I think I’m done buying horns for a while 🤓
A 1940 30M. Overhauled and relacquered. Plays incredibly warm and sweet.
did I read somewhere that only about 1100 of these were made?
In any case she’s a beauty
30M - I get what all the fuss is about
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I think I’m done buying horns for a while 🤓
A 1940 30M. Overhauled and relacquered. Plays incredibly warm and sweet.
did I read somewhere that only about 1100 of these were made?
In any case she’s a beauty
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very nice even if relacquered, it is the only horn that I would buy if I had the money to flank my Super 20.
the thing is that the attention to details is extreme in this horn and yes, it is BASICALLY the same as a 10M BUT the fine improvements and complications costed really a lot of money to put into place.
Like every luxury product one may find lots of arguments to NOT spend the money that it commands but , on the other hand, at least I see this way, I cannot have the best car in the world but I may have one of the best saxophones in the world and that also is a pleasure in itself.
Good Luck!
🙂
the thing is that the attention to details is extreme in this horn and yes, it is BASICALLY the same as a 10M BUT the fine improvements and complications costed really a lot of money to put into place.
Like every luxury product one may find lots of arguments to NOT spend the money that it commands but , on the other hand, at least I see this way, I cannot have the best car in the world but I may have one of the best saxophones in the world and that also is a pleasure in itself.
Good Luck!
🙂
Gorgeous. Definitely on the list of horns I'd like to try someday. In my mind, there's a world where American saxophone manufacturers kept innovating like this in the second half of the 20th century and maintained steady competition with Selmer so that at least a couple of Conn/King/Buescher/Martin were still around today. We might have actual variation in keywork!
Wishful thinking, of course.
Wishful thinking, of course.
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600 Posts
Conn 30M is top, even iconic saxophone. But non-original (or even original) lacquer may have a bad effect for sound. So you can remove the lacquer from sax neck. And the sound will be better than now. You will see this when you compare the sound before and after removing the lacquer. On the other hand, the market price of the saxophone will not fall when the neck will be without lacquer. Therefore there is no risk here.
Yes, a very interesting and iconic Conn. My '38 30M has no lacquer, just bare brass but thoroughly overhauled.
Compared to my '39 10M with good original lacquer, it is not quite as loud but a warmer more spread tone.
Vintage hand made horns are very individual beasts and considering the many variables possible, IMHO
lacquer, plating, or bare brass is more visual aesthetics than the main determinant of tone, volume or projection.
Does anyone de-lacquer a valuable, pristine, original vintage horn just to see if it sounds better?
Both play remarkably well but I would never de-lacquer my 10M. You can't go back once done.
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… until you find that there is no change in sound - much less an improvement - and that you cannot restore and match the finish. Just no.
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1,526 Posts
That's a good point. Some people waaaaaaaaaaaaaaaaaaaaaaay overestimate the effect of lacquer/unlacquer/relacquer - by itself - on the sound of a horn.
This ranks right up there with believing BLUE Jumbo Javas sound $1,000 better than the black ones.
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I had one years ago. I sold it to a student who really loved it........
Tenor: Eastman 52nd St, Alto: P. Mauriat 67RDK, Soprano: Eastern Music Curvy
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7,587 Posts
Yep.
I tried 9 different pieces on the horn and the Alexander was the only one that blew free and in tune through the range. Murphy’s Law it was also the last one I tried, as I figured a more modern piece would not suit.
I tried 9 different pieces on the horn and the Alexander was the only one that blew free and in tune through the range. Murphy’s Law it was also the last one I tried, as I figured a more modern piece would not suit.
I recently upgraded from a yamaha to a 30M (albeit with a 10M neck). Perhaps because of the neck, it sounds about the same as a good 10M, but with the better pinky table. I was hesitant on an old horn because of the pinky ergonomics, but the 30M pinky keys push down the same way as modern horns, and I think the Bb shape is honestly better than modern horns since its easy to slur between Bb and B and from Bb to C#. The neck strap ring, left hand thumb rest, and D# key are in the wrong places though but it's well worth the amazing sound (and the vibrato is unparalleled).
I've been using a 10mfan robusto on it, which is a modern piece (but also designed for conns as per the name). Only intonation problem I've had is high A-B being flat. The horn also has a lot more flexibility with bending the pitch up and down than other horns I've tried, which I expect will become a positive aspect once I get used to it.
I've been using a 10mfan robusto on it, which is a modern piece (but also designed for conns as per the name). Only intonation problem I've had is high A-B being flat. The horn also has a lot more flexibility with bending the pitch up and down than other horns I've tried, which I expect will become a positive aspect once I get used to it.
Conn 26M, Theo Wanne Durga 3 in a 6, Legere American Cut 2.25
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159 Posts
I'm currently in the honeymoon phase with my 26M, but haven't really played a lot of 6Ms so I can't give you an answer on how the left hand cluster feels compared to that.
What I can tell you is that because it's in the modern position, switching from my Selmer Series III was no trouble at all, and the action on it is super light. The C# in particular is probably the lightest C# I've ever used.
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