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What do you do with your C-mel?

10K views 40 replies 25 participants last post by  Little Sax 
#1 ·
I'm just curious what other C-mel players are playing with their horns.

I like my C-mel and I enjoy playing it, but I don't see it ever coming on stage for my normal sort of playing. I treat mine compared to my other horns the way a guitarist might treat an acoustic compared to AEs and electrics. It follows me around to a casual get-togethers (bonfires, parties, etc.) where I wouldn't bring my usual horns, and if I travel for any length of time it's probably coming along for that. I typically use it for impromptu bluesy jams with guitarists, and for practice when I don't want to be loud.
 
#34 ·
ProfLeighton, there are very few C-Melody mouthpieces by comparison to alto or (Bb) tenor, both vintage or modern. I did start to make a list of any modern C mouthpieces that I knew about - or had even tried - on my help pages. There are others like Babbit who make a nice C mouthpiece, so I'm afraid it's not up to date, my interests have diversified to (e.g.) baritone these days so the C pages are a tad neglected.

http://csax.net/saxophones/question-answer.htm#modern

Most of the 20's C mouthpieces had a 'C' helpfully put on them, and were all of a certain universal size - "bloated dumpiness" about sums it up :bluewink: There were then VERY few mouthpieces specifically made for C's from the 1930's onwards - when C production stopped, mouthpiece manufacturers almost all stopped catering for them - although that option did appear in some mouthpiece brochures for a while (Link and Selmer come to mind).

Most (possibly not all) modern C mouthpieces made in the very late 1900's onwards are faced for tenor reeds, so if you have a mouthpiece that is smaller than your average tenor mpc, where the shank bore is often just too small for a neck cork that's fine for tenor mpcs, but it looks more like an alto mouthpiece on sterioids, and a tenor reed fits nicely on the facing (tip profile and width will match, length will be too long), it might, just might, be a C mouthpiece.

You can then do a bit of internet investigation to see whether that "make" of mouthpiece was ever made in a C format. And obviously check the tuning/intonation on a C-Melody. If it works, you have a match made in heaven even if you can never confirm it's a C. If not, it may not even be the mouthpieces' fault :cry: It's as imprecise as that, sorry, there are no magic dimensions unless you also have the same mouthpiece in alto and tenor size as well, in which case the fact that it's a C will stick out like a sore thumb...

Most C players tend towards their favourite tenor or alto mouthpiece - hence the relatively low demand on manufacturers - if the intonation is fine on a C, a lot of players will stick with the devil they know, be it an alto or a tenor mouthpiece.
 
#35 ·
Many thanks csax, judging from the length of the facing, I may have one C Melody mouthpiece, but maybe not.
These two mouthpieces are same company, B5* and a B6. about same age , 1930's ish; shouldn't be so different.
The one that has longer shank ,but the shorter facing,as ramcast suggests, it may be the C mouthpiece. But also look inside!
B6 is really hollow inside, compared to the B5*. Has thatgotanything to do w C Melody's..? The pieces are so different yet of the same age/ mfgr.I wonder. The only advert I can find on these is about 1940' s and there is no mention of a C Melody mouthpiece by then.
I'll have to do an intonation test as you suggest.
 

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#36 · (Edited)
Thank you for the link to your excellent site csax. I have learned a lot more interesting stuff about the C melody.
ProfLeighton, as csax mentioned in his website, the older 20s C MPs are sometimes stamped with a "C" like the second one in the picture which is a Buescher. Some are not marked like the 3rd one which is a King (unless all the markings were rubbed off). From what I've seen the middle or the bulbous part ( between the tip and shank) of the MP of both the tenor and C melody have similar size ( length and width). The TIP of the tenor is significantly longer than the C and the C tip is slightly longer than the alto but not much; the C SHANK is shorter than the alto, and much shorter than the tenor.
Almost all early, vintage, or original non- refaced C MPs I have seen have wide open chambers and narrower tip openings. Of course there may be variations, and I may be totally wrong. The photo shows some of my MPs for comparison.

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#37 ·
In my experience, when trying modern mouthpieces on C melody horns I have found that Bueschers, Martins and Kings go well with tenor pieces, while Conns and Holtons prefer alto pieces.
I have a Runyon red plastic alto piece that came in a sax case, and never really worked for me on altos, that is great on the Conn.
I play my Buescher with a Tenor Berg Larsen 90/2 M and Fibracell reeds.
 
#38 ·
What my c-mel has been most usful for thus far is quiet praticing- its so much quieter than my Bari or alto no one seems to mind when I play, even if others in the home are working. I'm using a Yamaha tenor piece, after much experimentation it gives me the best intonation, although there's still a few problem notes.
 
#39 ·
What my c-mel has been most usful for thus far is quiet praticing...
jrlsax, +1 on that. As the sax I play mostly these days is a (big band) baritone, there's a lot of reading involved, something that's always been my Achilles heel.

With new neighbours - so young kids on both sides - using the 'C' as a practise horn to run thro' the bari parts in the evenings is the perfect compromise. Not only (literally) do I keep the peace with neighbours, on the 'C' I get to wrestle with the sheet music as late as I like, but as a bonus it keeps me 'up to scratch' with the C - which would otherwise get neglected, as would the 'tenor mouthpiece chops'. Win-win-win situation.

And - yes - I couldn't resist stuffing a rolled up magazine in the bell to simulate a low A on a 'C'. I find the stiffer, more glossy, brochures give a more resonant sound, bare-paper just doesn't cut it :bluewink: I know there are 'mute' systems available, but it's a real plus to have a valid, useful, reason for dusting off the Martin C.

Nice.
 
#40 ·
Scottish trad and French "bal folk" - which are hardly ever in flat keys - and klezmer, where there's no real difference in convenience between a C and Bb. The only other sax-family instrument I have is a Bb tárogató, which mostly gets used for klezmer. I never play anything like jazz or Latin where a standard Bb/Eb sax would be useful.
 
#41 ·
I use mine 4-6 times a year at church for a different sound. I use my FMez for the same purpose, about 2-4 times a year.
 
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