Repairman's Overview: 1924 Conn New Wonder (Series I) Tenor Saxophone
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- čas přidán 10. 09. 2024
- Saxophone repairman Matt Stohrer of www.StohrerMusi... loves all saxophones, but it doesn't mean he isn't disappointed sometimes. So grab yourself a beverage and listen closely as he drops the nice-guy act, turns that smile upside down and gets real about a sax that could have done better if only its makers had learned to make a straight line anywhere on the horn even just one goddamn time.
For more info on these horns, see here: saxpics.com/?v=...
PLEASE READ THIS BEFORE YOU GET UPSET- if you own one and love it, this video is *not for you*. Context matters!
At the time I made this overview over a decade ago, there were a lot of these for sale on eBay for relatively high prices with sellers describing them like they were basically the same as later Conns, and I was dealing with a lot of unhappy people with freshly bought 100 year old saxophones that didn't play or feel like they expected. Now that the New Wonder 1 seems to be in proper perspective for most people, if I were to make this video again, I would tone it down a bit.
It has keywork that takes some getting used to, intonation is your job, and you need a competent repairer, but the tone on these is hard to beat. Go into it armed with the knowledge in the video above and you will not be disappointed. The New Wonder I is a fantastic instrument- now that you know what you are getting into.
I am so glad you've made this video.. I have played cornet for over a decade and have always wanted to learn sax. A very generous women gifted me a NW 1 Conn and it seems to not have been used in years, needs to be polished! Now, from what you mention above... what would you tell someone that doesn't have any expectations on what the keys should feels like? Should i still consider getting them adjusted or should I dive right in and enjoy the tone! (Once i'm good of course..) Thanks!
It probably needs a full overhaul. The polishing is the least of your worries if the pads dont seal up.
So Glad i watched this video. got a guy offering me a conn tenor NW1. Nearly brought it
Stohrer Music thanks for being honest. There’s too many saxophone channels that I had to unsubscribe to because they were full of it. Whether it was blatantly lying about an old horn to endorsing products without telling me that they were given the product for free. Currently there is one of these horns on Craigslist in Brooklyn for $400 and I wouldn’t touch it with a 10 foot pole. It needs a re-pad job and had a drop that affects the C key. Now I realize why so many of these New Wonder series one are being made into lamps by that guy in Pennsylvania. These horns are simply a bad omen.....
F@*% them if they can’t accept the truth from you. Keep up the great work. Every video you make gets my thumbs ups...
Matt, I was glad to come across this video...just starting a re-pad on one and its good to know what I am up against!
I have one of these I put together from a pile of parts (the dump pile) at a music store where I worked back in high school . They told me if I could find all the parts and assemble an entire saxophone I could have it. It took weeks on my breaks to go through the giant pile of woodwind and brass parts but I managed to locate every last piece of the Conn new wonder Alto. I had the repairman at the store check and redo my work and add new pads felts and corks. I played tenor so it was fun to have an Alto. I went on to get a masters in saxophone music performance and when ever I happened to need an Alto I used that old Conn. That saxophone prompted me to collect and play vintage saxophones for 42 years. I played semi pro for years and gigged with it 100s of times. I’ve used that tank of an old sax thousands of hours in every type playing situation. The sound is super nice. And the key work never really bothered me . I just last year bought a new Cannonball Alto that plays like butter but I’ll never sell the old Conn there is just something about a saxophone with a 100 year history that has a certain soul.plus saving it from the junk pile I’m a bit emotionally attached to it lol.
Wow what a great story!
Billy Kahkonen thanks Billy 👍👍🎷
I got it onnnnnnne piece at a time, and it didn't cost me a diiiiiiime.
Excellent video! Cheers Matt!
My Conn New Wonder 1924 tenor, original nickel plate, is superb. Effortless intonation! Pro - over hall with Conn reso-pads.
Having smallish hands, I adjusted to the ergonomics (keywork) within 30mins of first playing; it's now my main tenor.
I have played a 1959 Conn alto since it was new and I as in the fifth grade (I am 67). I just bought a completely refurbished 1923 Conn New Wonder series I. It appears to not have been used and the case is in near new condition. I have only played a Tenor size horn a few times. Last night I unpacked the C Melody, it was shipped from Florida to Michigan and it is cold here now. I was amazed at how easy it was to transition from my newer Conn Alto. I just love the tone, I think my next horn (a Tenor) is going to be a vintage Conn or Beuscher (maybe even a Martin).
Thanks for your honesty. There’s too many people on CZcams worried about subscribers and thumbs up on CZcams that they simply blatantly lie about things. I was going to pick one up for $500 that requires an overhaul, but I’ll pass it up.
I have a tenor in this series. It really is a very, very nice sounding horn. Because of the action, it takes more work to play it but once you get used to it, it's not too bad. It is indeed quirky and you have to be careful about who you have work on it.
Hi Matt. Lovely presentation. I totally agree - the keywork is junk. Cant be put any other way. I just bought a tenor in the 99.xxx serial range and its going on the surgery table as soon as I get it, to be fully modernized. I also found a way to fix the anoying 2. octave wobble these old lovely sounding horns tend to have. If you change the body pip to a Yanagisawa style pip - with a 2.3 mm hole in the center you get a perfect intonation and it levels out the almost every problem. Write my if you want some replacement pips - I make these my self and they dont change the huge Conn sound - just the intonation on the 2. octave.
By the way - I finished the old The Martin curved soprano you gave me. Its quite lovely, but as so many old sopranos it has a problem with the middle C# (not a problem in the 2. octave however) I will be posting some pictures on my website shortly for you to see. Thank you for that lovely gift - it is a pretty little thing :-) Hope you are well and doing great. Kind regards your fellow repair Jedi Wan :-)
Hi Anders, would this octave pip fix work with a 16m as well?
@@jjpbm I havent tried it, but changing the main cone pip can solve a lot of octave issues in my experience. You do need to know which pip design to use, but not that hard to experiment a bit since they are easily changed without wrecking the horn
@@acephali6533 thanks will give it a go
wonderful, much underrated saxophone
my tenor is 6644 serial number, which model is that?
You are probably right- if I had waited a little longer after working on this horn to make a video, I probably would have been a little gentler with my adjectives, but I try to do it within a day or two of finishing the horn so its all fresh in my head.
I have worked on some that were not nearly as bad, but usually they seem to be a bit worse built than the Conns of the next decade (which IMHO are the most finely crafted Conns out of all of them anyways).
It seems like the bigger horns would be more uncomfortable, is that true?
Nice review. Keeps the prices low. I play a 144XXX NW tenor for almost 2 decades now
and it still my killer horn no. 1. The tone is to die for and I never had
any trouble with the keywork. Fast and smooth for jazz and screaming R&B.
It is just a matter what you are used to. Lester Young for example never had trouble with it. It is not a horn for pussy's that is for sure. I have also tried several modern horns in the past years just for comparison. Even high priced Selmers. A NW suits me best.
So i just realized i have a PATD 1914 new wonder series , but the serial is scratched off. Any clue the worth on something like that?
I'd personally rather own and play a piece of American folk art than a disposable newer horn any day. I hear what you are saying about repair work, maybe they are not that friendly. The response from these horns with the right set up is fantastic. Some have this lush lower end that cannot be found anywhere else.
That's a valid point. Jazz is America's music, and this era of instruments can truly be classified as Americana (which gives them value, separate from their value as instruments).
I appreciate the harsh review, definitely plays a large role in my decision-making and buying process, but didn't change my mind. You talk about lower stack spacing, difficult C#, etc. Nothing you said has deterred me because I've played guitar for 6 years (strong left hand, C#) and currently play Bari (Right hand spacing). To each their own, I suppose. I can stand sloppy keywork as well as it sounds good and seals well. It's an instrument, not wall art.
I hear you. If you are willing to put in the time, these are good horns. But they do have their drawbacks, and I'd be remiss if I didn't mention them, especially in the case of someone looking to buy their first vintage horn and they don't already have a vintage-specialist repairman at their disposal. But for those that already know exactly whats up and have a repairman who can handle it, they probably don't learn much by watching my videos ;-)
I have an alto that looks exactly like this, except where this one says Conn, mine says Martin. I have been trying to figure out which Martin I have. None of the Martins I find look like this. How could My "Martin" actually be a "Conn"?
There's a Swiss shop called BasHaus (Wind House) that does exactly the sort of heavy mod to NW1s that you're talking about. Yay! - for those who can afford it. James Carter and David Murray play those BasHaus mods.
this is Lester's sax :) the sound of new wonder, chu and m series are in my opignon very different going from dark to bright and even brighter on m series.
but the keywork is also a thing of course it depend what kind of music you play :)
thanks for your videos they are great
How would you describe the difference between the sound of a new wonder series I and II?
@@Steezologist i would say that the new wonder 1 are more responsive than the new wonder 2 but the new wonder 2 more powerfull if pushed
you said the series 1 went up to around 143XXX - I have an alto here - 147 - no nailfile - yet older style neck and newer style high Eb key? I always thought the end of the run was later than 143XXX. Is there a VERY long period of transition between the series 1 and series 2? If so - what would you consider the first of the full series 2 to start (serial number)
NB: This is just my opinion & experience as a sax player who specializes in owning and playing vintage horns exclusively. My comment is not intended to suggest that vintage/antique saxophones are right for everyone, and certainly not for players just learning how to play. Just as a side note: I do not recommend vintage horns to my students at all.
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Just over a week ago I was given one of these by my first sax teacher. It was his first sax (bought it from his sax teacher when he was 17) and it became his backup horn when he bought a Mark VI in 1967.
The New Wonder Series I now have is from 1922/23 and has a sound to die for. It is about the same condition as the one shown in the video, with the same finish. Just used it last night for the first time to play lead tenor in the big band I play in.
When paired with my Dukoff S7, it has volume to spare, yet a rich, lush tone that is full in body for those ballads. Subtones to low Bb with ease, and screams in the altissimo just as easily. Lots of overtones are there waiting to come out. Compared to my Martin Handcraft, this horn is a breeze to play, yet completely different in sound.
Intonation was 100% spot on over the entire range of the horn, but like all saxes, that will depend on the player--provided the horn is not gorked in some way.
Mine does need to go to the shop since it has not been for a while, and does have some loose keywork. That said, like with all vintage saxes, having a great sax tech in your corner is paramount if you want your babies to play their best. Can't wait for New Wonder tenor to get tightened up. It is truly a killer vintage--almost antique--horn.
I think you have to be careful saying stuff like that about horns like this. I know you, and therefore know that your level of expertise as a player and especially as a collector and player of unusual vintage horns is very high. Without the caveats mentioned in the video, reviews like that (which are accurate from your point of view as an expert with a ton of experience with unusual and finicky vintage horns) can help create the situation that was arising when I first made this video: people were selling these horns on eBay to parents and students as a viable step-up from their Yamaha 23. Which it is not, in the same way a vintage Fiat is not a good replacement for your Corolla. A wonderful car for the right person yes, but when you get into 100 year old horns you have to be- in my opinion- careful to remember your audience does not necessarily have the experience necessary or the backup horn available to make owning one of these a positive experience.
@@StohrerMusic Matt, sorry if I left out the caveat IMO. I in no way recommend vintage horns to my students, or to anyone other than players who are intermediate players at least. And in no way was I trying to suggest that this--or any horn of this vintage for that matter--should be a step-up horn for anyone other than a well-informed and experienced player.
My point here was simply that these horns have their place, and can be very good for the right person, and in the right setting.
You are of course very correct, I have a whole collection of weird and wonderful vintage saxophones, many of which are very quirky. A great many players would find--and have found actually--many of the horns frustrating to say the least, yet I use them regularly with different groups with success.
@@bassicsax176 I agree wholeheartedly. I actually nearly acquired one for myself recently, lol. I am a sucker for the gold keys and silver body finish on these, and when I take the time to get one running well, they have such an amazing sound.
Excellent presentation 👏👏👏...I have the exact horn that’s been over hauled & Re lacquered... I’m not planning on playing it a lot but when I do... I know I have one ...Cheers 😎🌺🌈🤙🏽
I have an amazing New Wonder Series I 1925 and it has NONE of these problems. So I guess some pre Chu examples are transitional? I'm completely happy with my horn. It also has rolled tone holes. My guess is they continually improved their line over the years, and the year, not the series number may be what's important. I use a Rico Tenor MP and have no intonation issues. Full sound.
I do love the sound. I think perhaps the point of view of a someone taking a screwdriver to it and someone playing it could be completely different. I also think I probably should have waited until I wasn't in such a foul mood about the overhaul to make this video. As I said in a comment from 4 years ago:
"You are probably right- if I had waited a little longer after working on this horn to make a video, I probably would have been a little gentler with my adjectives, but I try to do it within a day or two of finishing the horn so its all fresh in my head.
I have worked on some that were not nearly as bad, but usually they seem to be a bit worse built than the Conns of the next decade (which IMHO are the most finely crafted Conns out of all of them anyways)."
thanks for the review. I've got a 115XXX tenor and it gives me plenty of problems- maybe i should just practice harder though. But the sound, with an Otto Link mouthpiece, is lush.
One question for you- for some reason one of the lower pads- a smaller one right at the base of the sax is corked shut. It doesn't seem to make any difference either way to my playing. Do you know why?
It might be an Eb - E trill mechanism (finger a normal Eb then use your middle finger of your right hand to trill to E). Probably corked because they're pretty useless and add weight to the action
Hi Matt I'mlooking at a 1925 new wonder2 tenor and the guy removed the G# trill key and reversed the Eb spring??? he says to get Eb now you depress 1 & 3 on the right hand what do you think about this and would it be much to return it to original Thanks
Always good to see your videos. Thank you for the replies for the questions about repair schools on the SOTW.
I agree, I have a C-melody of about the same vintage. It plays great and sounds great, but the pinky finger keys are really uncomfortable. After playing it just a little while, my hands ache, especially the little finger on my left hand. If not for that I would play it more often and that is the reason I haven't bought a Conn alto of similar vintage. I have the C-melody in nickel finish, I think it was made in 1927. I just watched your video the Buescher True Tones and I'm looking for one. Other people must be watching our videos too, since the price of them seems to be going up. Thanks for the great videos.
overhauled a 123xxx alto that seemed really well made. rolled tone holes, side set screws on pivots.etc. It was a total wreck so it could only get better it really came out great and the friend who plays has had great use....tone is amazing. Using the reso pads in conjunction with the rolled tone hole produces a really long lived system.
I enjoy your videos.
I can't agree with the keywork being 'terrible'. It is really not that bad and doesn't hurt my hands to play like the 10M. Maybe the keys were made by hand and it is just the bore that attributes to these being fantastic horns. I am sure chinese horns are more precision and regulated in regards to keywork, but let me throw this out there, the NW's are coming up on 100 years old now and still are playing great and sounding strong, but the chinese horns fail after a few short years.
I play-tested a 10M and also thought the key pearls hurt my hands. But I tried a NW First Version and the keys were fine...
I transitioned from a 10M to a NW I tenor because the keywork was more comfortable for my relatively large hands. Different strokes for different folks, I suppose.
I LOVE the tone I get out of the NW I, it’s just so big and lush. Since the switch, I’ve gotten more compliments on my sound than ever!
Yeah, I love them! I got use to the keywork within 30mins, with smallish hands! Superb horns.
The keyword on the alto isn't that bad. The worse part is the left pinky table. Granted it isn't a Yanagisawa.... But the tone!!!
I cant talk of the technicalities as I have never seen one (we dont have any in our country ,Sri Lanka ,hope you know where it is )but oh that absolutely clean diffused sheen is something to die for .,That's a Stohrer hallmark .
what is the key for on the bottom keys between the F and F# keys on the bottom right?
(F) - (lift to open Ab) -(E/Eb trill)-(D)
@gcrav Every sax I'm aware of that's been re-engineered for modern keywork has been a Conn New Wonder. It has something to do with Conn's favor among jazz players, which mostly doesn't extend to Bueschers. Trends in equipment typically spread thru players who know one another, so they tend to follow on what kind of music you play as well.
I just picked up an Alto NW1, and let me say: the tone is worth it. I play tenor mainly (117xxx MVI), and I was looking for an alto with a big sound without a big price tag. Mine was set up my Tony Barrette from U N. Texas, and they key work is really not terrible. The C# is my only major gripe, but I'm willing to work through that. I'd say go for it if you have a good repair man who is willing to do a thorough set up and check up on your horn. But don't be surprised if it doesn't feel like a later Conn or any Selmer.
agreed
key work is nice
Thank you, matt, I was considering buying one of these.. The place was asking for $800. So glad I found your video.
Matt, did you ever pick up a NW I and try placing modern keywork on it?
Nope. I've seen several versions of that though, and the results always seemed a bit lackluster to me. I think its possible to do, but very very difficult to do well. The geometry is different enough that the modifications are extensive, and the leverages change, and the end result feels a bit spongy and highly variable in tension and travel. I think you could design all that out, but to do it really right seems like its a bigger job than its worth.
I've read that the me lived on as the pan American line for Conn after they transition to the nw2. Like the true tone design became the Elkhart by beuscher? What's your thoughts? I have a PA tenor from the 1930s and it seems the case. Thanks!
You know, now that you mentioned it, this seems to be an issue with every NW tenor I've seen. The ones without a front F always seem to have a huge gap in between the B and Bis key, and the general look usually seems to be somewhat sloppy. With the altos, there always seems to be a crooked low C# key, but that is something that I noticed on the NW II as well. From a tech standpoint, I do agree with you. From a player's standpoint, these New Wonders can still be fun to play.
Don’t know, but just bought a Conn C Melody for under $500.
140xxx serial number.
Silver with rolled tone holes. (Your example looks like straight holes.)
High F key. Straight neck. (The other Series I that I saw online had the curved necks). The keys seem pretty straight in the photos.
But it has the smooth G on the table.
Body appears in great shape.
Would need new pads and some springs, I guess. Regulation for sure.
Hope it works out because want to play a few songs on sax when I retire and would like to play for nursing homes to brighten someone’s day.
Tedious to enter piano backup via Print Music and have to transpose the melody line to an Eb Alto.
Anyway, thinking they may have done this one a little different than the Series I transitioning further to the Series ll. Hope it’s a sleeper and I can make it sing a bit.
God Bless!
thats intresting, I've seen that on conns, and I saw in on a '60s mark vi not too long ago, and i didn't know what it was for. Thanks for the answering my question.
-Tristin
yes, I've seen the BlasHaus horns before. Definitely a very nice job! If I ever come across a cheap NWI tenor and find a bunch of time, I'd like to do it myself one day.
Thanks for posting this, Matt! I'm from Elkhart and decided to overhaul one of these recently (C Melody stencil of this model, actually). Mine looks identical to this, and it's been quite the job simply to polish it (as it was neglected severely, apparently). I've searched for these on your videos before, and I'm glad it's available now! Although, I wish you could've given me better news about what I'm in for...
I used to have two NW I altos in nickel and burnished gold plate. I noticed some of the key work flaws you point out on the nickel horn. Somebody had set up the gold one pretty well. Both sounded great. Like a Conn, but "rounder", if that makes sense. But the smooth G# drove me crazy on both - pinky would miss or slide off. The only NW I tenor I handled, I really noticed that cruel right hand spread. My hands are usually vintage horn friendly, but not those.
Do you think the Series II (sub-200xxx) Buescher True Tones might also be candidates for major keywork mods? More sweet sounding tubes brought down by primitive keywork and often dirt cheap.
Cool video. I play one of these and agree pretty much with your analysis. The tone for me makes up for its drawbacks. And it happens to be one with good intonation. It looks like the G# opens when C# depressed. Was that added later like with a tab on the G#?
Very good and honest reveiw . These horns are quirky and difficult to play, But I would'nt try change or improve mine. I like it just the way it is!
I have huge hands, and the spacing on the NW First Version alto I played today was fine. I was surprised, and then I saw this video. The sound is fantastic. I just bought a 12M, so the alto will be a nice compliment. I play Mark VI tenor #211xxx, bought new. Choice now is one of these with original pads (but closet queen and essentially brand new looking) versus a freshly overhauled Bundy 2 (both sound great, but the Conn is lusher). Which would you get? I can handle the quirks. Thanks.
the Conn for sure, no question
@@StohrerMusic Thanks! I bought the Conn. I also today tried a Martin Committee, a Selmer La Voix and an Armstrong stencil of a Couf. The Martin was freshly overhauled and a LOT more money. Regardless, I just couldn't resist the lush, sensuous, silky tone the Conn allowed me to achieve (and it screamed when I pushed it, too). The tech where I bought it did some needed repairs (and put on a new neck cork). It will need a repad when the 95 year old pads (that still seal and subtone to Bb) give out. I'm taking this gizmo to Europe in a month (first trip). Hopefully nothing falls off! Thanks for the nod to the Conn. The Bundy played well - for what it is.
@@StohrerMusic So, mine has the microtuner (but no nail file G#). It's 10-21-24 - could be be a 2nd version and not a first?
As a Mk VI player I have to say I can only play the Alto style neck on it. The tenor style neck is probably ok for someone 5'2".
I found a NW bari. Loved it. couldn't afford it...
I've got a stencil Conn called "The Liberty". It's an Alto and has a great sound!!! Even for a stencil it has this Conn sound you never hear from other horns...but as said in this video, the keywork is terrible!!!!!!!!!!
But I always enjoy playing with that Conn... :)
That’s the fun part of playing an old vintage sax. You get a different set-up on this one and at one time there probably was some killer players on a sax like this, A great and informative video. I plan on getting a sax soon one new and one vintage (never played) and this video did influence me to buy a vintage one like this one for display.
That is some pretty sloppy keywork. I think that I lucked out with my New Wonder Alto. Everything on that horn looks/feels like it was manufactured well. I guess things are very hit and miss with the handmade process of this era. Still, even with the limitations of the technology of the time, this is pretty inexcusable. I'm not sure that I'd go so far to say that they all had terrible keywork, but I really have to wonder what percentage would be good to great.
Bahaha, I'd like to see some folk art that plays well.
And the octave key!
Lester Young played a Chu.
(Following is not intented to be an angry comment. If taken so, I apologize). Some of the arguments used in this video to criticize the New Wonder 1 series just don't add up. For instance a key that doesn't look straight: this is just the way these parts were made in that ara (handmade instead of machined). This has no influence on the overall quality and the design concept of the horn. I have a new wonder 1 bass sax(1921) (the Martin Stencil). One day it got damaged (it fell) and it was bend like a banana and after that it still played well. I recently bended it straight again and took it apart for cleaning and only 2 of the rods had some oxidation and non of the screws had to be replaced: (after 100 years!). Keys being far apart in the right hand?: not on my bass. The sound of this horn is also really great. Check out the you tube video: "2 bass saxophones brandsma" . My bass being played by Bert Brandsma (he was the previous owner).
Saying "check out Bert Brandsma playing my bass" is like saying "check out a formula 1 driver shredding on my tractor". Of course he can play it well. It is a double non sequitur, since in the video I am talking about build quality- the *fact* that these horns can SOUND good is completely separate from the fact that they are not as well-realized as the horns that came after them, and most newcomers to the vintage world should look elsewhere for their first vintage sax.
And as I said in the description AND the main pinned comment, that was the purpose of this video when it was made- to give people looking at the ebay ads of the time (this is over a decade ago and a LOT of vintage horn sales happened on ebay) that said the NWI was basically like a NWII that was basically like a 10M a bit of a heads up that wasn't the case. People were getting ripped off, and to be honest that bothered me and was a big impetus for putting out this video (along with finishing an overhaul on the horn in the video, which was a somewhat frustrating challenge to me at the time). I also say that I would likely go easier on these horns now, if I were to make a video, since they have since been put in the proper context among other vintage horns.
And context DOES matter here, and I try to forefront it by putting it as a pinned comment and in the description, but you seem to overlook it, possibly because you feel personally attacked as an owner of one of them. You shouldn't, though. This video is not aimed at you. You have a New Wonder I bass and you straightened it out with your own giant hands that resemble gnarled tree roots. You are not wondering what a NWI is about, and I don't need to tell you, and I wouldn't do so if we met in person.
These horns can and do play well, but they are not a horn that a newcomer to the vintage horn world would likely be best served by puchasing- you want them to enjoy the journey, right? Maybe down the road, when the quirks are not so bothersome and they already have secured a reliable and competent source of repair. That is who this video is for. Not you.
And handmade- all of them were. NWII was also, in fact by the same people, and is a *much* better built horn. The 6M/10M series is another huge leap, where I would say the early 6Ms are among the most finely crafted saxophones ever made.
The keys are definitely far apart on the right hand on a NWI bass. Like, the farthest. You must have huge hands- after all, you straightened out a bent bass.
I completely understand your reply. Thanks!
Still disagreeing on one detail: the keys on the right hand on my bass are suited even for smaller hands. (I can sent a picture if you like.) I did read your pinned comment prior to writing my comment earlier today. The main reason I play a vintage bass is the fact I could not afford to buy a new(er) one at that time (in 2008) with the same quality. I just wanted to play a decent bass-sax (vintage or new) :)
And yes, the New Wonder 1 design does seem to have errors!, Like on my bass the B2 pad cup that hits the high eb shaft after I straigthened that shaft. And the bis key on my bass seems to be modified with an extention piece that looks not be original (but it has been installed for a reason). The shafts on the left side were hitting my clothes which caused problems. I had a new part (brass strip) installed to solve that issue. (but some newer saxes have that same issue)
You have seen far more saxophones than me so I leave it to you to decide which ones are generally better. I never had New Wonder 2 model in my hands, nor a 6m or 10m.
Thanks Matt for all the great content you put on You Tube.@@StohrerMusic
Glad you enjoy my content and I am glad you love your horn! I have worked on a few older Conn basses and I find them to feel large in the hands (my hands are probably average size, not huge but not small either), but perhaps I am thinking more of the overall feel vs. the spacing. I have not worked on any modern basses, just Conns and Bueschers.
The bis modification you have is likely because the spacing on those was sometimes so wide a finger could fit between the B and bis, and it was not super easy to operate. On the tenors, it is typically modified and I believe Oleg offered a doohickey for it a while back.
@@WillieWunderbar
Large in the hands: the right hand thumb - in the normal position - is quit far to the back. That is some stretch indeed. That's why I often put my right thumb to the side of the tube instead of the back were the thumb rest" is. I do this typically when we are on the road with a small marching band and playing all day long. @@StohrerMusic