The poor old low C guard has a very hard life - it's forever being bashed against chairs, tables, music stands and whoever happens to be standing on the right hand side of the player - and if it cops a sufficiently hard whack it'll distort the bottom bow tube around the guard stays. I will be adding more soon, as well as checking for accuracy and updating these with more historical and instrument information. Granted, the horn's lost some of its shine down the years but I think it still looks pretty cool - and it must have been a blinder back in its early days. I shouldn't be that way. The bore on most models has a diameter and taper more like a 'stretched' alto than a tenor. It's such an improbable design that it's almost as if another designer had laid out the pillars and then handed it over to someone else to make a table to fit.
Having constructed saxophones in several sizes in the early s, Sax applied for, and received, a year patent for the instrument on June 28,
King Super 20 Tenor Saxophone
White collaborated with the well-known trombonist, Thomas King, at first improving the design and production of trombones, and ultimately White manufactured his own line, the KING line of trombones. If you'd prefer a less colourful description I'd say that the tone was robust, well-developed across the range, rich - with just a dash of brilliance and morishly smoky. A serial number can of course be used to identify a stolen instrument. Some of this may be down to physical features that you can point to, some may be down to general consensus No, my beef is that dismantling, reassembling and regulating the mech is so hideously fussy and complex that it's like trying to assemble a flat-pack wardrobe with no instructions and half a dozen bits from a completely unrelated piece of furniture thrown in for good measure.