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Discussion Starter #1
I purchased a 180XXX gold plated Conn Bari saxophone a few years back and had a complete overhaul done ( except replating - currently about 85% ). My son plays in a few bands but always seems to pick up a YBS 62 or something similiar instead of the Conn. Should I be looking into trading for a YBS 62 or something similiar OR would that be just plain stupid to get rid of this nice old Conn ?? :? :?
 

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You likely have a mid 1920's Conn New Wonder Series II "Chu Berry" Bari, which should sound wonderful in proper adjustment with an appropriate MP setup. Being gold plated, it is worth that much more.

However, since you are wanting an optimal player, with what I assume to be little to no interest in the collectible value of the horn, the keywork might be the real buzz kill to that horn for you and/or your son.

If both of don't feel that the sound alone compensates for the dated keywork enough to pick up and play the horn regularly, then you might as well find a Bari horn that WILL fill that void.

Plus, the horn deserves to be in the home of someone who will play and fully appreciate her.
 

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I checked on the serial number and think its a 1927 vintage horn. It has the rolled tone holes and the G "nail file" key. I myself love the look and sound of the horn -kinda like a chainsaw. What do you think would be the value of a horn like this?
 

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It seems my talking about this horn spiked his interest a bit. Evidently the problem he's having isn't with the horn, he claims its the mouthpiece/ligature combo. Any suggestions for a vintage horn like this ? Currently he has an older Vandoren that works OK. I also purchased a Rousseau jazz mp that he can't quite figure out yet?? He's only 15 but has been playing for 5 years now. Currently I have him taking lessons with a jazz player. Previously everything was more classical based training.
 

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There can be a major problem with these horns, and that is the octave key mechanism. I'm not sure if this one is late enough to have the mechanism attached to the neck directly or not, but if not, it is very easy for the neck to slip in the receiver and have the octave vent leak. When this happens, the horn will play terribly, and it might not be obvious that it's because of that. I would check this out, and make sure the neck screw is nice and snug and the pad is seating correctly.
 

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Jason,

The octave key on the body, pip on the neck configuration is found on the Wonder and possibly the early New Wonder Series I horns, not the Series II.

I agree, that was one flawed design though!
 

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Yeah, I've got one of those old bari's, with the octave arm hanging out in the breeze. Since I had one tech reinforce the top loop, and since purchasing a more protective case, I've been able to gig with it. But going back to this Chu bari, I think you'll have to go for large chambered mouthpieces lacking a high baffle for it not to play sharp.
 

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Discussion Starter #9
Thanks for the information. It does have the octave mechanism attached to the neck and leaking doesn't seem to be a problem. Brian "Zoot" Simons (Mtka, MN) is the tech that did the rebuild and set up for this bari. I told him to pretend it was his personnel horn and not to hold back on anything. I think he did a great job on it. School just started here and wouldn't you know - he was asked to play the bari this year - looks as if it may get a workout after all. His favorite horn is the soprano - hes using a 62R with a Classical Rousseau mouthpiece. Eugene lives locally and is quite the individual. My son has spent a lot of time with him, master classes, Shell Lake etc.. Eugene even picked a mouthpiece for him and gifted it. I hope he's still teaching when my son begins college? At 75 he is quite amazing !! Thanks Again
 
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