C Melody Saxophone Forum

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C Melody Saxophone Forum / C-Tenor (C-Melody) Saxophones / Newbie needs a mouthpiece

Evan B
User ID: 0310794 Jan 2nd 4:17 PM
I've got a 1925 conn that I've had rebuilt by a talented guy here in North Carolina (he rebuilt my Martin bari and I'd put it up against anything I've bought from Sarge at www). I've also got a Supertone that I think is a Martin stencil. What would you recommend as a new mouthpiece that's available right now. The Supertone came with a tiny pea shooter that I can hardly use. I use a 6* Florida Otto Link on my old (1961) Mark VI. And I've been using a Zagar Cool School #7 on my Conn 10m and 30m. I'd love to get a more focused sound out of the horn, but I'd also love to hear maybe something that gets close to a hollywood Ducoff. Am I totally swimming here? You guys seem to know what you're doing so please let me know. Thanks
EB

WW2 in 2008
User ID: 0498634 Jan 4th 11:44 AM
Assuming that you are talking about a C-Mel, mouthpieces are discussed all over this board, so read and enjoy.

You can quickly get a C-Mel mouthpiece made for Tenor reeds at Ruyon.com or WWBW.com. You made need to call on the phone to order the C-Mel pieces.

Also see http://mysite.verizon.net/res8o1o8/tuning.htm for a comparison of various mouthpieces on a Buescher C-Mel.

Evan B
User ID: 0310794 Jan 5th 11:05 AM
Yes, I was talking about a C-melody. Sorry I wasn't clear.

The conn is a straight-neck c-melody. The Martin stencil has the tenor-style neck. Thanks for the input, I'll read through the post again and see what you all have to say.

Evan B

Captain Beeflat 2008
User ID: 1738604 Jan 5th 11:28 AM
Evan B
Many of us find that Bb tenor mouthpieces give the best results.
Assuming that your Mk6 is a tenor, your first attempts should be, in my opinion, the mouthpieces that you use on that, and your Conn tenors.

soybean
User ID: 0401124 Jan 6th 2:53 AM
(2008) Try a Rico Royal metalite/graftonite piece.

Captain Beeflat 2008
User ID: 1738604 Jan 6th 5:52 AM
soybean.....The tenor presumably?
The metalite is a seriously good piece; it's only fault was that it was too inexpensive. Those who judge a mouthpiece via their wallet, as distinct from their ears, would not buy it; preferring a streamlined, gold plated Carlos Fandango XXL...with half the tonal colour of the excellent Metalite.
Possibly not the first choice of those who play "Classical" sax however...for Blues/Rock/R&R however, give it unto me.

Evan B
User ID: 0310794 Jan 6th 10:10 AM
I hadn't realized that you could use a tenor piece. I had just assumed that it would be too long and play flat. I tried out a few of my tenor mouthpieces on the Conn c-melody and found that my old Brilhart Ebolin from my high school days seemed to work the best. I may have to sand down the neck cork to get all the way in tune. I don't suppose people ever remove the micro tuner, do they?

I'm also buying a Rico Graftonite
on ebay just to check it out. I assume the Metalite is discontinued.

Thanks again for all the info.

alan (uk)
User ID: 1731514 Jan 6th 10:18 AM
Worth trying the alto and tenor Metallites on a C-Mel, both are acceptable wrt intonation, they just produce different sounds. The alto one is more usable on a Conn microtuner neck.

I just love the description of the C-Mel sound, from a 20's catalogue "...it's tone is mellow like the Alto, but full and round like the tenor...". Well, there's enough scope in there to keep us experimenting with mouthpieces !

Captain Beeflat 2008
User ID: 1738604 Jan 6th 11:35 AM
If you do prefer the Graftonite but the intrusion of the (wretched) microtuner prevents correct tuning, only the lack of a hacksaw can stop you cutting a length off the Gratonite's neck...they are cheap enough.
The Metalite is,indeed, no longer in production yet they are developing quite a cult following; despite being as ugly as sin.
Currently I am involved in a cull of my excessive collection of mouthpieces, however, I will never part with my two Metalites. High baffle screamers with a thick bottom end.

alan (uk)
User ID: 1731514 Jan 6th 6:32 PM
Evan B - yes, sorry I missed the original "I've got a 1925 conn " comment - my eye was drawn to the Martin stencil (being a Martin fan).

The real, real problem with Conn C-Mels, the straight-neck/microtuner ones, as mentioned before, is that the length of the shank on a tenor mouthpiece makes it almost impossible to get on far enough to be in tune because of that microtuner.

An exception is the older 'short-shanks', like the Selmer Jazz short-shank tenor, and I've used a more modern Brilhart/Selmer, or just resorted to chopping off part of the shank on not-so-expensive pieces. If done properly, and smoothed/polished, doesn't have to look bad ! If you can pick up a cheap Conn Stencil C-Mel with a curved neck, try that neck on your original Conn, as there'll be no problems with shank lengths then (no microtuner...). Other manufacturers necks may fit, I once bought a Conn with a Buescher neck, but there are often tenon size differences, and possible intonation issues.

Wierdly, because the s/neck Conn looks like a bionic alto, decent-sized chamber alto mouthpiece often do play and sound better than tenor ones. Ebonite Bergs alto's (the older ones) are worth a try, as (to be honest) is everything you can lay your hands on. Until you've tried it, you can't be sure what mouthpiece will work on which C-Mel, it sometimes varies not only by manufacturer but even by individual sax. Anything is worth a try.

Don't dismiss the Modern C mouthpieces, I'd like to try a Morgan C or a Zinner C Spezial one day, just that, having built up a selection of tenor and alto mouthpieces over the decades (and with the C sax sized in between them) I can't resist using the ones I have. Better the devil you know ?

blue9girl9
User ID: 8910463 Jan 8th 9:51 AM
Evan, I have a C Mel mouthpiece made by Ralph Morgan which I bought here: https://www.junkdude.com. It cost a small fortune but sounds great.

jazzbug1 2008
User ID: 0735934 Jan 8th 12:35 PM
The resin coated Holton metal mouthpieces are so large chambered, that the altos work well on C melodys. It gives a very Trumbauer-like sound.

Evan B
User ID: 0310794 Jan 8th 1:09 PM
Thanks Alan, Captain, blue9girl9 and jazzbug for the info I will check it all out. I do have a short shank selmer jazz in my pile of tenor pieces and will try it out too. I never much liked it on my Mark VI or 10m. I will probably buy a dedicated c-melody mouthpiece just to get the feel and get past the micro tuner problem. From the look of it, most of you seem to like the Morgan better than the Runyon. Also, has anyone tried the straight necks from Aquilasax? It sound less painful than sawing off the micro-tuner.

I play out about twice a month and am looking forward to having the Conn c-melody as a b horn. No one likes to transpose, it's why I don't play much alto. I'll let you know how it goes. So glad I found you all.

Evan

jazzbug1 2008
User ID: 0735934 Jan 8th 2:57 PM
I purchased an Aquilasax curved neck. It fit my 1920 Conn C Melody perfectly. The quality and finish were flawless. The microtuner was more trouble than it was worth, as it froze up, or when worn, could rattle when played. Conn ended them shortly after the war. Good luck.

Evan B
User ID: 0310794 Jan 8th 4:04 PM
Jazzbug1

Yeah, I have a 1938 6M. It's just an ugly lacquer horn, but it's my favorite alto. My only other one is a Yamaha 62. The micro tuner has never been a problem with that one, but then again, I've never touched it. My Conn c-melody has probably hardly been played, no wear anywhere, so I hate to contemplate cutting off the tuner. I'll consider a new neck before that. So you chose a curved over a straight? Why?

bruce bailey 2008
User ID: 9690803 Jan 9th 12:17 AM
For me the straight neck puts the body of the sax too far away and makes it feel awkward.

jazzbug1 2008
User ID: 0735934 Jan 10th 6:53 AM
I agree with Bruce. The straight neck is very awkward, but obviously one can become used to it over time.I also chose a curved neck because the C melodys of 1919-20 appear with curved necks as a rule. I saw one on Ebay last Spring that had a microtuner on a curved neck! Conn mixed things up during transition periods, as I observe other manufacturers did in many fields, such as motor vehicles, radios, etc.

Evan B
User ID: 0310794 Jan 10th 9:47 AM
Funny, I've had the Conn straight neck for so long in an un-playable state that I've hardly ever strapped it on. Now that it's been re-padded, I hadn't thought about playing positions. My Martin with the curved neck is a lot more comfortable to hold than the Conn. Unfortunately, it needs to be overhauled too. Wow, you can spend a lot of money on these things, huh?

Oh well, I've gotten this far. Might as well bite the bullet. The only trick is explaining it to the wife. "Really honey, I need a horn that was made when F. Scott Fitzgerald was all the rage".

When I sort out my plan, I'll order a neck and report back. Thanks again.

saxotot
User ID: 0763414 Jun 9th 1:32 PM
alto mouthpieces work on c melodys

Evan B User ID: 0310794	Jan 2nd 4:17 PM I've got a 1925 conn that I've had rebuilt by a talented guy here in North Carolina (he rebuilt my Martin bari and I'd put it up against anything I've bought from Sarge at www). I've also got a Supertone that I think is a Martin stencil. What would you recommend as a new mouthpiece that's available right now. The Supertone came with a tiny pea shooter that I can hardly use. I use a 6* Florida Otto Link on my old (1961) Mark VI. And I've been using a Zagar Cool School #7 on my Conn 10m and 30m. I'd love to get a more focused sound out of the horn, but I'd also love to hear maybe something that gets close to a hollywood Ducoff. Am I totally swimming here? You guys seem to know what you're doing so please let me know. Thanks EB
WW2 in 2008 User ID: 0498634	Jan 4th 11:44 AM Assuming that you are talking about a C-Mel, mouthpieces are discussed all over this board, so read and enjoy. You can quickly get a C-Mel mouthpiece made for Tenor reeds at Ruyon.com or WWBW.com. You made need to call on the phone to order the C-Mel pieces. Also see http://mysite.verizon.net/res8o1o8/tuning.htm for a comparison of various mouthpieces on a Buescher C-Mel.
Evan B User ID: 0310794	Jan 5th 11:05 AM Yes, I was talking about a C-melody. Sorry I wasn't clear. The conn is a straight-neck c-melody. The Martin stencil has the tenor-style neck. Thanks for the input, I'll read through the post again and see what you all have to say. Evan B
Captain Beeflat 2008 User ID: 1738604	Jan 5th 11:28 AM Evan B Many of us find that Bb tenor mouthpieces give the best results. Assuming that your Mk6 is a tenor, your first attempts should be, in my opinion, the mouthpieces that you use on that, and your Conn tenors.
soybean User ID: 0401124	Jan 6th 2:53 AM (2008) Try a Rico Royal metalite/graftonite piece.
Captain Beeflat 2008 User ID: 1738604	Jan 6th 5:52 AM soybean.....The tenor presumably? The metalite is a seriously good piece; it's only fault was that it was too inexpensive. Those who judge a mouthpiece via their wallet, as distinct from their ears, would not buy it; preferring a streamlined, gold plated Carlos Fandango XXL...with half the tonal colour of the excellent Metalite. Possibly not the first choice of those who play "Classical" sax however...for Blues/Rock/R&R however, give it unto me.
Evan B User ID: 0310794	Jan 6th 10:10 AM I hadn't realized that you could use a tenor piece. I had just assumed that it would be too long and play flat. I tried out a few of my tenor mouthpieces on the Conn c-melody and found that my old Brilhart Ebolin from my high school days seemed to work the best. I may have to sand down the neck cork to get all the way in tune. I don't suppose people ever remove the micro tuner, do they? I'm also buying a Rico Graftonite on ebay just to check it out. I assume the Metalite is discontinued. Thanks again for all the info.
alan (uk) User ID: 1731514	Jan 6th 10:18 AM Worth trying the alto and tenor Metallites on a C-Mel, both are acceptable wrt intonation, they just produce different sounds. The alto one is more usable on a Conn microtuner neck. I just love the description of the C-Mel sound, from a 20's catalogue "...it's tone is mellow like the Alto, but full and round like the tenor...". Well, there's enough scope in there to keep us experimenting with mouthpieces !
Captain Beeflat 2008 User ID: 1738604	Jan 6th 11:35 AM If you do prefer the Graftonite but the intrusion of the (wretched) microtuner prevents correct tuning, only the lack of a hacksaw can stop you cutting a length off the Gratonite's neck...they are cheap enough. The Metalite is,indeed, no longer in production yet they are developing quite a cult following; despite being as ugly as sin. Currently I am involved in a cull of my excessive collection of mouthpieces, however, I will never part with my two Metalites. High baffle screamers with a thick bottom end.
alan (uk) User ID: 1731514	Jan 6th 6:32 PM Evan B - yes, sorry I missed the original "I've got a 1925 conn " comment - my eye was drawn to the Martin stencil (being a Martin fan). The real, real problem with Conn C-Mels, the straight-neck/microtuner ones, as mentioned before, is that the length of the shank on a tenor mouthpiece makes it almost impossible to get on far enough to be in tune because of that microtuner. An exception is the older 'short-shanks', like the Selmer Jazz short-shank tenor, and I've used a more modern Brilhart/Selmer, or just resorted to chopping off part of the shank on not-so-expensive pieces. If done properly, and smoothed/polished, doesn't have to look bad ! If you can pick up a cheap Conn Stencil C-Mel with a curved neck, try that neck on your original Conn, as there'll be no problems with shank lengths then (no microtuner...). Other manufacturers necks may fit, I once bought a Conn with a Buescher neck, but there are often tenon size differences, and possible intonation issues. Wierdly, because the s/neck Conn looks like a bionic alto, decent-sized chamber alto mouthpiece often do play and sound better than tenor ones. Ebonite Bergs alto's (the older ones) are worth a try, as (to be honest) is everything you can lay your hands on. Until you've tried it, you can't be sure what mouthpiece will work on which C-Mel, it sometimes varies not only by manufacturer but even by individual sax. Anything is worth a try. Don't dismiss the Modern C mouthpieces, I'd like to try a Morgan C or a Zinner C Spezial one day, just that, having built up a selection of tenor and alto mouthpieces over the decades (and with the C sax sized in between them) I can't resist using the ones I have. Better the devil you know ?
blue9girl9 User ID: 8910463	Jan 8th 9:51 AM Evan, I have a C Mel mouthpiece made by Ralph Morgan which I bought here: https://www.junkdude.com. It cost a small fortune but sounds great.
jazzbug1 2008 User ID: 0735934	Jan 8th 12:35 PM The resin coated Holton metal mouthpieces are so large chambered, that the altos work well on C melodys. It gives a very Trumbauer-like sound.
Evan B User ID: 0310794	Jan 8th 1:09 PM Thanks Alan, Captain, blue9girl9 and jazzbug for the info I will check it all out. I do have a short shank selmer jazz in my pile of tenor pieces and will try it out too. I never much liked it on my Mark VI or 10m. I will probably buy a dedicated c-melody mouthpiece just to get the feel and get past the micro tuner problem. From the look of it, most of you seem to like the Morgan better than the Runyon. Also, has anyone tried the straight necks from Aquilasax? It sound less painful than sawing off the micro-tuner. I play out about twice a month and am looking forward to having the Conn c-melody as a b horn. No one likes to transpose, it's why I don't play much alto. I'll let you know how it goes. So glad I found you all. Evan
jazzbug1 2008 User ID: 0735934	Jan 8th 2:57 PM I purchased an Aquilasax curved neck. It fit my 1920 Conn C Melody perfectly. The quality and finish were flawless. The microtuner was more trouble than it was worth, as it froze up, or when worn, could rattle when played. Conn ended them shortly after the war. Good luck.
Evan B User ID: 0310794	Jan 8th 4:04 PM Jazzbug1 Yeah, I have a 1938 6M. It's just an ugly lacquer horn, but it's my favorite alto. My only other one is a Yamaha 62. The micro tuner has never been a problem with that one, but then again, I've never touched it. My Conn c-melody has probably hardly been played, no wear anywhere, so I hate to contemplate cutting off the tuner. I'll consider a new neck before that. So you chose a curved over a straight? Why?
bruce bailey 2008 User ID: 9690803	Jan 9th 12:17 AM For me the straight neck puts the body of the sax too far away and makes it feel awkward.
jazzbug1 2008 User ID: 0735934	Jan 10th 6:53 AM I agree with Bruce. The straight neck is very awkward, but obviously one can become used to it over time.I also chose a curved neck because the C melodys of 1919-20 appear with curved necks as a rule. I saw one on Ebay last Spring that had a microtuner on a curved neck! Conn mixed things up during transition periods, as I observe other manufacturers did in many fields, such as motor vehicles, radios, etc.
Evan B User ID: 0310794	Jan 10th 9:47 AM Funny, I've had the Conn straight neck for so long in an un-playable state that I've hardly ever strapped it on. Now that it's been re-padded, I hadn't thought about playing positions. My Martin with the curved neck is a lot more comfortable to hold than the Conn. Unfortunately, it needs to be overhauled too. Wow, you can spend a lot of money on these things, huh? Oh well, I've gotten this far. Might as well bite the bullet. The only trick is explaining it to the wife. "Really honey, I need a horn that was made when F. Scott Fitzgerald was all the rage". When I sort out my plan, I'll order a neck and report back. Thanks again.
saxotot User ID: 0763414	Jun 9th 1:32 PM alto mouthpieces work on c melodys