Orpheo Steve Goodson Model 60s-70s Brass

We are viewing a Steve Goodson model Orpheo Tenor sax. Unsure of the exact year, but a very sought after and unique instrument. Attempted to capture the instrument from all angles to show the copper bleeding through the laquer. Ships w case mouthpiece and reed included in pics. Please ket us know if any further information is requested, thanks!

From Steve Goodson's page in reference to his brief time spent with Orpheus Music; 

I had good friends who had a very successful company, Orpheus Music. They made the LA Sax horns, Vespro, Chicago Jazz, and some other brands, and at one time or another had been the distributor for Guardala and B&S saxophones. They were also the North American distributors for the excellent Pearl flutes. They invited me to join their company and I cheerfully accepted. We decided to start with a premium saxophone incorporating an ideasI had been tossing around for a while: since much of the modern saxophone literature calls for an altissimo range above F#3, why not build a saxophone which makes it easier to obtain and control these difficult notes? A couple of systems had been tried over the years, notably by Earl Gillespie for Martin and the “harmonic key” model Selmer alto. Neither system worked perfectly, and I knew I could improve on them. The secret lay in the placement of the octave vent dedicated to the altissimo notes, and after doing a lot of calculating and literally feeling the necks while the horn was being played in order to locate the pressure nodes, we finally found the “sweet spot”. These horns also incorporated a very unique “speaker key” on the upper stack which improved the intonation of C2 and C3 by reducing the amount of cross venting. This speaker key had the supplemental benefit of improving both the pitch and the voicing of the palm keys, eliminating the need for a compensator mechanism as used on the Unison Steve Goodson Model. They also used the double arms, F# helper, three ring strap hook, and other features I had previously employed, and very notably used threading of a portion of the neck tube interior to create a “boundary layer” of air to stabilize the nodes of low C and low B and eliminate the “motorboating” often found on those notes. The octave pips (all three of them!) were also threaded to reduce hiss and a very special ergonomic thumb rest for the right hand was used for the very first time. The pads were black kangaroo leather Saxgourmet pads made by MusicMedic, fitted with solid brass Noyek resonators. These horns also used a high (82%) copper content for the neck, body tube, bow, and bell, my first venture into the world of saxophone metallurgy. They were available in gold lacquer, bright silver plate, and satin gold plate with bright gold keywork. They used all metal key touches, with no pearls, and were extensively engraved. Initially, we had planned on this being a “flagship” model for the LA Sax line, but the horn was so good we decided to make it a free standing brand. They are all engraved “Steve Goodson Model” on the right side of the bell.