You can really hear the Mark 6 is more precise than the conns. The conns sound like it’s easier to play blues bends like Johnny Hodges style but maybe harder to play classical?
few ALTO players use Conns for classical playing. tenor and bari are more accepted. a few have played "legit" rep on the New Wonder 2 alto, but the 6M hasn't been used for that since it was new in the '30s.
Funny story… I played my grandpas’s 1915 CONN alto in middle school… THEN I played on my moms 1956 Selmar Mark VI in highschool… I still have both saxes… they’re both great but DEFINITELY different sounds and key reactions
I have to go with the 6m transitional since I own one myself, but I definitely see the appeal of the Mark VI because its really in the middle between dark and bright and can be suited to many styles of music. Great video, Great player and Great horns!! 👌
Great video! Bird (transitional / 6m), Charles McPherson (6m), Lee Konitz 70s with Warne Marsh, Montmartre (6m), among the few legends who had extended stays with Conn altos.
doing the lords work providing us with high level historical journalism, lovely video. i have a selmer 42 paris and a 1925 gold plated conn, whatever the difference y’all find in the horns all i can say is the conn makes me happier to pick up and play
The 6m is a very nice horn bin playing one with alot off history got it overhauled had the same problem looking for a neck but luckily i found one at an affordable price. Horn plays like a dream. And veryyy lite
Conn Transitional no.1. More character , 6m second best. Well Selmer? Everybody’s playing Selmer here in europe. If I play on a Selmer , I really can’t make it sound like ‘me’. ( my sound is modelled after playing 35 years on only transitionals), still can’t explain why they are so great.( bore?, rolled toneholes?,lighter weight? ) for sure a good neck makes all the difference on all saxophones.
I find that when dealing with vintage horns of various bore design, matching the mouthpiece chamber volume helps a lot in attaining an optimum tone and response. To my ear your setup is optimized for the VI and does rather well on the 6M. To share a personal experience, I once had the opportunity to compare an alto SBA ( my main horn) to a King S20. While the SBA does well with an Airflow mouthpiece contemporary of the horn, the S20 was simply dead with poor response and intonation. After switching to a Meyer large chamber mouthpiece, the complete opposite was true; the S20 projected like no tomorrow and played in tune while the SBA just could not resonate and quite fill the room like with the AirFlow. Needless to say Intonation also became a challenge. That being said I am partial to larger bore. At least from a player’s perspective they feel more lively and fun to play.
I agree with what you say and it took me a long time to figure out that when you try the same mouthpiece to play test several horns, all you are really doing is finding the horn that works/sounds the best with that particular mouthpiece/reed setup .
I play conn NWIIs mostly, and I will always prefer them and other conns I think. They sound different and feel different, but they just sound so perfect
@@SaxSpy it has rounder fatter sound. Luscious. The MkVI in comparison is thin and squeeky, to my ear. (I am exagerating for comparison pourpouses in disparadging the MK VI, but the 6M really is clear winner to me, tomewise)
As a result, I bought a Conn 6m, it has problems, it's hard to play, but this sound is the best I've heard. I will take my tool to repair, but I don't think they will be able to do anything there. It makes me very sad. Why doesn't anyone produce them? How can this be? Perhaps there is a modern analogue?
Seems the the Conns always wins over the Selmers in these comparisons, altos as well as tenors. The same would go for the sopranos and baritones. A true competitor to the Con 6M would be a slightly older Martin Handcraft, silver or gold plated (Charlie Parker on the Parker's Mood session - you can hear he sounds a bit different from the earlier recordings where he still played his 6M).
You can really hear the Mark 6 is more precise than the conns. The conns sound like it’s easier to play blues bends like Johnny Hodges style but maybe harder to play classical?
agreed!
few ALTO players use Conns for classical playing. tenor and bari are more accepted.
a few have played "legit" rep on the New Wonder 2 alto, but the 6M hasn't been used for that since it was new in the '30s.
I played Conn for years and years. Loved them
Funny story… I played my grandpas’s 1915 CONN alto in middle school… THEN I played on my moms 1956 Selmar Mark VI in highschool… I still have both saxes… they’re both great but DEFINITELY different sounds and key reactions
The silver sax smashed it
Fantastic demo the warmth of the Conn altos does it for me especially on the beautiful ballad .
I have to go with the 6m transitional since I own one myself, but I definitely see the appeal of the Mark VI because its really in the middle between dark and bright and can be suited to many styles of music. Great video, Great player and Great horns!! 👌
Great video! Bird (transitional / 6m), Charles McPherson (6m), Lee Konitz 70s with Warne Marsh, Montmartre (6m), among the few legends who had extended stays with Conn altos.
The Conn had a warmer tone the slurs we're on point thank you for the video 📷..
doing the lords work providing us with high level historical journalism, lovely video.
i have a selmer 42 paris and a 1925 gold plated conn, whatever the difference y’all find in the horns all i can say is the conn makes me happier to pick up and play
Interesting comparison. The tone of the 6M for me maybe even edges out the Mk6. It sits in the middle between dark and bright. Amazing horns all.
The 6m is a very nice horn bin playing one with alot off history got it overhauled had the same problem looking for a neck but luckily i found one at an affordable price. Horn plays like a dream. And veryyy lite
conn new wonder1.2 alto and gold plated alto i have based on different price arrangement. i think conn is a more dark and husky tone than mark6.
Conn Transitional no.1. More character , 6m second best. Well Selmer? Everybody’s playing Selmer here in europe. If I play on a Selmer , I really can’t make it sound like ‘me’. ( my sound is modelled after playing 35 years on only transitionals), still can’t explain why they are so great.( bore?, rolled toneholes?,lighter weight? ) for sure a good neck makes all the difference on all saxophones.
3 great horns sounding different on every song.
I find that when dealing with vintage horns of various bore design, matching the mouthpiece chamber volume helps a lot in attaining an optimum tone and response. To my ear your setup is optimized for the VI and does rather well on the 6M. To share a personal experience, I once had the opportunity to compare an alto SBA ( my main horn) to a King S20. While the SBA does well with an Airflow mouthpiece contemporary of the horn, the S20 was simply dead with poor response and intonation. After switching to a Meyer large chamber mouthpiece, the complete opposite was true; the S20 projected like no tomorrow and played in tune while the SBA just could not resonate and quite fill the room like with the AirFlow. Needless to say Intonation also became a challenge. That being said I am partial to larger bore. At least from a player’s perspective they feel more lively and fun to play.
I agree with what you say and it took me a long time to figure out that when you try the same mouthpiece to play test several horns, all you are really doing is finding the horn that works/sounds the best with that particular mouthpiece/reed setup .
I play conn NWIIs mostly, and I will always prefer them and other conns I think. They sound different and feel different, but they just sound so perfect
I do prefer modern stuff, but I like the conn a lot.
I own a 6M my father had played, and it's the best sounding alto I've ever played, and that includes a Mark VI
6M for me. Clear and Dark. Not too spread. The transitional seems like it may have a tiny leak in the neck.
it does, unfortunately
I like the silver sax best, though they all sound pretty good .is this the transitional ? The Mark VI is my 2nd choice . Well played
silver is the transitional, yes. I have another of it in greater detail
Sir. About conn flower and buddy 2, which one is better sound
You sound very similar on all 3 horns but for me there was something special coming from the silver Conn tranny a certain silky creamy tone.
The one I like more 6m. By far. The one I like less: Mark VI
What qualities attract you to the Conns?
Played alone i agree .
@@SaxSpy it has rounder fatter sound. Luscious. The MkVI in comparison is thin and squeeky, to my ear. (I am exagerating for comparison pourpouses in disparadging the MK VI, but the 6M really is clear winner to me, tomewise)
Has anybody tried plumbers tape around a loose double socket neck ?.
Conn for me good
What’s the name of the saxophonist mentioned who plays Conn saxes (6:40 mark or there about). Thx.
Alex LoRe
Please review the ida maria grassi like Eli Degibri and me
Long live the nw2, and the transitional
I would like to hear it again with different mouthpieces please
Mark VI wins. Seems more flexible can easily fit into more styles of playing
As a result, I bought a Conn 6m, it has problems, it's hard to play, but this sound is the best I've heard. I will take my tool to repair, but I don't think they will be able to do anything there. It makes me very sad. Why doesn't anyone produce them? How can this be? Perhaps there is a modern analogue?
Modern analog is Conn 7M, the "last great Conn" made only in 1970. Look it up. Old acoustics with modernized keyboard. Mine iss fine!
I tried a 1957 Conn 6M yesterday but walked away from a tempting purchase because I couldn’t get on with the low notes plate at all.
Seems the the Conns always wins over the Selmers in these comparisons, altos as well as tenors. The same would go for the sopranos and baritones. A true competitor to the Con 6M would be a slightly older Martin Handcraft, silver or gold plated (Charlie Parker on the Parker's Mood session - you can hear he sounds a bit different from the earlier recordings where he still played his 6M).
Lets not forget about the KING SUPER 20
Okay then
I have a 6m won't get rid off it for the world nice light weight horn UNDERATED BAD
I prefer the Conns.
The silver plated one in particular....