Sax on the Web Forum

Sax on the Web Forum Archive / Conn Saxophones / C Melody

steve
User ID: 2365684 Apr 18th 10:02 AM
I have the opportunity to buy a Conn "Wonder" 110XXX C melody in great shape. Steve Goodson's web site (saxgourmet.com) provided me with a lot of information ( thanks Steve)...looks like the horn was made in 1923...it has the tuner ( that works), rolled tone holes, and the pads and springs seem solid. Was repadded maybe 40 years ago with white (goatskin?) pads. I know the owner and have played the horn. I need some help from you Conn lovers:

(1) Steve G. would value this horn at $600, retail if it were in pristine shape. This horn is not perfect, but very close.Is that a reasonable amount for this baby?

(2) This is a niche horn....do any of you play a C melody on a regular basis? If so, what types of music?

(3) I need another mouthpiece like I need another sax, but my Berg 110/0 alto piece works fine on it and in tune. Does anyone use an alto MP on a C-melody?

Thanks for your help. Steve

mark m
User ID: 9921013 Apr 18th 11:31 PM
I have one of these from 1924. I've got a new Runyon mouthpiece for it and it's currently a better horn than my '30 Chu alto, to which it's very similar, simply because the setup is working a bit better, not that the alto is a dog by any stretch of the imagination.

I use this simply whenever it works, but I don't do any pro or section playing, in which case it probably wouldn't work. Great in jams etc., a lot of times the key works out well on a C. It's got a real nice voice like a really deep alto, or a slightly strident tenor.

Bootman
User ID: 1676554 Apr 19th 4:09 AM
I don't use mine regularly but it is very useful to use in various situations. It is great for the 1920's Vaudeville or French light classical work, the sound is just right.

My C is a straight neck Conn from 1921 in silver plate, gold wash bell etc. It is what I would classify as Mint condition. Fun to play, just wish there were more oportunities to play this horn. It also is keyed to F, with Front F keym neck roller and gold wash bell. The sound is unique and it plays great with NY Meyer style C melody mpc, if you desire one, then speak to JVW.

Roger Aldridge
User ID: 0735934 Apr 19th 8:30 AM
Steve,

You made quite a find for yourself! Speaking personally, if I was in your shoes I would get this horn. That is, if you feel a strong leading to get a c-melody.

I have an older model Conn c-melody. It's from 1919. The intonation on this horn has been problematic. However, between having the mouthpiece worked on and using a few alternate fingerings, the intonation is now pretty good. I would expect the intonation to be much better on your c-melody.

I absolutely love the c-melody! It has a totally unique sound and it's unlike any other saxophone I've ever played. I approach it as a "color instrument" in the same way that I think of an alto flute, oboe, bassoon, or other doubling instruments. I use the c-melody a lot in my jazz group. We play mostly original tunes of a very contemporary nature. It's a rush to play rip-roarin' avant-garde things on this old horn!

I've been after my composer-arranger friends to write for the c-melody. It's easy to envision it being used -- along with a variety of other woodwinds -- in the reed section of a contemporary jazz ensemble. I'd love to play my c-mel in such a setting! I can only dream of what Gil Evans might have done with a c-melody in his writing.

Another thing that's really cool about a c-melody is that it represents a blank slate. When we think of the soprano sax or the alto, tenor, or bari certain sounds and playing styles immediately come to mind. But, the c-melody?! Perhaps Frankie Trumbauer, of course. Some folks see the lack of contemporary role models as a problem. However, I see it has an incredible opportunity to create our own thing with this horn.

In effect, we can make whatever we want of the c-melody depending upon the set up we use, our tonal concepts, and playing style. The c-melody sound that Bootman gets from his JVW-tweaked Meyer mouthpiece is going to be COMPLETELY DIFFERENT from the sound I get from the vintage Conn c-melody mouthpiece that Ralph Morgan refaced for me. This is the BEAUTY of it! There is no "right" or "wrong" c-melody sound. It's whatever we want to create.

You could have a great time exploring all kinds of possibilities with this horn.

Regarding your question about the alto mouthpiece... If it works correctly on the c-melody I don't think there is any reason to get another mouthpiece. "If it ain't broke, don't fix it."

Tom S
User ID: 0840444 Apr 19th 10:27 AM
I too have an early 1920s straight-neck Conn c-melody. Mine is in near mint condition and was overhauled by J. Clarke at 4-Winds Music. The horn looks like someone bought it and put it in the closet after a few months. It's a fun toy and I don't play it as much as I should!

steve
User ID: 6570393 Apr 19th 2:45 PM
Thanks all. I just made an offer on the horn. One more to add to my tin pile. Steve

paulwl
User ID: 9816503 Apr 19th 3:04 PM
Hmmm...The C is kind of a blank slate today, I agree. That's one reason I like it. But I do feel it is limited in a way other saxes are not. This is because of its relatively slender bore -- it's really a tenor bored like an alto.

This, in my experience, puts a cap on its ability to project and play loud, and although it can be played brightly with certain setups, it will always have a basically round tone.

I'm currently using a French Connetable "Swing" tenor piece on my 1936 Conn straight-neck C. It's 1930s or 40s vintage and brightly sweet in tone. It's a smallish mpc for a tenor and just perfect for this horn. (The French never have wanted much to do with C melodies, so I assume it wasn't made for one.)

Next thing I want to do is to find an old Conn curved neck for the horn, to explore the different playing posture and, perhaps, tone.

mark m.
User ID: 1864304 Apr 19th 3:12 PM
I find the Runyon fairly flexible tonally, on the C (mine also being the basic silver straightneck late pre-Chewed in great shape). The slightest puff of air lights it up, and I find I can play it very quietly indeed, which is neat. Well worth checking out.

Ron
User ID: 8688133 May 23rd 2:48 PM
Same with my C-melody Buescher. It has a round tone, can play very lightly, and the Runyon mouthpiece (w/spoiler) is great. (Sandy, make some C-mel mouthpieces in RED or BLUE please!)

soreliprick
User ID: 0366544 May 24th 12:58 AM
Thats my cue to say my '26 'Chu" C plays round and round with a red King C-mel mpc that I picked up from Hornutopia. It don't 'blastoff' like my Buescher alto and tenor, but the 'C' stands for -
cool.

mikeuk
User ID: 0359544 Jun 10th 3:43 AM
I've recently managed bought a Conn C Melody and love it, but I'm puzzled by the extra tone hole at the side approximately level with the model number - what is it for? (Mine seems to be disconnected anyway)

mikeuk
User ID: 0359544 Jun 10th 3:45 AM
I've recently managed bought a Conn C Melody and love it, but I'm puzzled by the extra tone hole at the side approximately level with the model number - what is it for? (Mine seems to be disconnected anyway)

Dave Dolson
User ID: 9209903 Jun 10th 12:34 PM
Mikeuk: That tone hole may be the old-style forked low Eb (raised middle finger on the right hand) which is usually disabled these days on vintage horns. More modern horns are made without this feature. The forked Eb was the source for leaks so it is either corked closed or the spring is reversed to keep it closed and inoperable. DAVE

Soreliprick
User ID: 0366544 Jun 11th 3:40 AM
Or you can just set it up the way it was intended. I took the cork out of mine, repadded and have had no problems.

steve User ID: 2365684	Apr 18th 10:02 AM I have the opportunity to buy a Conn "Wonder" 110XXX C melody in great shape. Steve Goodson's web site (saxgourmet.com) provided me with a lot of information ( thanks Steve)...looks like the horn was made in 1923...it has the tuner ( that works), rolled tone holes, and the pads and springs seem solid. Was repadded maybe 40 years ago with white (goatskin?) pads. I know the owner and have played the horn. I need some help from you Conn lovers: (1) Steve G. would value this horn at $600, retail if it were in pristine shape. This horn is not perfect, but very close.Is that a reasonable amount for this baby? (2) This is a niche horn....do any of you play a C melody on a regular basis? If so, what types of music? (3) I need another mouthpiece like I need another sax, but my Berg 110/0 alto piece works fine on it and in tune. Does anyone use an alto MP on a C-melody? Thanks for your help. Steve
mark m User ID: 9921013	Apr 18th 11:31 PM I have one of these from 1924. I've got a new Runyon mouthpiece for it and it's currently a better horn than my '30 Chu alto, to which it's very similar, simply because the setup is working a bit better, not that the alto is a dog by any stretch of the imagination. I use this simply whenever it works, but I don't do any pro or section playing, in which case it probably wouldn't work. Great in jams etc., a lot of times the key works out well on a C. It's got a real nice voice like a really deep alto, or a slightly strident tenor.
Bootman User ID: 1676554	Apr 19th 4:09 AM I don't use mine regularly but it is very useful to use in various situations. It is great for the 1920's Vaudeville or French light classical work, the sound is just right. My C is a straight neck Conn from 1921 in silver plate, gold wash bell etc. It is what I would classify as Mint condition. Fun to play, just wish there were more oportunities to play this horn. It also is keyed to F, with Front F keym neck roller and gold wash bell. The sound is unique and it plays great with NY Meyer style C melody mpc, if you desire one, then speak to JVW.
Roger Aldridge User ID: 0735934	Apr 19th 8:30 AM Steve, You made quite a find for yourself! Speaking personally, if I was in your shoes I would get this horn. That is, if you feel a strong leading to get a c-melody. I have an older model Conn c-melody. It's from 1919. The intonation on this horn has been problematic. However, between having the mouthpiece worked on and using a few alternate fingerings, the intonation is now pretty good. I would expect the intonation to be much better on your c-melody. I absolutely love the c-melody! It has a totally unique sound and it's unlike any other saxophone I've ever played. I approach it as a "color instrument" in the same way that I think of an alto flute, oboe, bassoon, or other doubling instruments. I use the c-melody a lot in my jazz group. We play mostly original tunes of a very contemporary nature. It's a rush to play rip-roarin' avant-garde things on this old horn! I've been after my composer-arranger friends to write for the c-melody. It's easy to envision it being used -- along with a variety of other woodwinds -- in the reed section of a contemporary jazz ensemble. I'd love to play my c-mel in such a setting! I can only dream of what Gil Evans might have done with a c-melody in his writing. Another thing that's really cool about a c-melody is that it represents a blank slate. When we think of the soprano sax or the alto, tenor, or bari certain sounds and playing styles immediately come to mind. But, the c-melody?! Perhaps Frankie Trumbauer, of course. Some folks see the lack of contemporary role models as a problem. However, I see it has an incredible opportunity to create our own thing with this horn. In effect, we can make whatever we want of the c-melody depending upon the set up we use, our tonal concepts, and playing style. The c-melody sound that Bootman gets from his JVW-tweaked Meyer mouthpiece is going to be COMPLETELY DIFFERENT from the sound I get from the vintage Conn c-melody mouthpiece that Ralph Morgan refaced for me. This is the BEAUTY of it! There is no "right" or "wrong" c-melody sound. It's whatever we want to create. You could have a great time exploring all kinds of possibilities with this horn. Regarding your question about the alto mouthpiece... If it works correctly on the c-melody I don't think there is any reason to get another mouthpiece. "If it ain't broke, don't fix it."
Tom S User ID: 0840444	Apr 19th 10:27 AM I too have an early 1920s straight-neck Conn c-melody. Mine is in near mint condition and was overhauled by J. Clarke at 4-Winds Music. The horn looks like someone bought it and put it in the closet after a few months. It's a fun toy and I don't play it as much as I should!
steve User ID: 6570393	Apr 19th 2:45 PM Thanks all. I just made an offer on the horn. One more to add to my tin pile. Steve
paulwl User ID: 9816503	Apr 19th 3:04 PM Hmmm...The C is kind of a blank slate today, I agree. That's one reason I like it. But I do feel it is limited in a way other saxes are not. This is because of its relatively slender bore -- it's really a tenor bored like an alto. This, in my experience, puts a cap on its ability to project and play loud, and although it can be played brightly with certain setups, it will always have a basically round tone. I'm currently using a French Connetable "Swing" tenor piece on my 1936 Conn straight-neck C. It's 1930s or 40s vintage and brightly sweet in tone. It's a smallish mpc for a tenor and just perfect for this horn. (The French never have wanted much to do with C melodies, so I assume it wasn't made for one.) Next thing I want to do is to find an old Conn curved neck for the horn, to explore the different playing posture and, perhaps, tone.
mark m. User ID: 1864304	Apr 19th 3:12 PM I find the Runyon fairly flexible tonally, on the C (mine also being the basic silver straightneck late pre-Chewed in great shape). The slightest puff of air lights it up, and I find I can play it very quietly indeed, which is neat. Well worth checking out.
Ron User ID: 8688133	May 23rd 2:48 PM Same with my C-melody Buescher. It has a round tone, can play very lightly, and the Runyon mouthpiece (w/spoiler) is great. (Sandy, make some C-mel mouthpieces in RED or BLUE please!)
soreliprick User ID: 0366544	May 24th 12:58 AM Thats my cue to say my '26 'Chu" C plays round and round with a red King C-mel mpc that I picked up from Hornutopia. It don't 'blastoff' like my Buescher alto and tenor, but the 'C' stands for - cool.
mikeuk User ID: 0359544	Jun 10th 3:43 AM I've recently managed bought a Conn C Melody and love it, but I'm puzzled by the extra tone hole at the side approximately level with the model number - what is it for? (Mine seems to be disconnected anyway)
mikeuk User ID: 0359544	Jun 10th 3:45 AM I've recently managed bought a Conn C Melody and love it, but I'm puzzled by the extra tone hole at the side approximately level with the model number - what is it for? (Mine seems to be disconnected anyway)
Dave Dolson User ID: 9209903	Jun 10th 12:34 PM Mikeuk: That tone hole may be the old-style forked low Eb (raised middle finger on the right hand) which is usually disabled these days on vintage horns. More modern horns are made without this feature. The forked Eb was the source for leaks so it is either corked closed or the spring is reversed to keep it closed and inoperable. DAVE
Soreliprick User ID: 0366544	Jun 11th 3:40 AM Or you can just set it up the way it was intended. I took the cork out of mine, repadded and have had no problems.