[bandmommy]

I'm a newbie and talked to some Conn guys first. Big mistake??? I recently purchased a Pan American USA tenor that screams Martin. It's got soldered/beveled tone holes, left hand bell keys with Martin style wire key guards, Martin style left pinkey cluster and octave mechanism, fixed thumb rest, and nickle keys with pearls. It also has a nickle neck that may or may not be original to the horn. The serial #'s match, but could have been added later to go with the horn. There are no patent dates that I can find and absolutly no reference to Conn. The case dates to roughly late 50's to mid 60's. It appears to be original to the sax. I paid $199 for it and am putting another $325 into it for a complete repad and adjustment.
Ok guys, I'm thinking I've got a Martin stencil similar to the Indiana on the same vintage. When it's done, IF the tech does his job correctly, should I have a smokey monster? I'm a woodwind player of 36 years so don't dummy down your thoughts. Thanks a bunch.

 

[Guest]

How about some photo's ? Sounds interesting !

 

[bandmommy]

Got an email address, or should I attach them to this thread?

 

[Ferret]

Got an email address, or should I attach them to this thread?

I'm interested to see too, so host them on Photobucket or Imageshack so we all can see. :]

 

[bandmommy]

Forget the email,,,,,pics are attached. The sax isn't pretty, I just need one that will play.

 

[SactoPete]

FWIW, it looks quite a bit different from my 30s era PanAm tenor (which is definitely a Conn-abee).

Pete

 

[Jonathan C.]

Looks like a bad cross. I don't reconize the pinky table. But I do reconize the tone holes. That screams Martin.

 

[Guest]

It looks like a Martin . The double posts for the bell key guard reminds me of the Committee II. The pinky cluster is Martinesque as well. Beveled tone holes, well we all know Martin does that.

If it honks like a Martin , and squawks like a Martin, then it's a Martin.

Which is a surprise to me, I like many others thought that PanAM's were produced ONLY by Conn. Live and learn .

Cool stuff, and thanks for the interesting glimpse of your sax !

 

[steakboy]

gotta believe that's a martin you've got there. the tone holes by themselves make a solid case. looks like some red patina on the back, too. and the pinky cluster's identical to my martin-stencil olds ambassador. that should be a nice-sounding horn when you get it back--congrats!

 

[bandmommy]

Yeah, where there were some resolders done and the laquer was blown off there's some red. NOT RED ROT. Now that we've come to the conclusion that it's a Martin, what's a good mouthpiece? It came with a King T. Open as a soup can! I'm a clarinetist by trade so I'm VERY familiar with tip openings, facing length,,,,,, and reeds. Good God, don't get me started there.
Anybody got a ball park on it's current value? All total with the cost of the horn and the repad I've got only $524 into it. It comes back from the shop this weekend. I'm more than a little curious as to how it's going to sound.

 

[SactoPete]

It would be hard to guess at its value. For a baseline, though, the early Pan-Ams go, in good shape, for about what you have into it. A steal at that price, FWIW.

As for mouthpiece, it depends on what you are going for. A good place to start is always a Link STM, it's where lots of us end up anyways

As a clarinetist, you might prefer a more closed opening, but it's hard to say. Mainstream tip opening for an STM tenor would be 7-7*, and using a 3-ish reed.

Pete

 

[bandmommy]

Most of my playing will be in a Community band. Personal time will be classical. I may try a few show tunes and attempt some Jazz. I'm looking at either an S80 C*/**, or a Lakey. Being "Classically" trained it's hard for me to step outside of the dark and centered zone.

 

[Jonathan C.]

I would go with the S80 C**. I have used mine for many years with success.

 

[bandmommy]

Thanks, I'll have to take a few different ones out on approval and see where my ear is happiest. My daughters favor their Russeau 4M and an old Brilhart Ebolin 3 on my alto.

 

[bruce bailey]

The Selmer tenor mouthpieces are much more closed (per letter) than the altos. I sell the F as my standard for tenor and C* for Alto. The Brilharts are good on tenor too. When I played classical tenor (in the Fennell Wind Ensemble) I used an Otto Link 5* and it blended well. If you go with the Selmer, get an F (opening, not grade). I sell them for $85 new. A vintage Link will run you sever hundred at least and the old Brilharts are still pirced well. A Morgan Protone is a good budget mouthpiece for under $50.

 

[Jonathan C.]

You might think about a rovner custom. Watch out the tip openenings are real small. I have one on Alto, and it takes all the air you can give it.

 

[bandmommy]

Close tips are no problem. I use them ALOT on my clarinets. One of my favorites is a vintage O'Brian crystal 2. I've learned the fine art of matching reed, lig, and tip opening to find the 'correct' sound for most playing situations. But since I walk on the Dark side, I prefer to go with harder reeds and close/medium openings. Save the soft reeds and soup cans for the Dixiland players.

 

[bruce bailey]

I use a closer mpc on clarinet and alto but for tenor you will be lost in the crowd in a band. Short or close facings tend to make the horn very stuffy and muffled.

 

[bandmommy]

When I get it back, I'll see what's up with the King that came with it. It was kinda hard to tell when the horn leaked like a sieve. Ya never know,,,,, I just may decide to leave well enough alone and not go on another mouthpiece quest. Changing reeds and ligs may be all I need for now.

 

[spiderjames]

I bet a large chamber HR like a link or similar in a medium open tip 5*/6* would be perfect for this horn and pretty versatile.