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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.

This one is solid shape, albeit not a fantastic looker. Original lacquer 70%, and she has her share of scratches and a few bare brass areas (bell bow and back of tube).

But she has been broken down and completely overhauled: chem bathed, hand-polished, new set of MM pads, holes leveled, significant dents and dings removed, keys swedged. Neck had a tad of pulldown which we took care of; as a result tehre is a bit of lacquer loss on the neck tube.

Plays up and down nicely; good ergos, great intonation. Comes with unoriginal case in good used shape..


Conn 18M Alto Sax, 1980's

A 1980's Conn 18M, 'floral engraving' alto sax, completely refurbed and with all new pads. This is from the era when Danny Henkin bought the company and returned production to the USA. ...in '80 .

75% original lacquer, the horn looks good and clean overall. We did a few post and guardfoot resolders here and there, as well as the neck saddle. Cleanly done. You will notice that the Eb palmkey is nickel - the horn was missing its original so we took one from a King alto of the same era, perfect fit (Henkin purchased both Conn and King at the time..so they were producing the same sax models under a few different names).

Some scuffs and scratches to lacq here and there, a bit of spotting, some small bare patches. A couple of keycups have deep scratches, probably someone using the wrong tool at some point. Superficial only, the cups are in good geometry.

Plays up and down nicely, comes with unoriginal case which has had exterior repair but is solid for everyday use.

Conn produced a LOT of these in the 80's, and they went to-to-toe with the Japanese imports for many a year. A very reliable little Alto.... for a $ong !


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.




Buffet Evette Tenor Sax


Following on the heels of the above Evette, this is one of the contemporary , asian-made ones. ones. This came in as part of a buy-trade. First one we have ever worked up and must say, it was pleasantly surprising. The build is good, the keys aren't soft, the body brass is significant, and FWIW, ergonomically it's more comfortable than a Yama 23. 70% original lacquer. No beauty queen, she has some bare patches and a lotta scratching of the lacq; and some spotting. But she came here with no significant work needed really; we did some dent rollouts on the bow and there was lacquer loss at that area as a result. But chem bathed, hand-polished, and in good geometry; she looks very clean & shows better than we expected she would.

Pads are a mix of older and newer, we changed 5 pads; the remainder are sealing fine. Holes leveled, keys swedged. The lyre holder has at some point lost it's threaded female portion, meaning a lyre cannot be used on this horn unless one replaced it (we can do this upon request). She sounds quite decent too. Definitely a modern-toned horn but has a bit of spread and is consistently toned up and down the registers.



Vito, France (Beaugnier) Tenor Sax


Another gem from Beaugnier, Paris. Horn is probably around late '60's. Nice, big, warm sounding Tenor...very smooth, nice balance of darkness and edge up top, sonically. Over the past 5 years Beaugnier-made horns have finally begun to acquire a deserved reputation; for so long the name had been relegated to saxophone obscurity. But the secret is now getting out.

Original lacquer 75-80%. There is some substantial lacq wear to some of the keys, oddly; and a few areas of lacquer wear on the body tube where the lacq has worn but not down to bare brass. Some minor scratches here and there.

50% of the pads are new (MusicMedic metal reso), the remainder are doing their job fine. Horn has been very well-taken care of over its life, it arrived here with nary a dent, and only a few dings, which we attended to.

Interesting horn, as most RH bellkey Beaugniers had the Duke style pinky table; this one has the standard Vito trapezoidal table, more commonly seen on their LH bellkey variety horns. But the small Beaugnier factory was affectionately known for mix-n-match details/parts, actually.




1970's Conn 16M Director, "Shooting Stars"
SOLD, but we have other 16M's in storage, so please inquire.

This is a Mexico-produced 16M from the early-mid 70's

As usual, she 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.

She arrived here neckless, and we pulled out an older Conn Director neck which is a perfect match. The lacquer is about 65-70% remaining, key plating 90%.

No significant dents or dings, we did some dent repair on the bow and it is good; there are signs of some lacquer crazing due to the dent rollouts here and there. Not perfect aesthetically, but her geometry is good, and you'd be getting hella picky to find issue with it. A few resolders here and there in its time, we cleaned some up a bit and all are structurally sound.

These Mexico horns have really gotten undeservedly strafed online, mostly by folks who never had the opportunity to play one which was set up properly. Indeed, there were inconsistencies out of the factory, but the most typical ones are easily tweaked by a decent tech and once that has been done (we did it for you), these are every bit as reliable as their older Elkhart brethren.

Speaks up and down easily. Remember, folks, these 16M's have the same body and neck specs as their cousin, the 10M, just with simpler keywork. So really, even though the factory moved to MX, the tooling and specs are the same on all Directors up until 1980.

Nice tone, a lot of smoothness and tons of Conn dark, dark dark. But stil with plenty of pop and edge as well.


Late 1970'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.

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


1955 Conn 10M Tenor Sax ~ The Naked Lady

A 10M of the mid 50's. Standard toneholes, nickel plated keys, and a double socket neck are some of the changes made in this era. The design specs of neck, body, and keywork is basically identical to their earlier brethren, this being verified by comparison measurements using digital calipers. Conn never much messed with the 10M formula, and of course why would they ?

This horn is in very nice shape, original lacquer around 75% and really, she arrived to us with no 'issues' to speak of, with the exception of some bare brass patches on the back of the body tube (inquire for more photos, please).

Given our usual go-thru, she sports 40% new pads; the remainder are in good shape.

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. A great bang for the buck, as you get all of the classic 10M qualities at a really good price !

Original 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 !


Borgani Macerata, Italy - Straight Soprano

A real sleeper of a Soprano, these are one of our favorites. Circa mid 70's-early 80-'s, this horn sports original lacquer of about 75%. 40% of the pads are new, the remainder are sealing just fine.

This model is of the Old-School tonal paradigm...very round and warm-sounding; not brash and reedy like most contemporary LittleHorns. But she still has a nice focus and plenty of cut to her tone.

Comes with original case (and Italians KNOW their luggage).


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.

1950's Amati Low Bb, Silverplate, stenciled "Lignatone"


This is a VERY nice Baritone, in really immaculate condition. Original plating 80%+, and she exhibits no significant body damage whatsoever. Someone took very good care of this horn.

The plating is sometimes referred to as nickelsilver and was used extensively on instruments produced in Germany and Czechoslovakia from the 20's-70's. It is a silver plate, just a slightly different alloy of plating from American and French horns.

Pads are in excellent condition, she was repadded two or three years ago. Horn has been disassembled, chem bathed, a few pads refloated to seal, lubed, swedged, reassembled and regulated. Worst to be said for her is there are a few bare brass patches (small) on the body tube and a few keycups.

A mighty impresive Amati: key action is smooth and responsive, intonation is in the pocket, and she sounds as big as a house - tons of spread and darkness, and some nice edge up top.

This horn easily rivals a nice classic 12M, Martin, or Buescher.



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).


1930's Martin Handcraft "Searchlight" (Comm I) Alto Sax


1950's Desidera, Italy, stencil Alto Sax


Late 60's Buescher 400 Tenor Sax


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


1970's Selmer Signet Low A Baritone Sax


1920's Martin Handcraft Straight Soprano Sax, Silverplate



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