also lacquer instead of silver or nickel finish is pretty rare, as far as I know. It would be cool to have, but I don't have $1K to spend on cool right now. . .
Pity Conn never did go on to complete the transition for their C-Melody's (as far as I know) - even though they did for their curved Sopranos (I've only ever seen one with same-side bell keys)...
Funny, I never saw a curvy done that way…any pix?
My tranny C is 274k (1936), just like the one pictured, but with more extensive engraving.
The 244k (which is a 1930 serial) has a type of engraving done on lacquer/nickel horns from 1933-'35. This says it spent awhile in inventory, which was typical of off-models at the time.
These are not just collector's items if you play a lot of C. They play subtly better, IMO, than the NW I models commonly seen. The octave system has the shallow-cone chimneys introduced across the sax line in 1929, and certain keytouch improvements for a better feel.
Sorry, no pics found. 3 possibilities:- 1. My memory's failing? 2. The pics I saw were really a Mezzo-Soprano? (I don't believe so). 3. It briefly surfaced years ago (on eflay), but is now well and truly in hiding! That's my story!
Serial Number would likely need to be higher than 282k, because that's the latest split-bell 4M I've seen. Cheers...
The Naked Lady on it makes it very rare as it is not a "New Wonder II" and not a M Series.....it's worth the money to the collectors out there even without pads, that guy knew what he was doing.
Essentially it's the last refinement on the NWII, with curved E and improved octave vents (cone-shaped instead of dome-shaped). Alto and tenor models like this also exist, made from 1929-'31...and yet a further improvement on the tenor, 1932-'34, with the shot glass octaves and unguarded F# trill cup.
Collectively they could be called the Transitional NWIIs, Tranny Chus, or Tranny Split Bells.
When classifying a sax, it's never a good idea to rely on markings, stamps or engravings. Looking at working features is what tells you what model you have. Markings may convey rarity, collectibility, or time spent in inventory. But only occasionally do they herald functional design changes.
How many who want such a horn would ever plan to play it anyway? My late-serial models all get public exposure, but I'm the exception. I actually prefer them to earlier horns due to incremental (and sometimes drastic) improvements. And then there's another consideration - if I may get metaphysical for a wee bit, which is un-collectorlike and un-musicianly behavior - so try and stay with me here…
Instruments like my C mel, sopranos or bass sax, made after the fashion for them had ended, were essentially born white elephants. They probably spent most of their lives underused - playing tame, limited music in tame, limited settings. A decorous bow at the occasional church recital or school musical. Then back in the storage room while real musical life went on without any need for them. But in the 1920s their kind had roared, and buoyed high spirits even higher. I try to fulfill their true potential. Like them, I was born too late myself.
This one closed yesterday. Same serial bloc as the one at the top of the thread, 244k, with a little extra engraving that tells us it sold in 1935 or later. Winning bid $885. http://www.ebay.com/itm/142167927332
Pretty. Needs a pile of work, tho.
It's neat how Buescher's burnished horns had sandblast inside the engraving.
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