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Anyone know when the company stopped fitting this key on 6M's? I've just had one in, circa1960 'ladyface',nickel plated keys, wire guards with the G# trill. I always thought these had been dropped mid 50's,
 

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Yeah, I would have figured by the 60's that feature would have been gone. Interesting....
I had a late '50s 6M that had the trill key. As for continuing to making the horns with the trill into the '60s, could have simply been that given existing tooling and key parts on supply, the expense of the slight re-tooling necessary to remove the trill wasn't worth the effort. After all, they had been making them in the same basic keywork layout since the mid-30s; they could have dropped the trill at the end of the '40s like most other makers had, but they didn't bother.
 

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If some had it and some didn't, it would be no big deal. All it requires is different hinge tubing int he RH and a few tangs.
 

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I always remove this key on my Conn 6M's. It improves the speed of the mechanism and feel of the action.
How does it do that ? The G# trill key doesn't interfere with the action; it is dead until activated, when a free-moving lug is pushed against another one. This key preserves a useful function: without it, you can't trill from G to G#.
 

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I always remove this key on my Conn 6M's. It improves the speed of the mechanism and feel of the action.
yes,i also always remove this one if i am overhauling or even just cleaning the horn....i have a big box of them around somewhere,.....
i did get someone ask if i had a spare one that he wanted to make the horn"original" again....
when i get home i'll have a look at a few i have....
 

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This key preserves a useful function: without it, you can't trill from G to G#.
I agree that the trill key transfers the job to a strong finger on the RH but if you practice Hanon on the piano, trilling with LH 5 can be accomplished.

Nice set of Conns you've got there, Mike.
 

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I always remove this key on my Conn 6M's. It improves the speed of the mechanism and feel of the action.
How does it do that ? The G# trill key doesn't interfere with the action; it is dead until activated, when a free-moving lug is pushed against another one. This key preserves a useful function: without it, you can't trill from G to G#.
I never studied the mechanism but after mine was removed I noticed faster cleaner action of the G# or around there.
I see. How old is your 6M ? Is it an early one ?

Originally, the RH G# key was a genuine trill key: to use it, you had to engage the main G# key (little finger, LH), and keep it depressed while you pressed the RH key repeatedly, to trill. (Pressing the RH key would close the G# hole, so that a G was sounded; if you didn't press the LH key first and hold it down, the RH key did nothing.)

The RH G sharp trill key operated in this way right through the New Wonder Series I and II and well into the Transitional Period, as I know from my own instruments. At some time in the 6M era, it was changed radically, although to outward appearances it was the same.

My 1947 6M has a RH G# key, but in order to action it, you must leave the LH G# alone, because the two keys work entirely independently of each other, and can NOT be used together. What had originally been nothing more than a subsidiary trill key is now a full-blown alternative key. This new RH key mechanism works entirely independently of the main left hand one, and is separate from it: there is nothing about it which could have any limiting effect on the main LH G# key. This later version is the one I was referring to in my earlier post.

On the other hand, given that the original version of this key had to be used in conjunction with the LH key, removing it would very likely "improve the speed of the mechanism and feel of the action," especially if it was badly set up.

Whether this change in the function and mechanism of the RH G# key happened at the start of of the 6M/10M era or midway through I don't know. Maybe guys with 6Ms and 10Ms from various periods could post here, giving the serial number range of their instruments and which type of RH G# key they have ?
 

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I agree that the trill key transfers the job to a strong finger on the RH but if you practice Hanon on the piano, trilling with LH 5 can be accomplished.

Nice set of Conns you've got there, Mike.
Practising Hanon might work indeed - if I played piano.

Thanks for the compliment about the Conn collection. It's a work in progress. I have a 12M sorted. I'll be looking for a 28M next. The main problem is the usual one: money. Maybe I'll win Tatts…
 

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I see. How old is your 6M ? Is it an early one ?

[ . . . . . . . ]

Whether this change in the function and mechanism of the RH G# key happened at the start of of the 6M/10M era or midway through I don't know. Maybe guys with 6Ms and 10Ms from various periods could post here, giving the serial number range of their instruments and which type of RH G# key they have ?
Regarding the altos, I think the only place you're going to find the old-style trill is on a horn in the transitional period. I have a 262xxx horn which dates it to 1934 or '35 and the trill works as you describe it, independent of the keys on the G# cluster. Depending on how you look at it, this horn is either a very late transitional or early full-fledged 6M. It varies slightly from the later horns (swivel thumb rest / "STD'D M" neck etc) but in terms of keywork pretty much a standard 6M.
 

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Discussion Starter · #13 ·
Anyone know when the company stopped fitting this key on 6M's? I've just had one in, circa1960 'ladyface',nickel plated keys, wire guards with the G# trill. I always thought these had been dropped mid 50's,
Just checked and this horn is around '56/57 --if that helps!
 
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