thanks for sharing, and congratulations on your new purchase! we are excited for you! please feel free to watch our other videos on the 6M to help you acclimate to your musical companion! thanks for watching.
Very fine explanation of this feature. I learned much of this by trial and error on my own 6M but I am glad to get your perspective on how the micro tuner can be used. Many thanks.
Loved this video!!! For years I have always been intrigued by the microtuner on the vintage conn horns. You explained and demonstrated it beautifully. This is actually the first time I’ve seen one that still works. But this seems like a good idea on the manufacturers part. Wonder why this concept didn’t continue on with other models. Quite frankly I hate having to push my mouthpiece in and out trying to find that sweet spot. Having the tuning mechanism seems like it would be easier on the players end. Just my opinion.🤷🏽♂️
it is quite a cool feature! it faded out of production towards the later years of Conn manufacturing, as saxophones from the american market were de-evolving towards student models, rather than professional instrumentalist’s choices. it does make for a difference in performance though! we hope you find one that fits your needs in the near future! thanks for watching and sharing! stay tuned for more content soon!
hello! thanks for watching. we always like to recommend the original case whenever possible, however many people have found success with the Hiscox cases, or cases that can accommodate Left-hand bell keys.
@@hexachord Thanks for the answer!) Please tell me is the Hiscox Pro II case suitable for Conn 6m? I have received contradictory answers from stores and I am afraid to make a mistake.
from our experience, the hiscox cases should fit, perhaps with a slight rearrangement in the padding. please let us know if you get one, we will look forward to hearing about it!
Just IMO, while waiting for a meeting at the virtual office. It adds complexity, and with the wrong grease or cold temps I'm guessing it would have stuck together mostly solid. Add into that, the cork needs to be more tailored to the mouthpiece if a person is pushing it on more. I personally don't see how it could leak, grease "should" seal it up, but still it's a place for maintenance that doesn't need to be there. Likewise on the other end of the neck is this double tenon neck deal, that adds some fun to service if it's not fitting correctly and really doesn't "need" to be like that. It's maybe the same reason the left pinky table of the 28M and 30M didn't catch on, it was complexity looking to solve a problem that really wasn't there. Another thing to consider, although I haven't looked at it myself, was post war France economics and the impact rock and roll had on music instrument sales. Seems like Selmer (for better or worse) was more or less able to continue after the war in a way that set them up well enough into modern times. Even if some 'Merican horns were superior in design at the time. Add to this that most new horns are some type of Selmer copy, and there you go.
@@therealchiamac Yeah, that makes sense. It does make me wonder how big of an impact mouthpiece position on the cork has on things. I guess it slightly changes the final dimensions of the chamber? I'm sure it's insignificant for the average player (i.e., me 🙂), but it's still interesting to think about!
@@jonathanmarks4835 In my limited understanding of the Tract Reed Bore system the saxophone uses... It has to do with the pressure wave created by the reed, and how the mouthpiece interfaces with that. So yes, Conn and others tried that for a reason, but then, we don't see mouthpieces with cutouts for the neck and it seems what little interference the edges of the neck has with that wave is minimal. Also the neck is more or less a smooth gradient into the body of the horn, so that little lip really isn't a bottle neck that opens back up. But, I really don't know as much about it other than it is pressure waves that create the sound. TLDR if it was a big deal we would see modern professional level horns solve for it. They don't, so it can't be. IMO
interesting indeed! the mechanism itself is not overly difficult to clean or maintain. however, it is common to see the mechanism locked or “frozen” from lack of maintenance. repair topics are a completely open field… these videos focus more on the historical contexts :) thanks for the discussion! if you have any further questions, don’t hesitate to ask!
After talking to a few folks in the industry, it boils down to it was just a complex way to solve for a problem that didn't exist. They were more difficult to make. From a repair standpoint most today either are frozen up, are loose and leak, or are like mine and screwed in all the way. Then from a mouthpiece point of view. The trade is adding or removing volume in the neck, and the added weight/mass at that part of the neck may impact the sound. So it ended up being a wash. Conn did do a ton of research and development, and spent a lot of money doing that. So maybe it was more of a selling point, or had an advantage with mouthpieces that aren't used anymore, and/or patents got in the way of others adopting something similar. Going back to my first few comments, it just wasn't worth Selmer picking up or adopting, no customers were demanding it, and since modern horns are Selmer copies (basically) it doesn't survive to today.
curiously enough, the entire horn remains “in-tune” with itself when set in different positions. the entire spectrum is shifted - not just the individual notes! thanks for watching!
thanks dan! these tuners phased out of production towards the 60s as design necessities changed. multiple parts that ultimately could still be accounted for by a single unit not only saved on costs, but design complexities… … but yet, it still begs the question!! we’re glad you asked :)
Love your videos and….. your tone! 😂 beautiful sound man!
big thanks from jake! we're so glad you enjoyed it :)
I've just bought a conn 6m circa 1935. It's taking some time to get used to the keywork. Compared to my modern sax. Great video.👍
thanks for sharing, and congratulations on your new purchase! we are excited for you!
please feel free to watch our other videos on the 6M to help you acclimate to your musical companion!
thanks for watching.
Very fine explanation of this feature. I learned much of this by trial and error on my own 6M but I am glad to get your perspective on how the micro tuner can be used. Many thanks.
If that were true folks would put a LP neck on an HP horn. Not happening.
your videos are so detailed and different.
we’re glad you enjoyed it!
thank you so much for watching - stay tuned for more!
Please,What mouthpiece did you use on this video?
we believe it's an Otto Link Tone Edge! thanks for watching!
Loved this video!!! For years I have always been intrigued by the microtuner on the vintage conn horns. You explained and demonstrated it beautifully. This is actually the first time I’ve seen one that still works. But this seems like a good idea on the manufacturers part. Wonder why this concept didn’t continue on with other models. Quite frankly I hate having to push my mouthpiece in and out trying to find that sweet spot. Having the tuning mechanism seems like it would be easier on the players end. Just my opinion.🤷🏽♂️
it is quite a cool feature! it faded out of production towards the later years of Conn manufacturing, as saxophones from the american market were de-evolving towards student models, rather than professional instrumentalist’s choices.
it does make for a difference in performance though! we hope you find one that fits your needs in the near future!
thanks for watching and sharing! stay tuned for more content soon!
Hi, tell me which case can I buy for Conn 6m?
hello! thanks for watching.
we always like to recommend the original case whenever possible, however many people have found success with the Hiscox cases, or cases that can accommodate Left-hand bell keys.
@@hexachord It's a nice sound. Are you using Meyer 6-7? The Rovner Dark ligature or versa?
jake says its an otto link tone edge, 6* with rovner ligature in the video 👍
@@hexachord Thanks for the answer!) Please tell me is the Hiscox Pro II case suitable for Conn 6m? I have received contradictory answers from stores and I am afraid to make a mistake.
from our experience, the hiscox cases should fit, perhaps with a slight rearrangement in the padding. please let us know if you get one, we will look forward to hearing about it!
Great video. I wonder why modern horns did away with it. Is it difficult to clean/maintain?
Just IMO, while waiting for a meeting at the virtual office.
It adds complexity, and with the wrong grease or cold temps I'm guessing it would have stuck together mostly solid. Add into that, the cork needs to be more tailored to the mouthpiece if a person is pushing it on more. I personally don't see how it could leak, grease "should" seal it up, but still it's a place for maintenance that doesn't need to be there. Likewise on the other end of the neck is this double tenon neck deal, that adds some fun to service if it's not fitting correctly and really doesn't "need" to be like that. It's maybe the same reason the left pinky table of the 28M and 30M didn't catch on, it was complexity looking to solve a problem that really wasn't there.
Another thing to consider, although I haven't looked at it myself, was post war France economics and the impact rock and roll had on music instrument sales. Seems like Selmer (for better or worse) was more or less able to continue after the war in a way that set them up well enough into modern times. Even if some 'Merican horns were superior in design at the time. Add to this that most new horns are some type of Selmer copy, and there you go.
@@therealchiamac Yeah, that makes sense. It does make me wonder how big of an impact mouthpiece position on the cork has on things. I guess it slightly changes the final dimensions of the chamber? I'm sure it's insignificant for the average player (i.e., me 🙂), but it's still interesting to think about!
@@jonathanmarks4835 In my limited understanding of the Tract Reed Bore system the saxophone uses... It has to do with the pressure wave created by the reed, and how the mouthpiece interfaces with that. So yes, Conn and others tried that for a reason, but then, we don't see mouthpieces with cutouts for the neck and it seems what little interference the edges of the neck has with that wave is minimal. Also the neck is more or less a smooth gradient into the body of the horn, so that little lip really isn't a bottle neck that opens back up. But, I really don't know as much about it other than it is pressure waves that create the sound.
TLDR if it was a big deal we would see modern professional level horns solve for it. They don't, so it can't be.
IMO
interesting indeed! the mechanism itself is not overly difficult to clean or maintain. however, it is common to see the mechanism locked or “frozen” from lack of maintenance.
repair topics are a completely open field… these videos focus more on the historical contexts :)
thanks for the discussion! if you have any further questions, don’t hesitate to ask!
After talking to a few folks in the industry, it boils down to it was just a complex way to solve for a problem that didn't exist.
They were more difficult to make.
From a repair standpoint most today either are frozen up, are loose and leak, or are like mine and screwed in all the way.
Then from a mouthpiece point of view. The trade is adding or removing volume in the neck, and the added weight/mass at that part of the neck may impact the sound. So it ended up being a wash.
Conn did do a ton of research and development, and spent a lot of money doing that. So maybe it was more of a selling point, or had an advantage with mouthpieces that aren't used anymore, and/or patents got in the way of others adopting something similar. Going back to my first few comments, it just wasn't worth Selmer picking up or adopting, no customers were demanding it, and since modern horns are Selmer copies (basically) it doesn't survive to today.
I wonder if octaves are tougher to stay in tune at HP
curiously enough, the entire horn remains “in-tune” with itself when set in different positions.
the entire spectrum is shifted - not just the individual notes!
thanks for watching!
Love this video! Why are we not using this concept on modern horns?
thanks dan!
these tuners phased out of production towards the 60s as design necessities changed. multiple parts that ultimately could still be accounted for by a single unit not only saved on costs, but design complexities…
… but yet, it still begs the question!! we’re glad you asked :)