn 10M Tenor Sax

This particular 10M is an interesting, interesting find ! It is sort of a "transitional" model between the 50's and '60's horns. Note that it has the wire keyguards and bellbrace of a '50's model, combined with the underslung neck and "Floral" engraving of a '60's one.
Many praises are now being sung about the later-model 10M horns (and deservedly so). These still possess the classic 10M tone, as they should since the body design is the same as the older ones. Compare its vidfile to the older models below....the late 10M's give no ground.

This particular example happens to have had the heck played out of it. By far the ugliest Tenor we are offering at the moment. Her original lacquer is maybe 60%, and there are numerous scratches and bare brass areas. The bell and bow had a lot of dents which we removed to get her geometry good again. Also the double-socket neck has had a few solder repairs done to it. The neck had substantial pulldown which we have corrected. It is tight and sealing again, but not pretty.

Pads 50% new, holes level, tube plumb, keywork snappy and responsive. Completely clean and regulated. Just sorta, um.... butt-ugly. We will provide more pics. Soooo....not a cherry example of a late 10M, but she plays like a beast and again, her geometry and structure are good; so if you do not mind the remaining dings, scratches, and such, this can be a great take for someone who has always been curious about the 10M.


1966 King Super 20 Tenor Sax

Of the classic American vintage saxophone models, none quite carries the mystique and repute of the King Super 20. Indeed, luminaries such as Charlie Parker or Johnny Griffin cast quite the wide shadow, so it may be understandable why some folks consider the 20 to be the best American model horn ever produced.

We have a pair of em here, now ! This one is an early 60s Cleveland-made horn; before the company moved all production to Eastlake. As such, it is considered by many to be one of the last of its kind, as the model went through subsequent tweaks and redesigns once production began in Eastlake. Personally, we do not really get into all of that stuff (I was about to say minutiae...but I don't wanna sink our whole enterprise here). As far as 2ndending.com is concerned, S20s were always damn good from their first ones all the way up to at least the mid-'70s. Top-shelf, top-notch horns...sadly and probably unbeknownst to anyone at the time, soon to be the last of a dying breed.

This baby has been played. She sports the Sterling Silver underslung neck, although the plating finish is also looking quite aged on the outside. Let's call it vintage Mojo. Lacquer on the body is about 45%, but she has been stripped down and chem-bathed, then hand-polished, reassembled, and regulated. She's clean.... and she smokes. Pads aren't new but they are very healthy and none even approach borderline. She speaks up and down wonderfully. Full of old-skool Tenor Mojo, this is one rippin' old sax. The classic S20 sound--wide as a house with lots of spread and wonderful overtones in the low, mid, and upper ranges. She can whisper or growl, she can pop or she can soothe. Very responsive, very fun to play. How can you not love em ????



1970 King Super 20 Tenor Sax

This is another S20, a bit later than our other offering; manufactured in Eastlake, Ohio. Relative to its older brethren, the early Eastlake 20's are a bit brighter sounding and punchier in tone; having traded in some of the Jazzier, smoother darkness for a bit more pop. Make no mistake, her overtones are still as wide as a house, and if you compare the two vidfiles, that signature Super 20 "Voice" is still there, no mistaking it; but the sonic center of the instrument began to shift more to the midrange and upper-midrange.

This one, like all of our horns, has received the 2ndending.com treatment: pulled apart, sonically cleaned then hand-polished, bad pads replaced, corks and felts replaced as required, then re-regulated and put into good playing shape. Her pads are about 20% new, the rest are older but still on the good side of half-life. Like the other S20, this lass has been loved over the years. Lacquer is about 40% remaining, and she has had some dents and dings professionally removed. Some signs of previous dent rollouts are still present here and there, most notably on the neck.

OK, well...actually, as you see, this one is uglier than our other one. Not particularly a Looker, granted...but clean and in great playing shape. Plus, when one buys an S20, it's the sound they are after more than the visual bling.



1935 Conn 10M Tenor Sax ~ The Naked Lady

This one is one of the earliest 10M's, really. Still retains the forked Eb key and backdoor tonehole on the lower stack; and no front-F key, although we will add one (from a 16M) for free. Only reason we haven't already added one is that it is a bit unusual to find a 10M, even one this old, sans Front F. Odds are, it was ordered that way by the original buyer. Interesting bit of history, albeit probably not the most functional omission for a modern player.

Arguably the biggest-sounding Tenor of all time. This horn really punches and roars, but can also speak very subtly when asked to. Rolled tone holes, and pads are only a few years old and all are seating well. Horn plays up and down with ease. A few very minor dings here and there, but nothing approaching significant. Lacquer around 75%. The original neck octave key was missing on this horn, so we replaced it with one from a Pan American of similar vintage. Exact same part as the original 10M key, just nickel-plated.

This is a relacquered horn, but pretty well-done. The engravings still look pretty sharp, not soupy. The overall hue is coffee-esque, and the uniformity of the color is fair-to-good. No signs of over-buffing. Not a bad relacquer..better than most; not as good as some. Priced accordingly.

Regardless of the era, Conn was at the top of their game with these horns. It seems that each year, modern horns move further & further away from the dark, wide sounds of their predecessors. And those few which have tried to reproduce the vintage sound have generally failed rather miserably (despite their marketing ploys).

Own one ~ and discover for yourself why the 10M has become so highly prized.



We are a bit spare in the Soprano dept. ; although both offerings below are FINE horns - but if there's anything in particular you are looking for, feel free to send us a message as 'we have our sources'.

B & S, Germany Straight Soprano, stenciled "Musica"

A modern horn in almost perfect condition, this is quite a nice Soprano. B & S is actually one of our favorite Soprano makers because their build quality is good and they retain that old-school dark, wide, classic German tone.

Original lacquer 95%, no cosmetic issues to speak of other than a few minor scratches. Pads are in excellent shape and horn plays up and down easily.

Do NOT confuse these with the cheapy-asian current Musica stencils; this one is stamped Germany and is clearly from the B & S factory, in the saxophone-producing center of Markneukirchen. Really, just a more modernized, recent version of the Weltklang horn we sold below.

A great lil' horn which blows away 80% of contemporary offerings priced twice as much !


King~HN White Saxello, 1925

One of the greatest Sopranos of all time, and it's very sad that this form of LittleHorn didn't continue to maintain sufficient popularity.

Only one instrument carries the hallmark curved bell and angled neck, as well as that wonderful early King engraving detail. This horn is seriously built, too.

In absolutely phenomenal condition. The body is bare brass, and our research would indicate it was originally sold this way. It has been sonically cleaned and hand-polished to a nice finish, and is just beginning to develop a nice golden-hued patina. Give an ear to the vidfile, you will agree that no Soprano sounds quite like a (real) Saxello.

Own a piece of sax-making history (but promise to play the heck out of it, OK ?).




Wurlitzer Curved Soprano saxophone, by Conn, c. 1930’s
SOLD !!!

A gorgeous and completely overhauled old curved soprano ! This baby has received the works. New lacquer job, complete overhaul, new pads, felts, and corks.

Stationary neck. She plays beautifully. Definitely possessing a wide spread to the low overtones, - like most vintage sopranos do - she also has more edge and brightness in the upper registers than most vintage sopranos. Conn always made high-quality stuff, and this one is a classic.



Slowly working up some BigHorn offerings; also check On the Wall to see what we have in storage and feel free to inquire.

1930's Holton, Elkhorn Low Bb


This is a pretty nice ol' Baritone, in good aesthetic and functioning condition. Lacquer 75%.

Given the full treatment as usual: chem bath, hand polish, keys swedged, dents removed, pads changed as necessary, lubed, regulated. 50% of the pads are new, the rest are holding up fine.

Some scratching and bare brass patches here and there. Key plating in good shape. While this initially appears to be a relacquer, the cut of the engraving, lack of pooling at serial #, and some other telltale signs are absent....so it's very hard to tell for sure. The two-tone is not unusual for old Holtons, they used that finish quite a bit.

Interestingly, she has an original Front F, which is nice for a bighorn this old. Also outfitted with an Alt/Fork Eb, as was the norm in the day.

A mighty, mighty sounding Baritone which blows nicely- tons of spread and darkness, and some nice edge up top. Tons of cojones.

Very much in the pedigree of the classic American baritones. Old Holtons easily hold their own against any Conn, Martin, or Buescher. of the same period. The maker is the Forgotten One as far as saxes go. A Great choice for someone wanting a big ol', bad ol' Baritone for a very low price.



These horns are in the stock room and not worked up yet, but if any interest you, well...as they used to say in the ol' neighborhood: "let's talk".....(send us a message).


1950's Desidera, Italy, stencil Alto Sax


1950's Conn 6M Alto Saxophone, Lady engraving


1950's Conn 16M Tenor Sax, USA


1960's Bundy I and 1970's Bundy II Tenor Saxes


1970's Pierret Oxford Tenor Sax


1970's Pierret-made Olds Parisian Low Bb Baritone Sax


1960's Conn 12M Baritone sax, Low Bb



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