I had a harder time with the neck position on a Martin C-melody.Īs stated before, the condition that they are in is an important factor on the price.
I don't find that the ergonomics are much different. Just bought another from DVDberg as a back-up. I sold that Conn, and now have a Buescher as my main C -melody. It is fuller, with lower notes closer to a Tenor sound, more responsive to different mouthpieces, and I get more flexibility to go from nice and soft to loud and growling. I like the Bueschers more, due to the tone. It could be picky with mouthpieces, tending to motorboat on the low notes if they were small-chambered. I agree with posts above on the ergonomics, and it played well in tune. The Conn C-melody (M-series) was my first C. Leaking tone holes are repairable but this will increase the repair costs. One thing to watch for would be the integrity of the soldered tone holes Martin used. +1 to Bruce's suggestion of Martin (and their various stencils most of the Wurlitzer-branded C melodies are Martins). I think, for example, the longer neck of certain baritone saxes is more of a learning curve, and certainly I wish my alto flute didn't have a straight head.the tenor-style neck on my Buescher C melody is not a big deal in comparison.Īlso, many of the Buescher saxes from that period lacked a front F key, although you can work around that with other fingerings, and you can always have a front F added (although I haven't done that to mine). But since you're just getting into the C melody, you'd probably adapt to either design. The one thing that makes the Buescher significantly different from a Conn is the shape of the neck, as others have observed. I'd like to have a Conn just to have one, but can't justify buying one as I simply don't play C melody on gigs. I got it years ago in exchange for doing some repair work for a guy in need. One of the few exceptions is my Buescher True Tone C melody. Most of the saxes in my arsenal are vintage Conn instruments.
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