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Discussion Starter #1
I have a 1992 Conn Tenor, Block logo with straight tone holes. Serial number searches have come up empty except for the fact that it is a Conn, built in the states in 1992(42xxxxx).

When comparing it to pictures, it is identical to the 3050/662/Royalist of the time period, but has drawn tone holes. I believe it may be a 20M based on these parameters, but am not sure.

The reason I am asking for a positive ID is that I am going to a new repairman(as my old one has retired) and my sax does not have the model in the bell(as it has been mysteriously removed). The sax is in good condition, but could use some work in the pinky keys. I would like to be as knowledgable as possible about it and I have hit a standstill as these saxes don't have much literature about them on the internet.
 

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Distinguished SOTW Member, Forum Contributor 2007-
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The model number shouldn’t matter. I’m sure any experienced tech has worked on UMI horn’s.
 

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The tech needs no such information, they will repair the horn on it merits and possibilities
 

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Discussion Starter #4
Thank you both for the quick reply. I'm sure the sax is a weird one. It's completely playable but needs the pinky keys adjusted on both hands, especially the B and B-flat. The last work done was a total repad in 2007 right after I got the horn. I haven't played it competitively since 2011, but recent financial developments have required that I find an activity to supplement my current income. It's a GREAT sax and admittedly similar to a Jupiter in terms of quality, it's just an oddball as there doesn't seem to be much literature about it because of the timeframe it was built in.
 

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WEird or not, there is nothing in a modern saxophone (and in the majority of the very old ones too) that a normal tech wouldn’t be able to fix. You don’t need any “ literature” for that
 

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Post a photo here, we can probably tell you what model it is.

Go to reply window, click 'advanced' below it, then on the next page scroll down and click 'attachments'.

It sounds like it might be a non RTH 22M, of which there were some....
 

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Discussion Starter #7
I have found a matching Armstrong, complete and down to the bell brace. It is equivalent in every way to the Armstrong 3050, including the bell brace and drawn tone holes. It does not have the Conn/King 22m style brace.
 

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I bet it's killer, wallzy. My Armstrong 3055T is great fun to play, even if the quality is, as you suggest, intermediate.
 

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Discussion Starter #9
Zoot, it's absolutely killer, especially for it being a step-up horn. Ripping my hair out as I'll be ending up with a bunch of new-to-me budget MPs tomorrow and no sax to play it on as it's in the shop. I'm picking up from a fellow SotW member local to me a Rico Royal M9, Yamaha 5c, a pair of JJ Babbitts, a Vito, and a Hermes.

Good news:
My tech has recently returned to Central PA after 15 years in Europe. He and I worked through the potential issues of the sax and the expectations of repair. I got a backhanded compliment that the horn was in really good playing condition for being a marching horn for 5 years. The sax has gone 10 years without a major overhaul. Repair shouldn't be too costly as it's a set-up with a little bit of swedging here and there.

Bad news: Sax is in need of a total re-pad in the next 3-5(Eh, 10-15 years out of student-level pads isn't bad, I s'pose), and literally ALL the body keys that are naturally open had some type of leak.
 

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Good horns, the 3055/22M's...underrated. People think Armstrong/Conn/King UMI didn't make anything good...which is quite wrong.

Good luck with your 22M.
 

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Discussion Starter #11
JayeLID, you're absolutely right. I think I've actually found the common correlation between the saxes, and it dates back to the 1960's during the JK/H.Couf/Armstrong partnership, with a huge thanks to Helen for all the research on the HC/JK partnership!! JK denies any involvement during the UMI era, but I'm strongly inclined to think otherwise unless H. Couf and Armstrong had a ton of unused JK bodies laying around. If you look at the Superba II Tenor on the site, the Altissimo F# is a different design, as is the button design on the LH pinky stack, but everything else is nearly identical.

The 22MDTH Tenor, 21M Alto and Armstrong 3006A/3050T(no King equivalent) have a 2 post bent soldered bell brace, fixed RH thumbrest, straight tone holes, and Front F button. These are derived, if not cloned, from the HC Superba II with Armstrong posts and keywork.

The 22MRTH Tenor, 3008A/3055T, and 660/662 have a 3 post bolted bell brace, moveable RH thumbrest, rolled tone holes, and teardrop Front F. These are closer to the Superba I's with Armstrong posts and keywork.

Unless there is something major that I'm missing, maybe it's time to invest in a few more of these UMI-era horns as people dismiss them as student level and they go for dirt cheap.
 
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