That's not necessarily a good thing. The 6M suffers from a reputation that it is all power and no refinement. But my experience has been mostly the other way. (Note: I am primarily a tenor player, so YMMV!)
The Transitionals, especially, are capable of a highly refined tone and reliable intonation when you drop things down a notch. Yes, I always do hear a delicate edge to what is basically a round and limpid sound. It is never quite the primal, woody quality of a 1930s Buescher. But what is?
Conn's goal with the 6M, as they put it in their 1938 sax catalog, was a horn with "'sock' and reserve power, which responds with little effort when big volume is called for, or which can be throttled down to a whisper without losing its rich quality of tone."
Opinions 80 years out are going to differ on the success of any product or design. But I wonder how many criticizing 6Ms ever seriously played one.
They're pretty damn good looking, too.
The Transitionals, especially, are capable of a highly refined tone and reliable intonation when you drop things down a notch. Yes, I always do hear a delicate edge to what is basically a round and limpid sound. It is never quite the primal, woody quality of a 1930s Buescher. But what is?
Conn's goal with the 6M, as they put it in their 1938 sax catalog, was a horn with "'sock' and reserve power, which responds with little effort when big volume is called for, or which can be throttled down to a whisper without losing its rich quality of tone."
Opinions 80 years out are going to differ on the success of any product or design. But I wonder how many criticizing 6Ms ever seriously played one.
They're pretty damn good looking, too.
