I must admit I'm a bit confused about some of the intonation issues that have been raised here. I think the best quote that I have ever read about saxophone intonation, came from Stephen Howard. He said something like: (this is a paraphrase, because I don't have the exact quote in front of me at the moment)
Now while Howard would be the first to admit that tuning is among the first things to consider when buying a vintage sax, we do need to keep in mind that if a horn doesn't have inherent structural problems which are leading to its intonation issues, any (vintage & modern) saxophone's tuning issues can usually be corrected through proper tweaking by a tech, eg: key heights, and a good horn/mouthpiece/reed combo. Once those things have been taken care of, then the player just needs to become familiar with the horn enough to know how to make those minute facial adjustments to get the horn to play in tune.
All my vintage saxes require slightly different facial adjustments. No doubt about it. However, so too do modern horns. When I play a Yamaha, I have to play it differently in order to get it to even remotely play in tune. Same when I play my friend's Cannonball, which I do quite regularly. The thing is, the more you play the horn, the less you are aware of the changes you are making.
My Selmer VI and my King require slightly different adjustments to play in tune. These are my 2 main axes. I'm not even aware what I do to get them to play in tune. I was aware when I first got the Zeph 8 months ago, but now, I don't even think about. It took me only a couple of weeks before I was totally comfortable with the horn. (Probably less than that actually.) When I go to pick up on of my German horns--either my Dörfler & Jörka (Keilwerth clone) or my Hammerschmidt--I need to make different facial adjustments. They are also not as happy with my main mouthpieces. However, they play in tune for me as well.
My 10M & Martin Handcraft always play in tune for me. I can't seem to get them to play out of tune. I don't know, maybe I'm just lucky. Maybe I just have amazing examples of some classic, and obscure vintage tenors. But I don't think so.
I honestly believe that tuning is an "internal something" that a player can develop, and after a player has internalized it for his/her particular horn, then it no longer is an issue. Maybe I see things too simplistically. However, that has been my personal experience.