Saxophone Forum


by staceyag
(2 posts)
9 years ago

Conn 6M Lady Face

We recently refurbished my husband's vintage (c. 1960) sax for our 13 year old son to use. His instructor suggested to him to sell the instrument in exchange for a new pro model. We aren't sure this is the best advise. Isn't the Conn worth a fair amount of money? I think it sounds great, but I'm not qualified to judge. Any thoughts?

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  1. by connsaxman_jim
    (2336 posts)

    9 years ago

    Re: Conn 6M Lady Face

    Stacy, Your son's instructor is completely off his rocker! the 6M is a pro model horn. There isn't a saxophone made today that will take the abuse that the 6M will. This is probably the very best possible instrument he could have! The 6M has a very sweet sound that is very full and brassy. This horn was builtin the United States by legendary Conn craftsmen with careful attention to detail and performance. The quality of metals used is much better than those used today. The 6M's design with the underslung octave key is one of the best saxophone designs of all time. The reason for putting the octave key on the bottom of the neck is to help prevent the key from being damaged. You can tell your son's instructor what I had to say. As long as the horn is in good condition and properly adjusted, it's the best possible horn that he could have. Tell him a professional sax player with more than 20 years of experience said so!

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    1. by definition
      (963 posts)

      9 years ago

      Re: Conn 6M Lady Face

      Tell him two said so, and many more would also! A all around good guy, Paul Caots put the dilema this way: The Selmer C* and Vandoren 3 1/2 debate "A problem in many school systems is one I have run into in more than a few communities. They say you can only play Selmer or Yamaha products. I asked why. The answer was, if all the horns are the same brand, they can play better in tune with each other. (Insert uproarious laughter, the ghosts of old dead pro big band players rolling in the aisles) I asked, well, what happens when one kid has a Bundy, excuse me, Selmer USA AS300, and another has a Selmer Mk VI, and a third has a SA80 III? What if a kid comes in with a King Super 20? A SML Gold Medal? Buffet Super DynaAction? Guardala? And then there are the mouthpiece and reed Nazis. You must play a C* with a Vandoren 3 1/2. These ignorant fools don't even know that C* is merely a facing size, and that the Selmer mouthpieces made now are far different from the Soloist of the 60's. What about the LT? Why not the far better Vandoren mouthpiece? A T35 on tenor is a far better mouthpiece than a S80 C*. And Heaven fobid, a kid come in with the Selmer Classic Series Metal mouthpiece, like Fred Hemke and Marcel Mule played for many years. I have had kids complain of their dry, airy tone, difficult articulation, difficulty playing softly, difficulty playing the low notes. I fixed all of this immediately with a 2 1/2 reed. I had one kid, a bari player, turning red and veins popping out on his neck and face. Apparently this is all OK, because the teachers are adhereing to C*-3 1/2 Vandoren dogma. Where are they teaching this crud?" A very good debate came from that post in another forum, www.saxgourmet.com The link to it is:

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      1. by staceyag
        (2 posts)

        9 years ago

        Re: Conn 6M Lady Face

        This direction is coming from his private instructor, not the school band director. Our son plays the school-owned bari sax in the band, and practices at home on the Conn alto. We aren't convinced we should give up a potentially great practice instrument. His instructor wants him to replace his brand new mouth piece too...

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        1. by definition
          (963 posts)

          9 years ago

          Re: Conn 6M Lady Face

          He needs a new private lessons teacher. Vintage horns make great horns, and as Jim said, the 6M is hard to beat. It is extremely solid, and great to learn on. I wish that I'd ad the means to get one when I started. Oh and your comment "potentially great" is wrong; the 6M rocks!

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        2. by connsaxman_jim
          (2336 posts)

          9 years ago

          Re: Conn 6M Lady Face

          Stacey, Find your son another instructor. I don't know what this guy is teaching, but he's not doing your son any favors here. Definition, I couldn't agree with you more. I'm not a big Selmer fan. One of the biggest reasons why is that I've always felt that Selmer "bought" their way into the school systems by offering really good deals to schools who sold and recommended their products. I'm not sure if this is still the case, but I graduated in 1991, so I first started band in 1983 (fifth grade). I played clarinet the first year before switching to sax in 6th grade. I took the old 10M in and played it a couple weeks, but it needed new pads and some adjusting. I played the schools Bundy for a couple weeks and HATED it! The band director thought I should just play the Bundy though because it "sounded better and the intonation was better". BULLSHIT!!! My dad had taken the 10M in to be repadded, and now this clown of an instructor wasn't going to let me play it! Well, dad set him straight. The only compromise was that I had to buy a new mouthpiece.....you guessed it, a SELMER that the SCHOOL sold! The damn thing made my sax sound more like a cello than a saxophone. I can remember one band concert in 7th grade where I had a nice solo in one of the songs we played. I had the old Otto Link Super Tone Master in my pocket, just waiting to sli[p it on when he wasn't paying attention. He noticed and give me hell for it after the concert, even threatening to take it away the next time I used it! The next time, was about 2 weeks later at a band competition. I knew he was ready to let me have it again, and I hid it in fear he might try to take it away! His anger faded when the judges rewarded us with solid ones and I our band took first place. I told them that I wanted my sax to stand out....and it sure did! I fought with this guy all through jr. high and 2 years of high school, and I eventually decided I'd had enough of high school band and quit band my Junior year. I played football instead, and I played with a jazz band. The 3 1/2 reed thing is absolutely ridiculous and I can't understand why so many instructors and band directors insist on such a heavy reed. A #2 or a #2 1/2 is much easier to play. I've seen so many students struggle with a 3 1/2 and decide to quit band because they're popping blood vessels! This is total ignorance!!! Why are they teaching this CRAP?

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        3. by definition
          (963 posts)

          9 years ago

          Re: Conn 6M Lady Face

          consaxman_jim, I seem to be in total agreement with you! I love my old 10Ms, I have two, one in pretty darn dood origional laquer from '42 and a silver one which will be gold plated eventually from '41. And not just the Conns, but just about any vintage horn is my preference over modern ones!

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        4. by zoot51
          (10 posts)

          9 years ago

          Re: Conn 6M Lady Face

          Keep in mind that the Selmer Company that makes the student-model instruments is connected to the Selmer Paris maker of pro instruments ONLY in that it was originally operated by a former student of Alexandre Selmer (George M. Bundy) and given exclusive rights to IMPORT Selmer Paris instruments. And, chances are, a local (somewhat unscrupulous) dealer, rather than the Selmer Company itself, was doing the pushing. As for insisting on one particular facing and reed strength for every student, that is one of my pet peeves. Granted, it is better than specifying one reed strength REGARDLESS of mouthpiece or facing used! I usually use a Hemke 3 or Vandoren 2 1/2 on my Selmer Soloist C*. I would find a 3 1/2 too heavy to get a clear sound and difficult and extremely tiring to control. For a beginner with an undeveloped embouchure it is absurd.

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      2. by spencerdrake
        (1 post)

        5 years ago

        Re: Conn 6M Lady Face

        I know this is an old thread but I have to know what happened, did you sell???? I only ask because I once made the same mistake and have had to live with the consequences and the empty feeling inside ever since, I miss my ladyface more than I'd miss a leg. By my estimate your son should be about 17 now and if he's stuck with that instrument then he already knows what I'm talking about. The ladyface is a beautiful creation with the voice of an angel and the eloquence of a poet. Fire the sax teacher he is a fool

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