CBall vs. Mark VI

[pbsax]

I've never played a cannonball sax, but very curious as to how they play. I would love to test one out. I have a Mark VI now. How would you guys rate a CBall tenor to a Mark VI tenor. Thanks.

[averageschmoe]

depends on the six.

[Balladeer]

I purchased a Cannonball Big Bell Globalizer tenor one year ago. I found the horn to be solid. The volume, clarity and projection are very good, but the tone never impressed me.

Compared to a Mark VI the Cannonball tenor is:

* More free-blowing, less resistant, air seems to be used up faster
* Tone more clear, but less rich and complex
* Low notes below D1 will jump out louder
* Left-hand palm keys will feel farther from the arc of your left hand
* Left-hand pinky cluster will require a greater stretch
* Keys will feel solid, but action will not be as slick as VI
* Weight of horn feels much heavier around your neck

[Dr G]

Ditto Balladeer's comments. I've played several - including "select" models. While I find them competent horns, I would not recommend them to someone looking for a Selmer sound.

[Saxaholic]

Depends on the horn....and the setup.....and the player mostly. Cannonballs have great clarity and ease of playing....they are extremely free blowing and very, very good intonation wise. The sound I believe is up to the player. I've heard players sound better on a C-ball than on a Mark VI. Take the alto player in Maynor Fergusons band, he plays a C-ball while the tenor player plays a Mark VI. So who knows? It's all dependant on the player and their preference of style, as well as set-up and experience.

I think the C-balls can sound as good or better than any professional sax out there. As always, too many variables are involved to make a fact-based analysis. My rundown....

*The C-ball will play easier, from low Bb at ppp, to a screaming altissimo at fff.
*The sound will be very clear, but very easily shaped by your mouthpiece, ligature, reed, and player. The basic tone is strong.
*Low notes and high notes pop out, although they suffer in the higher register as far as intonation goes. With some adjustments and/or mouthpiece, it shouldn't be too much of a problem.
*Keywork is smooth once regulated by a nice tech. Cannonballs can come either horribly fresh from the factory or perfect out of the case. Depends on the horn you get.
* Two necks standard! Not bad if you're selective in your tone and change styles.
*Cheaper. All C-balls will be cheaper than almost all Mark VI's.
*Ballsier sound in my opinion. It's got projection.

All around very nicely made instruments. With the right set-up and player, they sound just as good or better than any other pro horn, INCLUDING the Mark VI.

But then again, so does every pro horn! :P :lol:

[Balladeer]

I use terms like "rich" and "complex" to discuss tone. As a player who plays classical, jazz, big band, smooth jazz, and r&b, my experience is that for loud, r&b playing I did not need rich/complex tone nor do I miss it if is missing. However, my musical love is the jazz ballad played by a small combo and a sax player. When I play that kind of music I can hear every nuance and subtle shading of tonal color. The Big Bell Cannonball I had (and others I have played at music stores) simply does not produce those subtleties. I really do not know why. Not with Links, Vandorens, Sugals, Dukoffs, and the ESP.

I played an asian copy of a Mark VI that did produce those subtleties. My present tenor is a Guardala NY DG501BN and it produces a beautiful bouquet of tones. I wish the CBall had sounded better because that's what I bought and it certainly was less expensive. I now chalk it up to "you get what you pay for". Meanwhile, I thank God for a father who bought me a used Mark VI alto in 1966 and for giving me the good sense to keep it.

[Saxaholic]

Some horns just don't do it for certain people. That's why it is great to have choices! :D

[DukoffHollywood]

hey Balladeer...just curious, have you ever tried an RPC .120B? this hard rubber mpc on the Cannonball you sold me plays PERFECTLY for the combo type you just described. I hvae it on trial from the WW&BW, and I would surely buy it if I could afford it. They are having a closeout sale of $200, and after that you have to buy directly from the website for $285. Come to think of it, I just might buy that RPC...

[Balladeer]

DukoffHollywood:
I'm glad that the Cannonball is playing great and that it's sound is good for you. When I sold it to you I knew it was a good playing tenor. It certainly played in-tune with clear sound and even the bell keys played easily. There are two things that are nit-picky that I never cared for: (1) Regardless of mouthpiece the sound did not seem complex to me. Big - Yes, but complex - No. (2) The action is not as quick and streamlined as my Mark VI.

Complex sound is a subjective term and difficult to describe with words. Perhaps we can use vocalists as a comparison. Some vocalists have excellent choir voices that are very clear. These singers blend together well because their vocal sound is rather neutral. Other vocalists have a voice that has something extra in it. For example, Lou Rawls would not be a good choral singer. Same thing with Frank Sinatra. There voices stand out and make them better at solo work. That's the kind of tenor sound I wanted. The Cannonball's volume of sound makes it stand out, but not its richness or complexity. If I were playing R&B, rock and roll, or symphonic band music, the Cannonball would have been the perfect choice.

That tenor was the first new saxophone I ever had in 41 years of sax playing. I expected it to be as good as the better tenors I had played back around 1970. Especially as the price of saxophones has increased 700% since then. In the final analysis, it just wasn't the right tenor for me. If you sense resentment or anger in me, it's because the process of buying the Cannonball from a dealer in New Orleans (not Mr. Goodson) was extremely aggravating, and I shall never forget it.