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From New Wonder Bari to Tranny

1979 Views 17 Replies 7 Participants Last post by  silverselmer
I'm the happy owner of a superb 1926 New Wonder (or New Wonder I) bari. Can anyone state the differences between this model and the Transitional ("a la" Mulligan) which appeared a couple of years later (apart from the position of the octave mechanism)?
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Thanks for all these contributions.
Just for information, the horn has been slightly upgraded by bari specialist extraordinaire from Germany B. Waltersbacher (Lahr, germany): replacement of the vertical thumb octave button by a lateral "a la Selmer" left thumb button, linearization of the left hand fifth finger G# button (moves vertically instead of rotating on a side axle) and repositioning of the hanging ring.
As far as intonation is concerned, if no older big chamber mpc available or wanted, a neck extension or a long-shank mouthpiece is of course needed (remarkable experience made with a David Jary custom mpc: very reasonable price, perfect workmanship, fine tuning to your desired sound). Then stays the problem of the ultra sharp upper D, D#, F, F#: THE solution has been the insertion of semi-moon-like cork pieces which lessen the opening (approx 1/8) of four lower end holes .
Back to my initial question, my main concern was to know if structural changes (shape, metal, dimensions) had been introduced between the New Wonder and the Tranny; seems this has not happened.
Thanks again.
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To Bootman: right, the "a la Selmer" octave key in no necessity but was already installed at the time of buying (the original version was damaged).

To Grumps and other connoisseurs: I'd be happy to have your opinion about the actual model I'm playing. S/N is M 156765, apparently class of 1926. Keyed to High F, no front F, octave hole on the side of the neck. Thanks for your contribution.
... that's the impression I gathered too. The only question left is for the player to honour this fantastic instrument...but this is my problem !
Keep swinging.
J
I actually am not in need of a low A: I've been playing a Low A Selmer from the early eighties (supposedly a Mark VII but Selmer never really changed its tooling for the bari and thus it was "de facto" a Mark VI) for twenty years and recently couldn't resist a switch to the wonderful sound of the Conn I mentioned in my thread. By the way, after close scrutiny, it's definitely a NW Series 2 (keyed to F, double octave mechanism); I do think its sounds is close to your Chu's and Tranny's. Have you ever tried a NW 2 ?
And thanks for the advice about the Magna. It looks impressive and might be my choice if I get involved in any project where a low A is really needed. The problem will be the market: such monsters don't appear frequently on eBay or Saxontheweb.
Thanks again
J
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