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Dan,I would probably need a microphone,I play with a 6 pc(2 horns)rock/funk thing now and its been going great with the rubber Link and a Chu berry.Of course I use a mic. These guys are hard hitters too.I go for tone,the correct mic setting gives my the cut.
Cash, thats great you're able to blow that baffled mpc,the Ponzol ML I used for a while had a baffle and played pretty well in tune on the 10M but for MY taste it started to feel too bright. it did play in tune without any chop manipulation. You must have nice relaxed chops, thats great.
 

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Hello folks. Though I occasionally check out some of the forum info, this is the first time I've been on since the old board was archived. The occasion is that I just received an old 10m off of ebay and I love it. According to the serial number it's a late '47 but it doesn't have RTHs. It was repadded before I bought it with plastic resonator pads, but still has a powerful deep voice. It was supposed to be original laquer (none to speak of left on the bell), but I think it's an old relaq. I am having some intonation issues in that from Bflat3 up through C3 is flat to the point that I can't lip it up quite enough plus the lower notes from C1 down require a looser embrochure to be in tune. I think I need to adjust the key heights which are set at about 5mm on the upper stack keys and from 5-8 on the lower stack keys. I'm looking to you guys to tell me if this sounds too low and to offer suggestions. I am still trying out mouthpieces and have not had an opportunity to check things out against a tuner, but I have practiced with the band a couple nights and these notes are definitely out. Currently using a 5*3 Lackey HR and no problem with it being too far out on the neck. I get the same results with an old vandoren and an old bamber classical piece, neither of which have a high baffle. Mouthpiece suggestions are welcome and I'm sure I'll eventually have to get a Link which seems to be the favorite for the 10m.
 

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It's a shame they didn't use the flat metal resonators. I just picked up a Kohlert that has had most of the resonators changed over to plastic domed. I told my tech to just change the rest and make it consistent. If I end up not liking it I'll probably end up putting flat metal in down the road.
 

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Les Arbuckle (lesax on this forum) told me he was taught that a 10M's key height should be just enought to slip a ball point pen into the opening. That's the way I remember it. If that's wrong maybe Les will see this and correct me. I don't know if the reso change would affect this.
 

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Not a ball point, (there are too many different sizes) but a "Papermate" black plastic, felt tip pen that can be bought at any Staples or Office Max. The butt end of the pen should be able to touch the back of the "F" tone hole on the right hand stack, while the top front of the pad toches the side of the pen. On the LH, the pen should go in till it reaches the middle of the "B" pad and no further. The rest of the stack keys should be brought in line with the "B" and "F". the low notes should accept the pen to the back of the tone hole like the RH "F". OR......... You could measure the way I have below which is about the same thing:
High B (1st finger left hand) .30" or about 8mm
>> middle F(1st finger RH) .39" or 10mm
>> low C .48" 0r 12mm
>> low Bb .48" or 12mm
I didn't think of this OR discover it on my own. I learned it from Jerry Bergonzi who is VERY particular about key heights. He is not ,however, rigid about it. If his ear(HUGE) tells him a key needs to be higher or lower to vent properly and maintain maximum intonation and tone possibilities, that's where it goes! These heights I have shown are a good place to start on Conn and Selmer, BUT they are only a starting place. On King and Buescher and other horns all bets are off. You just have to experiment and work with it for awhile. BY THE WAY... I'm talkin' TENOR here. If you use these suggested key heights on alto,sop. or Bari, it could be hideously bad!
 

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Great to see 10M fans. I love my 10M. I first got hooked by a 1950 without rolled tone holes, but then I fell in love with a 1939 from Bob Ackerman in Jersey. I noticed no discernable tonal difference between the 2 horns, the feel was pretty much identical, but there was just something about the '39 that made it "my" horn. I have since sold the 1950 to a very fortunate college-bound young man, who will love it like he should. The only differences I found between the two horns were the rolled tone holes, strap hook placement, archaic forked E flat, and the '50 was bodily perfect, original laquer, and my '39 sort-of looks like a rat--but a beautifully aged rat. I've since swapped out to a better (for now) mouthpiece, a Morgan 7M, which helps me achieve a larger better vintage sound, more even tone between all the registers, and just feels and blows right!

ii-V-I
kenny j
 

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Thanks for the info. I worked on it a little over the weekend and it's pretty close after raising almost all the keys a little. Still having to lip up for Bflat3, and can't quite get there when I play it with using the B and F keys. But the sound is great all the way from Low Bflat to F3. Having a little problem with altissimo, which I was never great at anyway. Anybody know any good fingerings for these on the 10M?
 
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