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C Melody Saxophone Forum / C-Tenor (C-Melody) Saxophones / C Melody revisited

Captain Beeflat User ID: 1738604	Apr 16th 8:29 AM For various reasons I have not had my Buescher C Mel out of it's case for the last twelve months; I have been playing tenor exclusively. Consequently it was akin to an initial appraisal. First thought was how awkward the keywork felt. However, after just five minutes it felt utterly right...I could fly with it. Second thought was how very robust and powerful it sounded...I shall take it to a gig at the weekend and compare it with my tenor...I really do not think there is much to choose between them. The Buescher really did surprise me....it wailed, growled, roared or whispered. Third impression was the remarkably easy altissimo. Even without front (aux) F, any note I "thought" just flew out. note:- Many have difficulty with altissimo G...just try this :- first finger both hands + side D...just soooo easy. Fouth impression was how delightfully dinky it was while avoiding that "dainty" feel of the alto. I believe that it was ESB the other day who asked about suitable tenor mouthpieces. The piece I used (and recommended at his request) was the Jody Jazz ESP 100...it really really does everything that one could ask and may well be a factor in the ease of altissimo notes. I cannot recommend it more wholeheartedly. With spoiler fitted of course. Do try one if you have the chance. Weapons grade..even a big Berg sounded stuffy and girlie by comparison. I think that the tenor will go back into it's case for a few weeks while I re-discover the joys of the C Mel.
Captain Beeflat User ID: 1738604	Apr 17th 3:38 AM Following yesterday's euphoria, the Buescher C Mel is back in it's case. The issue is the keywork. It is fine for just doodling around but the inadequacies shew up on a two octave D to D chromatic scale, up and down. With modern horns, one is not usually aware of the keywork and this scale takes a fluid, seamless five or so seconds. With the Buescher, short runs are fine...but the whole two octaves make one very aware of the keywork inadequacies. Too heavy, too high (there is no physical reason for the pad height to exceed 29% of the tone hole dia.) and too uneven in terms of weighting. Fine for slow balads, and a glorious sound. I cannot wait for sound clips of the Aquilasax. Steve, let us hear it please, with something like a Lawton, Runyon or similar heavy duty tenor mouthpiece. If it sounds like my Buescher then pencil me in for one in silver plate, lacquered brass keywork and lacquered brass bell interior. My brief re-union with my Buescher TT has underlined what a very useful little sax is the C Melody.
alan (uk) User ID: 8200143	Apr 17th 4:48 AM Lewis - I played with a gentle local six-piece band in a school hall at the end of last year. And, for the first time, my Martin C-Mel let me down.......(or maybe I let IT down). I should mention that the space available was minimal, and I'd heard them play before, so their "you won't need an amp" was taken at face value. The keyboard and guitars had quite subtle amplification, 20W or less, and they were considerate players. I'd practised with them (once) and gone for an ebonite Link instead of the Lawton, because I thought the mellower sound blended in well with the female vocals (two singers, with a small two channel PA...) So you know the outcome already ! The unamplified C-mel was easily swamped, the Lawton might have made a psychological difference, but maybe not much in real terms. I think my tenor would have made the difference...... What did I learn ? a) The C-mel has a great sound and timbre, especially at home, but the voice is truly uncompetitive once multiple (even tiny15-20W) amps kck in. I've successfully played unamplified before, but with acoustic instruments, or just one amplified. b) Since then, a clip-on mic, a very compact 4 channel Boss Micro-mixer, and a small collection of cables, permanently live in the car - so that lack of channels on a PA won't a problem in future ! c) (Plan B) I have a small upright 'combo' that, even if I have to sit on it, will always be handy, even if I say "I'm just using it for the reverb" ! But, and again a BIG 'but' - the little C-Sop saved the day.. With the (Bb) meyer and plasticover reed, it cut thro' the sound like a hot knife thro butter !!!! So I reversed the norm, using the C-mel on the gentle stuff, and the C-Sop on the 'shakers and movers'. At the end, no-one talked about the C-Mel (not that it was that bad...), but the C-Sop made so many new friends that day.......
Captain Beeflat User ID: 1738604	Apr 17th 5:15 AM I hear what you are saying Alan and fully understand what you are saying about the sop. (With it's ever present disadvantage of sounding either like Kenny G or a snake charmer.).. this is how the tambourine cuts through...the frequency. The power thing is not a problem as I always play into a mic. so the C Mel would be fine. Even with the tenor I would be unable to compete with the guitars without amplification. Not too sure of clip on mic....it is good to be able to turn away from the mic. to find the key. Also, with a fixed mic. one can "woosh" a note across the front from side to side.
alan (uk) User ID: 8200143	Apr 17th 5:54 AM Agreed - that situation was just me admitting that (at times) the old C-mels do need a 'little help'. Normally I would amplify - if only for a touch or reverb (and maybe a little chorus/compression). Understand too about clip-on's and/or 'working' the mic - you don't always need to clip the mic onto the sax....... The AKG one I have is very compact,and with a flexible neck, also works well on the side of a music stand or even the left-hand watch strap for sax/flute (!) - plus the little waist 'phantom power' box with it has volume/pan/stereo/mono controls (I may be retired now, but, when I was playing seriously, I had all the bits) That episode taught me I should take even the smallest or silliest gigs seriously, in terms of kit...I got sloppy.
alan (uk) User ID: 8200143	Apr 17th 5:55 AM By the way Lewis, nice little conversation we're having, just the two of us...............
Captain Beeflat User ID: 1738604	Apr 17th 6:21 AM Almost like a chat over the telephone, very pleasant. Wonder what happened to the rest of the world? Now that Steve's new C Mel is imminent, he will be swamped with requests such...brass body, silver keywork with silver plated bell and crook (a La King Super 20). Actually, that's not bad...I think that I will order one to that spec if available... provided that it can sound like a Martin or Buescher C Mel. Talking of effects (FX to the soundman!) as you were...a bit of delay is always good; works especially well with a harp...oh yes, and a bit of flange, and phase. :-)) As we appear to be alone, how is Ace? and I hope that your arthritis is not playing up. Beautiful weather here...de dum de dum
Captain Beeflat User ID: 1738604	Apr 17th 6:34 AM Just emailed Steve enquiring about the practicality of that spec...his reply will probably start with "Behave" :-))
alan (uk) User ID: 8200143	Apr 17th 7:45 AM Lewis - I guess the continental North America is just waking up, and the other UK/Euro's are working (poor sods..) I'll be gettiing one of Steve's C-Mels, what's £500 ? With current interest rates, it'd mean I'll just lose £25 a year off my 'early pension', that's 50p a week for a new C-Mel.....bargain ! And I hear that we're almost at US$2 to the pound !! I tend to use just chorus, reverb & compression when available. Flange and phase bring back memories of the 'L A Sax' sound - every jazz-funk sax player was trying to hint at 'electronic'. On the recording software I use, I can stretch/shrink the sound, you should hera a C-Mel dropped down an octave, electronic C-Bass. Ace is fine, overdoes it in the heat, then sleeps. Starting 'agility' soon, with little Jo doing the running, be good for both of them. Arthritis fine (handleable) except for RH-thumb, legacy of mis-spent sax-swinging-youth ! But asthma is a real problem at the moment, what with early heat and early blossom ! So the recording is a bit on hold - as I can't find the 'wheeze-filter' anywhere...... I know we're straying, but it is your topic - I'll stop when the sensible posters arrive (Yeah....). I can't remember who or where, but I seem to remember someone saying (about Steve's sax) "with a high F# it'll be just that bit bigger, so closer to a tenor" ? I think not, still the same length tube, with or without F#..... Nice thought tho' ! Imagine if it had a low A, but the bow was moved down (so it would look like a normal sax) - now that would be something ! Lot of R&D tho'.
Captain Beeflat User ID: 1738604	Apr 17th 8:43 AM Yes I could not understand the extra length because of high F# either. I would prefer the low A model to hve the standard bow with an extended bell....like a baritone. Only a dream I suspect.
Captain Muggles User ID: 8945823	Apr 17th 8:51 AM My rule of thumb is "If any instrument that I am jamming with is amplified, then I will be amplified". No exceptions! Especially if it is a paying Gig in front of an audience. That way I am protected from any over zealous or egoistic player. I learned this many years ago during the Psychedelic era of the mid 60's. And have applied it ever since!
Captain Beeflat User ID: 1738604	Apr 17th 9:13 AM I could not agree more, young sir. It seems simply good manners to be given the same facilities as the guitarist. Good morning by the way...Alan and I were getting the impression that we were the last people alive. :-))
alan (uk) User ID: 8200143	Apr 17th 11:16 AM Couln't agree with you more Mugs, wasn't a paying gig, just a short notice 'freebie' favour for a friend. I rashly assumed that, if needed, I could be 'accomodated' on the PA. Wouldn't have happened if I was being paid to play, or organising it - and never happened before on a 'freebie', certainly won't again.... Good to know the C-Sop can take on all-comers tho' !
jazzbug1 User ID: 1836024	Apr 18th 2:05 PM Just reading your chat. I have found most electronic players to have significant hearing loss by the time they are forty. This handicap makes them oblivious to tasteful volume levels. I frequently play with unamplified jazz groups (small) without drums. The sound of your horn is not determined by a microphone/speaker. Worst case: I walk in and see a "professional" at the sound board. If he is a youngster, I accept the fact that no matter what I ask, he will make my saxophone/clarinet sound like a screaming heavy metal guitar, as that is the world of his experience. I have found, at least in small venues, if people come to hear you, they will shut up and listen if you are not amplified, whereas if you are loud, they will babble. If I play early jazz, a megaphone actully works well for the vocal refrains by my nasal tenor. It not only looks a bit funny, but my voice sounds like Rudy Vallee with a bad cold. happy honks
soybean User ID: 0401124	Apr 14th 2:25 AM quote; "The AKG one I have is very compact,and with a flexible neck, also works well on the side of a music stand or even the left-hand watch strap for sax/flute". That's a really interesting idea. So you actually clip the mic onto your watchband? How do you keep it from coming loose?
alan (uk) '08 User ID: 1278884	Apr 15th 5:38 AM soybean - don't know if this is a modern or old topic - but trying to post something in this sea of spam, jsut for sanity... The comment was slightly 'tongue in cheek' but I have used the AKG that way for 'one-offs' - the side of the sprung clamp that goes under the quite substantial leather watch strap, is 'even more' wedged in place by the strap tension as it's forced away from the wrist. Just works ! But obviously only used when I know I'll just be playing the odd one or two bits on flute - as opposed to mostly sax. I also have a Ramsa head-mic for more conventional flute playing, strangely the Ramsa mic can be swung out and pointed down for (you've guessed it !) an occassional sax mic... Obviously NOT for straight soprano ! Those two - the Ramsa and AKG - plus a conventional Shure Unidyne B on a boom stand (yes, I still have a couple of oldies) cover just about everything to the point of overkill. I should add that these days, the mic's are more used for adding a touch of subtle reverb & chorus, rather than for mega-watts... I have a lovely old Roland Jazz combo - which has built in chorus and reverb. Well - that was much more satisfying than deleting spam - but will anyone find this ?
Captain Beeflat 2008 User ID: 1738604	Apr 15th 10:58 AM Yes, I found it; but looking at this forum recently is akin to Russian Roulette.
Mal-2k8 User ID: 9335603	Apr 15th 8:55 PM My problem with clip-ons is that I only get one channel on the board. Even if I showed up with two mikes, I'd also have to supply my own mixer to feed into just one channel on the board. I've tried to talk the bandleader into getting a small 4- or 6-channel mixer dedicated to the horn section, but so far no luck. It really should be six if I'm going to take two, because we do use four horns some of the time. Then again, we only take four horns to larger venues with professional sound setups where the board probably wouldn't get used. For all the smaller gigs we take just three. I think I'd end up compromising -- I'd use a clip-on for alto, tenor, C-mel (if I ever get hold of one), and partially on soprano (I'd clip it on the bell). I'd use a stand-mounted mike for flute and piccolo, and to supplement the clip-on for the soprano (over the hands).
soybean User ID: 0401124	Apr 16th 2:55 AM (2008) Yes Alan, that was a new post and thanks for the follow up. the wrist idea is interesting, but not terribly practical as you say. I still have never tried even a clip on for the sax, just the old fashioned mic stand.
kyrugbymom User ID: 1564944	Jul 4th 3:21 PM We have a Holton C-Melody sax for sale. Serial number 7355. It has the mouthpiece and original case. It appears to be in working condition. We are asking $100.00 and you pay for the shipping service you prefer. Anyone interested, please email pcebelak@hotmai.com and put Sax in the memo line so I will not assume the message is junk mail. Thanks