Saxophones Conn 10m.... Could this be the one?

[Woodpad]

Nope can't say that I've seen or heard that particular recording Pete 😏 but I believe you as I did see a comparison on a MK VI Vs Yam 62 - no difference at all and I was watching the changes. 🙄

I dunno 🙄 it's all getting quite confusing and overwhelming.

I guess it comes down to personal preferences in all of it. Mpc, lig, reed and horn not discounting the player variables in all of this of course.

Confusion is normal and don't worry too much if you feel that its more complicated than you can imagine.
Thanks to the internet we now know what we don't know. Before that the teacher was the most important source of knowledge and often we found out that he didn't know how limited it was.

 

[teen37]

Confusion is normal and don't worry too much if you feel that its more complicated than you can imagine.
Thanks to the internet we now know what we don't know. Before that the teacher was the most important source of knowledge and often we found out that he didn't know how limited it was.

Yes! Thank heavens for the Internet! 🙏 And cafe sax 🙏 and all you guys on here 🙏 and of course good ol AI 😂
Which in all honesty is telling me all sorts 😂 can't tell you how many saxes it's recommended to look at but maybe it's not all bad as it's very unbiased 🤔🤔🤔

 

[Wonko]

Lots of good info here already, let me just add my experience for good measure.
I consider myself a beginner (with lots of experience), but I have learned some stuff along the way that I want to share.
I started on a Yamaha (YTS32, I still have it as a backup tenor) and played that for over 10 years while taking lessons. About 4 or 5 years ago I got myself a 10m from 1963, I loved the huge, colourful sound that I could get out of that horn.

I am convinced however that, say 2 years prior to buying that horn, I would not have been able to get that sound out of that horn. I just didn't have the breath support, embouchure, and other technical abilities to get that sound. So don't rush into buying gear to get a certain sound, practice will deliver more results.

After a couple of years trying to get to grips with that horn, I went to London to try out some modern horns that might get me a similar sound, but with modern ergonomics. The key layout and ergonomics on the 10m are quite different to the Yamaha that I had started on. But the change is manageable. But my bari also has the modern key layout, and I still feel more comfortable with that layout.

I found 2 horns that came very close to the sound that I wanted, the Rampone & Canzanni R1 Jazz and the Eastman 52’nd street (with the M-neck). I also tried the TJ-signature (very curious about that one because Stephen has been praising it so much), but that sound was more along the lines of that Yamaha than the Conn, not what I was looking for.
So if I were to get myself a tenor now, I would be going for a Rampone. Based on my (very limited) experience with that brand in London, I got myself a Rampone curved soprano that I am taking lessons on right now. I like it very much.

So I would conclude, don’t rush into buying a new (or second hand) horn. Try lot’s of horns, by all means, but don’t feel compelled to buy any of them as long as they don’t grab you……

 

[teen37]

Lots of good info here already, let me just add my experience for good measure.
I consider myself a beginner (with lots of experience), but I have learned some stuff along the way that I want to share.
I started on a Yamaha (YTS32, I still have it as a backup tenor) and played that for over 10 years while taking lessons. About 4 or 5 years ago I got myself a 10m from 1963, I loved the huge, colourful sound that I could get out of that horn.

I am convinced however that, say 2 years prior to buying that horn, I would not have been able to get that sound out of that horn. I just didn't have the breath support, embouchure, and other technical abilities to get that sound. So don't rush into buying gear to get a certain sound, practice will deliver more results.

After a couple of years trying to get to grips with that horn, I went to London to try out some modern horns that might get me a similar sound, but with modern ergonomics. The key layout and ergonomics on the 10m are quite different to the Yamaha that I had started on. But the change is manageable. But my bari also has the modern key layout, and I still feel more comfortable with that layout.

I found 2 horns that came very close to the sound that I wanted, the Rampone & Canzanni R1 Jazz and the Eastman 52’nd street (with the M-neck). I also tried the TJ-signature (very curious about that one because Stephen has been praising it so much), but that sound was more along the lines of that Yamaha than the Conn, not what I was looking for.
So if I were to get myself a tenor now, I would be going for a Rampone. Based on my (very limited) experience with that brand in London, I got myself a Rampone curved soprano that I am taking lessons on right now. I like it very much.

So I would conclude, don’t rush into buying a new (or second hand) horn. Try lot’s of horns, by all means, but don’t feel compelled to buy any of them as long as they don’t grab you……

Hello wonko ☺️ and thank you so much for sharing your experience with me 🙏😘
I love how you have adopted that term "a beginner with lots of experience" 😊 maybe that also applies to me these days 🤔😂🤷
Anyway, I think you are definitely onto something. As I'm discovering listening to y'all that one horn doesn't fit all players.
I shall endeavour to try as many horns as I can but it is difficult in the UK, there just aren't many places to do that but I'm planning another trip to London soon where I'll pop into Sax. Co and Howarths. Hopefully that will give me insight and answers on what I need to look at. 🤔😊

And no, I'm not going to rush into anything 😊😘

 

[Colin the Bear]

We're all improvers.

Bear in mind that any recording you listen to is just that. Any video may not be of the instrument you're hearing.

Peter's anecdote of his recording experience highlights the unimportance of the horn to the finished sound. Producer, mic's, studio and the production mix all play a greater role.

Thursday gig with a three part front line and a banjo Tuba back line and the alto was singing and the sop was soaring.

Saturday gig in a different bar with a solo guitarist. The alto was screaming, the sop was nasal but the tenor and baritone were sonorous and melodic.

Horses for courses. Playing just one horn it needs a set up to be very flexible to fit in with different ensembles and venues.

I like Yamahas for their accurate intonation, mouthpiece friendliness and the ease of regulation. In a mixed wind ensemble their neutral tone blends and solos easily.

The tenor picked me first. A 25 at a rock bottom price in fantastic condition. The alto soon followed.
Finances restrict a Bari and sop, but, never say never.

 

[Targa]

I shall endeavour to try as many horns as I can but it is difficult in the UK, there just aren't many places to do that

You could have a look at Hanson, he will send you one out for a 14 day free trial.
I bought one in 2009 and still happy with it.

 

[teen37]

You could have a look at Hanson, he will send you one out for a 14 day free trial.
I bought one in 2009 and still happy with it.

Actually I bought my clarinet from Hanson a few years back as I had sold my original one way back in the 80s as I was only playing my tenor back then. Got upto grade 6 on the clarinet. Now I just have a go at Artie Shaw and maybe a bit of Paul Read 😊

 

[LostCircuits]

You’ve obviously missed my old (but true) anecdote of when I was recording an album and two weeks into the recording my MKVI broke. I panicked a bit but then found a 10m and continued the recordings. Nobody, including the producer, noticed I’d started a solo on the MKVI and finished it overdubbing some dropins on the 10m. Even to this day I cannot tell the difference in sound. What I do know is the Conn was easier to get in tune at the top hence I stuck with it rather than going on a hunt for a MKVI.

But, the mother of all questions: How bad did you break it that you needed a new horn?
I feel there is more to that story ..

 

[davidk]

Hi @teen37 . Are you busy on the 8th November? Come to the RNCM saxophone day in Manchester: RNCM Saxophone Day 2026 - Royal Northern College of Music

M5, M6, M62. Simple 🙂

"Our trade exhibition will include stands from All Brass and Woodwind and Dave Walker Designs, Barnes and Mullins, Clarinet and Saxophone Society of Great Britain, Conn, D’Addario UK, Henri Selmer Paris, John Packer Ltd, Johnny Roadhouse Music, Rosetti Ltd, Royal Air Force Music Services, Saxtet Publications, Vintage Saxophones Online Limited, West Yorkshire Woodwind, Windstruments Ltd, Woodwind & Reed Music Shop Cambridge, and Yamaha Music Europe."

Barnes and Mullins are the UK distributor for Yanagisawa and Trevor James. West Yorkshire Woodwind specialises in vintage horns and the owner is a Conn fan. Similar for Vintage Saxophones Online (vintagesax) Windstruments and John Packer will have plenty of instruments for you to try.

And you get great tuition, and get to hear some fantastic artists. A bargain day out at £40.

 

[teen37]

@davidk that's sounds absolutely amazing David 👌😘
So... You say it's a trade show?... Obviously I'm not trade so can I gain entrance to this?
What does the £40 cover?... Just entrance?
You mention tuition? Is that covered by the £40?
Im buzzing with excitement here 😁😁😁😝

 

[teen37]

@davidk actually just saw the link you added so all questions answered now I've looked thanks ☺️👍

 

[turf3]

I think the idea of going to that show with a bunch of new and old horns available to try out is a great idea. Bear in mind that it'll probably be a big open event hall with a bunch of people blowing on horns, so niceties of sound may be hard to distinguish; but even so I think you'd get a feel for different types of instrument and how they actually feel to you. You might find that the old Conn makes you break out in a rash, or you might find that an old Martin feels just like coming home.

 

[teen37]

I think the idea of going to that show with a bunch of new and old horns available to try out is a great idea. Bear in mind that it'll probably be a big open event hall with a bunch of people blowing on horns, so niceties of sound may be hard to distinguish; but even so I think you'd get a feel for different types of instrument and how they actually feel to you. You might find that the old Conn makes you break out in a rash, or you might find that an old Martin feels just like coming home.

My thoughts exactly. I'm going to do my best to get up there for sure 😉👍

 

[JayeNM]

Fair. It amuses me no end to see someone take their favorite mouthpiece to go shopping for a new horn. It can be immediately constraining in some instances.

Hmmmm....so you have a fave mouthpiece that fits you like a glove. You can do everything you want on it. You may be in the market for a new to you horn. You leave the mouthpiece at home ?

I would posit, instead, that one of the checklist points on assessing a 'new' horn would be 'how does it work with my favorite mouthpiece' ?
That seems pretty reasonable to me.

More reasonable than 'I found this horn I like but it doesn't match well to my favorite mouthpiece, it worked better with some others, on brief playtests, so I am gonna buy the horn and I guess I will have to go thru matching up this horn to a different mouthpiece'.

 

[JayeNM]

How will I know if I find The One if I don't keep trying every other horn that comes along?

Do you really have to try 'every other horn which comes' to find one which speaks to you ? I have never thought of sax shopping to be so 'needle in a haystack'.

If playtesting is your methodology, line up some weekend trips to different shops that have some of the horns which may interest you, go....playtest....and it's fairly likely after a half dozen or so, one is gonna strike you as the one which you connect with...

 

[turf3]

Hmmmm....so you have a fave mouthpiece that fits you like a glove. You can do everything you want on it. You may be in the market for a new to you horn. You leave the mouthpiece at home ?

I would posit, instead, that one of the checklist points on assessing a 'new' horn would be 'how does it work with my favorite mouthpiece' ?
That seems pretty reasonable to me.

More reasonable than 'I found this horn I like but it doesn't match well to my favorite mouthpiece, it worked better with some others, on brief playtests, so I am gonna buy the horn and I guess I will have to go thru matching up this horn to a different mouthpiece'.

Well, here's an interesting conundrum.

Let's say, for example, you're a baritone player, and for the last 30 years you've been playing a Selmer-style baritone, and you've been doing it with a Berg Larsen 1 chamber. Now you've heard about the Conn baritones.

Should you go with the Berg you're familiar with, that you can be pretty confident a Conn will spit right back up like that wormy apple?

Or should you take a Link, that you never play, but which will work better with the Conn?

I don't have an answer. I think people who play more moderate design pieces can probably just take their familiar with them. People who play more extreme designs, I don't know what to say.

Now this is way past where the OP is; if I recall she's been using something like a Yamaha 4C or the like, a standard moderate design MP, and certainly in this situation I'd say "Take your familiar mouthpiece and a reed that works well on it". But I'm not sure there's an overall rule that would apply to everyone.

 

[turf3]

Do you really have to try 'every other horn which comes' to find one which speaks to you ? I have never thought of sax shopping to be so 'needle in a haystack'.

If playtesting is your methodology, line up some weekend trips to different shops that have some of the horns which may interest you, go....playtest....and it's fairly likely after a half dozen or so, one is gonna strike you as the one which you connect with...

True - you don't have to evaluate EVERY horn out there. You just have to find ONE that feels right when you're playing it.

 

[JayeNM]

I think the idea of going to that show with a bunch of new and old horns available to try out is a great idea. Bear in mind that it'll probably be a big open event hall with a bunch of people blowing on horns, so niceties of sound may be hard to distinguish; but even so I think you'd get a feel for different types of instrument and how they actually feel to you. You might find that the old Conn makes you break out in a rash, or you might find that an old Martin feels just like coming homeegarding trade shows, are there actually sax shows which feature a good variety of vintage horns in play condition that are testable ?

Interesting event. I see a couple purveyors on that list...I wonder how many different models they'd bring ?

I have not been to many of these, but the ones I went to featured a wide selection of mfr's CURRENTLY AVAILABLE wares....although again that one seems to be trying to offer more variety.

So, to me it seems if you are now opening your search to vintage, and you wanna playtest...you usually have little choice but to search out individual sellers within distance to you, or walk-in shops...

For me, playtesting at shows, and you have touched on this already....You are playtesting in a pretty unnatural context...so not only would it be harder for you to assess 'the niceties'...but it may well be those niceties are what would distinguish one from the other, to you.

However, if the goal is just to see if the 'vintage experience' works for you, and the vintage reps there do not just show up with expensive grail models....yeah it could be a good visit.

 

[JayeNM]

Well, here's an interesting conundrum.

Let's say, for example, you're a baritone player, and for the last 30 years you've been playing a Selmer-style baritone, and you've been doing it with a Berg Larsen 1 chamber. Now you've heard about the Conn baritones.

Should you go with the Berg you're familiar with, that you can be pretty confident a Conn will spit right back up like that wormy apple?

Or should you take a Link, that you never play, but which will work better with the Conn?

I don't have an answer. I think people who play more moderate design pieces can probably just take their familiar with them. People who play more extreme designs, I don't know what to say.

Now this is way past where the OP is; if I recall she's been using something like a Yamaha 4C or the like, a standard moderate design MP, and certainly in this situation I'd say "Take your familiar mouthpiece and a reed that works well on it". But I'm not sure there's an overall rule that would apply to everyone.

Fair enough....but...you would STILL TAKE your Berg to playtest the Conn...no ? Just to see. You wouldn't leave it at home.

Also, you have gone to polarities here to make your point (which isn't a bad point). You even mention that 'extreme'.

All I was saying is I don't think there's anything silly about playtesting candidates with your favorite mouthpieces....

In your scenario, I'd bring 'my' Berg (if I had one, which I don't, I actually hate 'em) then maybe another of my 'pieces which was more 'neutral'. And I'd sorta expect in advance, the Berg to be a fail

 

[teen37]

Well, here's an interesting conundrum.

Let's say, for example, you're a baritone player, and for the last 30 years you've been playing a Selmer-style baritone, and you've been doing it with a Berg Larsen 1 chamber. Now you've heard about the Conn baritones.

Should you go with the Berg you're familiar with, that you can be pretty confident a Conn will spit right back up like that wormy apple?

Or should you take a Link, that you never play, but which will work better with the Conn?

I don't have an answer. I think people who play more moderate design pieces can probably just take their familiar with them. People who play more extreme designs, I don't know what to say.

Now this is way past where the OP is; if I recall she's been using something like a Yamaha 4C or the like, a standard moderate design MP, and certainly in this situation I'd say "Take your familiar mouthpiece and a reed that works well on it". But I'm not sure there's an overall rule that would apply to everyone.

I have played a 4c for some years but just changed to otto link tone edge 6 😉 I love it! But still have problems getting clean notes C and below 🤷
This is the whole question mark here. Do I spend however much getting it overhauled?.... or as it's a "base model" as was mentioned earlier, play as is and put that money to better use getting an upgrade?
I've decided after all your comments here to forgo the overhaul and put the money towards another horn. The question has been really, was the Conn 10m the one to look at? I liked the sound for sure but several valid points have been made by y'all that's made up my mind on it already.
I do think that the point I'm getting overall is that you have to find the horn that suits you and speaks to you and yes, I think that should certainly work with your existing mpc/reed setup, otherwise you're then left with another search to match up a mouthpiece to suit a horn! One that may not give you the sound you love. Seems A about T to me 🤔🤷