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Discussion Starter · #1 ·
Hi,
I've been playing a 1947 Conn Ladyface for many years and I'm very interested in buying a Cannonball. Have you more than one horn, or should I keep both horns?

Thanks!
 

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there are many, many members here with many more horns than just the one. There may be reasons of sound, affection, hoarding, or collecting, whatever, but you will be the only person qualified. I personally would keep both unless money is tight.

Enjoy!
 

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Hi,
I've been playing a 1947 Conn Ladyface for many years and I'm very interested in buying a Cannonball. Have you more than one horn, or should I keep both horns?

Thanks!
Yes, I have more than one horn - but that鈥檚 after playing for 50+ years. I don鈥檛 think that I owned a second tenor until after I was 30-something.

If you have been playing the 10M for many years, I suggest you first get it overhauled. You may be surprised at just how great it can be.

Play a Cannonball before you buy one. I have played several belonging to my students, and don鈥檛 care for them. There are a lot of great horns on the market these days.
 

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More than one tenor since I was 21 years old and that was a long while ago -- I have quite a few tenors, now.

Never played a Cannonball saxophone of any size .

If you end up liking both hang on to them.. I've always enjoyed switching around . Mouthpieces, too !
 

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If you are a working musician you very well could use a second tenor to play when #1 is in the shop. Otherwise there is no need for a back-up. If you just want something different to noodle on sometimes, get a Chinese soprano for about $400. The mouthpieces that come with them these days are actually playable. Get a tuner app on your phone and be prepared to sand the neck corks as these horns play flat (a world better than sharp!).
I always say every hour spent on soprano is worth two on the tenor because you need so much more embouchure and pressure to play them. It will improve your tenor chops, and fast.
 

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If you have events, even rehearsals, where you are supposed to turn up and play, then it makes sense to have a backup instrument, even as an amateur.

My primary instruments are clarinet and tenor sax: I have two of both. Moreover because there are events (e.g. outside, sharing the stage with different groups) where I do not want to risk my main instrument.
 

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Having two horns of different character is something I've enjoyed for a while now. I play my late 50's mk6 most of the time, especially for jazz stuff. On a blues or rock gig though I like the more raucous character of my 60's 10m.....best of both worlds, IMO....
 

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With the feed and vet bills, you probably would have to sell the extra horns. :)
 

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2 altos, 2 tenors, 1 soprano that I actually play; another 2 student/intermediate altos that are ready and a 10M that needs overhaul, I'll sell those... eventually. A C melody that I haven't been able to convince anybody to overhaul for me, they're all like uh... no. 3 dogs -- retired racing greyhound, border terrier, australian shepherd.
 

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I've been playing a 1947 Conn Ladyface for many years and I'm very interested in buying a Cannonball. Have you more than one horn, or should I keep both horns?
It depends on why you are looking to buy a second horn. Dr G makes a great point; if you're dissatisfied with the Conn because isn't playing well & needs some work, I'd sink the money into getting it fixed up, even or especially if it needs an overhaul. I'd definitely rather have a 10M in top playing condition than most modern horns. I like having a backup horn, though. If you're playing gigs, it's a good idea to have a backup.
 

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An overhauled horn that you know is worth 10 random horns that you don't.

From a practical perspective, if you don't know how saxophones work, and if you can't repair problems quickly, a spare horn isn't a bad idea for the working pro. I didn't say that we were practical though. :twisted:
 

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Discussion Starter · #15 ·
It depends on why you are looking to buy a second horn. Dr G makes a great point; if you're dissatisfied with the Conn because isn't playing well & needs some work, I'd sink the money into getting it fixed up, even or especially if it needs an overhaul. I'd definitely rather have a 10M in top playing condition than most modern horns. I like having a backup horn, though. If you're playing gigs, it's a good idea to have a backup.
Thanks guys for your input.

The idea for a newer horn came up after I played a modern Selmer and it played so much easier than my Lady Face, but then again. I love the sound of my girl and at the end that's all about, right? So, the advice to get an overhaul might be a good idea and it saves me a lot of money. Of course I can try a Cannonball horn

Perhaps off topic, how about a Conn New Wonder II with rolled tone holes?

Thanks!
 

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but why are you looking for another horn? I though the whole thing was another sound and more importantly another feel because of the completely different mechanics.

Have you horn overhauled.

I can advise you to take it to Matthew鈥檚 in Edam, they are very competent and will advise you ( not necessarily try to sell you another horn) on what鈥檚 best for you. When you are there you may try different horns.
 

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If you gig, keep them both. You never know when you will need the backup horn.

If not, keep them both for a long time, when you find you are not playing one or the other, then decide whether you are a collector of if you want to sell it.

Insights and incites by Notes
 

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The idea for a newer horn came up after I played a modern Selmer and it played so much easier than my Lady Face, but then again. I love the sound of my girl and at the end that's all about, right? So, the advice to get an overhaul might be a good idea and it saves me a lot of money. Of course I can try a Cannonball horn
But a Cannonball is not a Selmer, although the key work would be similar (and different from your Conn). OTOH, it sure sounds like your Conn needs work and that's likely why the Selmer played so much easier. If you love the sound of the Conn, then take it to your tech, have it looked over, and get it fixed up. Even a few small leaks, which it almost certainly has, will affect how it plays.

Years ago, when I didn't know any better, I considered getting a new tenor because my MKVI was playing terrible; low notes jumped the octave, it was highly resistant, all the signs of a horn full of leaks, which it was. I thought I needed a new horn. Finally I took it into the shop and asked outright if it could be fixed up to play again. The tech looked at me like I was crazy, drooled over my horn saying it was a fantastic horn but full of leaks and needing an overhaul, and yes it could be put into top condition, good as new. When I got it back after the overhaul, it was totally transformed and played great. That was nearly 30 years ago and the horn still plays great (I've kept it in good condition, getting it serviced regularly).

The point is, even the greatest horn on the planet (if there was such a thing) would play terrible if it was full of leaks, out of adjustment, etc. You simply cannot compare two horns when one is in good playing condition and the other is not.
 

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JL is exactly right. Pay good money to have a great tech work their magic. I think you will be amazed at the difference.

- Saxaholic
 
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