Dictionary of Conn Terminology
Airfloat Slides
Conn, 1959: "... made of high temper nickel silver and finished in exclusive Conn "Crysteel" [(q.v.)] ... tough,
hard nickel plate for smoothness, speed and easy response. All Conn slides are straight bore for musical and
mechanical perfection. Slides the same bore are easy to play ... project tone ... and equalizes the slide bearing
for smooth, even action."
Bell Lock
The bell lock is the mechanism (usually a screw in modern trombones) that lock the bell and slide sections
of a trombone together to prevent them from separating while playing. In days gone by, the bell and slide
sections of a trombone weren't locked together this way and were friction fitted.
Bottom Octave Key
Conn, 1959: "This Conn exclusive feature is found on the 6M Artist alto saxophone. Faster, because it is
shorter action... will not leak with special octave hole insert... eliminates troubles because of bulky
top octave rings found on all other saxophones."
Bottom spring valves
So-called "bottom-spring" valves have the spring below the valve (as opposed to top-spring).
Although topspring valves (q.v.) are usually associated with professional models, there were several professional quality
models with bottom springs, such as the 22B New Symphony/Victor trumpet and the 1955-1957 6A/6B and 10A/10B Victor models.
Cali-Bore
According to Conn (1959): "Cali-bore is part of the process of calibrating the
entire tone column of every instrument to guarantee accurate acoustical measurements at every critical point from mouthpipe
to bell flare".
Connite
From a 1925 Conn pamphlet: "Connite is the name of a new metal, an alloy made according to a secret formula worked out in
the Conn laboratories. It is more nearly frictionless than any other solid substance known to man. One can easily imagine
what the use of this practically frictionless metal has done to the action of Conn trombone slides. Experimental models
were sent for trial to a number of the foremost trombone artists in America, and without exception the verdict of these
experienced musicians has been enthusiastic praise. The making and use of Connite is completely and exclusively controlled
by C.G. Conn, Ltd, Elkhart, Ind. Only Conn Trombones may possess this super-feature, which represents the most radical step
toward improvement which the band instrument world has seen for many years."
Coprion bell
The Coprion bell is a one-piece copper bell, electroformed on a mandrel.
They were used on a number of Conn instruments, such as the 12B. The Bach "Sterling Plus" (read pure silver)
is also electroformed. Electroforming only works consistently with nearly pure metals as alloys tend not to
plate evenly in composition, especially in thick sections. First developed by Conn in 1938. In the 1959 catalog Conn says: "
COPRION (copper ion) is produced by electrolytic deposit of copper ions in perfect line with tone column. 'Hard spots' and
playing resistance is gone! Easy playing and response is actually measurable. Pure copper is on [a] stainless steel precision
form accurate to millionths of an inch. Bells have same density throughout... increased resonance produces live, powerful tone."
Conn Advertisement (Source: Paul Ayick)
Crysteel valves
"Crysteel Valves -Smooth as crystal and hard as steel- are another important contribution to better
cornets and trumpets. Great advancement in precision manufacture makes this better valve possible.
Inaccuracies inherent in old methods of manufacture make it necessary to leave the valve soft
enough so inaccuracies can be worked out by hand lapping, or grinding. Conn has developed a new method
of manufacture which is accurate to less than one ten-thousandth (.0001) of an inch and which eliminates
these inaccuracies. Since it is not necessary to obtain accuracy of fit by hand lapping (since the valve
is made accurate in the beginning), the CRYSTEEL valve can be made twice as hard as ordinary
valves. The result is a better fitting, easier working valve and one that will wear much longer."
Source: 1933 Conn catalog.
Electro-D bell
According to a 1959 Conn catalog, "... on 28A and 38B models. Scientific application of hard nickel that
brings out the "total tone" ... selected from 17 bell designs, developed by Conn research scientists or
the greatest progress in acoustical engineering in years." Electro-D is probably a similar process as
coprion in that the metal is electrolytically deposited. Hence, I suspect, the term "electro(litically)-d(eposited).
High Pitch - Low Pitch
In Germany the bands and orchestras in the mid- to late 1800's played in a pitch where A=440 hz. This is
the standard "low pitch" of today (which later became known as "American Standard Pitch" when it finally
came to use in the US). However, at the same time, bands and orchestras in France, England and the US were
playing in "high pitch" (A=452.5 Hz). In fact, in the US, "military high pitch" was even higher
at A=457 hz. Around the turn of the century, the use of low pitch became more common in the US, France
and England. However, it hadn't replaced high pitch yet. So horns were offered with slides to allow the
player to play in either pitch, depending on what was required and what pitch the other instruments were
in. In 1917, the American Federation of Musicians formally adopted A=440 as the "official" pitch for the US,
and it became known as "American Standard Pitch". Apparently, (strange as it may seem) following World
War I one of the provisions of the Treaty of Versailles adopted A=440 as the standard pitch for all signatory
nations. Following these events, the production of horns with accessory slides for high pitch declined, and
finally stopped. (Source: Tom Meacham)
Hydraulic Expansion
According to a 1959 Conn catalog, "Another Conn exclusive process that includes precision forms which are engineered
to hold the important curved sections of any Conn instrument so that 4000 pounds water pressure can be applied to smooth out
the inside of the column to proper acoustical measurements. Polishing the outside is not too difficult and all instruments
may look attractive but the inside is the part that is important to tone, tuning and response."
Lustre-Conn
In the 1959 catalog, Conn says: "Made of two strong chemical formulas and applied with special equipment, Lustre-Conn
is a hard but transparent finish that stands body acid and scratch exposure under all playing conditions."
The term "Lustre-Conn" first appeared in Conn's 1957 catalog.
Mechanism
Some cornets such as the 80A are classified as "with mechanism" or "without mechanism". The mechanism is a system
whereby the slides connected to the valves are automatically pulled out the correct amount when the main tuning slide
is pulled out to A. See picture
Micro Finish Tone Chamber
According to a 1959 Conn catalog: "... (mouthpipe) on 28A, 38B, 6A, 6B, 10A, 10B models. The "heart" of good tone depends on
the critical taper in the tone chamber (mouthpipe). Only Conn has the scientifically formed tone chamber over a stainless
steel mandrel ... tolerances held to less than 1/30 the thickness of a human hair." There is some suggestion that this is a
similar process as coprion in that the metal is electrolytically deposited.
Microtuner
This is a twistable knob seen on early cornets and many alto saxophones up until about 1954.
On cornets it is attached to a slide, usually positioned in front of the valve casing. On saxophones it is
in the neck, immediately aft of the mouthpiece. The purpose of the microtuner is to adjust the tuning of
the instrument very precisely.
P-27
According to Conn in 1959: "Identifies the formula of a special material used to make the outside slides [of trombones]. Although a much more
costly material with a bronze bearing base, Conn experts selected this after two years of research and testing for all Connstellation, Artist and
Victor trombones."
Permadjust
The permadjust mechanism is found on the 26M and 30M Connqueror saxophones.
According to Conn: "One of the worst troubles players have with saxophones is keeping them in adjustment. the foot of the keys
which determines the lift has heretofore been covered with cork. This cork packs down, some of it worse than others. In certain kinds
of weather it swells. It also comes loose under rough handling. The result is a saxophone in constant need of adjustment. The player
who uses his instrument a lot has to send it to a repairman every few weeks to have it recorked and regulated. It is almost impossible,
too, to put some keys in adjustment with cork, notably the articulated G# key. Conn has eliminated all this trouble with the Permadjust foot.
With this little device it is easy to put all keys into micrometer adjustment. Instead of trial and error shaving of cork, you merely screw
the permadjust foot out for less lift of keys and screw it in for greater lift. When correct adjustment of lift is secured, you lock the
foot in place with [a] tiny set screw. By locking the adjustment foot, the adjustment is retained indefinitely. The foot has a large area and
seats on hard felt, secured to the body of the instrument and protected by [a] metal ring. The hardest kind of playing will not throw
the key mechanism out of regulation. Tested and enthusiastically endorsed by many of America's greatest saxophone artists. Created by Conn
to help the saxophone player and make his work easier." Source: Conn ad for the 26M and 30M Connqueror saxophones.
Slide Lock
For trombone players this is probably very obvious: a slide lock is a mechanism that locks the slide so it can't be
extended. This is useful when putting the trombone on an instrument stand, that way the slide doesn't rest on or drop to the floor.
Slik-Slide
A term used by Pan American. In 1938, Pan American gave this explanation: "The new, harder, smooth-as-glass, corrosion resisting
finish on Pan American Cornet and Trumpet pistons, and on the Pan American Slide Trombone slide, is a flint-like finish that assures
you of smoother, easier and faster action resulting in smoother, easier and faster playing instruments. This means that the instrument
will give you greater playing satisfaction. Too, this finish resists wear and corrosion longer." Source: 1938 Pan American brochure.
Spring Barrel
On a trombone, these are springs in the barrel of the hand slide (nearest the mouthpiece receiver) that allow
the hand slide to be "compressed" slightly to give a position higher than "position 1", sometimes referred to
as "position 1/2". The usual reasons given for the spring barrel are: 1) To allow slide vibrato in first position;
2) To allow first position D above the bass clef staff to be played in tune rather than flat, as it otherwise
would be on most horns if the Bb is in tune; 3) To avoid banging the mouthpiece into the chops when making a fast
return to first position. In the 1959 catalog, Conn describes the spring barrel as "easy first position adjustment
gives player complete control of pitch". Spring barrels were used on the 8H, 70H, 72H and 88H. Source: 1959 Conn catalog
and Gary Sloane.
Tapered Rotors
According to Conn in 1959: "In the 88H and 72H Bb and F trombones, the change valves are equipped with a tapered rotor valve to
insure perfect port match, better action and longer life. This more costly design will offer greater satisfaction for the players
of these Artist models."
Top spring valves
So-called "top-spring" valves have the spring above the valve (as opposed to bottom spring).
Top spring valve instruments are usually professional models. However, the reverse isn't the case: there were several professional
models with bottom spring valves.
Tri-C valves
Conn: "An anti-bounce discovery for trumpet and cornet valves, coupled with a radical new way of
finishing the pistons themselves - conical damping to eliminate bounce, crysteel pistons that stay
like new, clean chamber because there is no felt fuzz." Source: Conn Chord magazine, 1962. As far
as I can tell Tri-C valves are always top spring valves. The "conical damping" consists of a cone shaped
piece of cork at the top of the valve spring mechanism which fits into a conical shaped space. Presumably
this eliminates "bounce". Tri-C valves were used on trumpets and cornets between 1959 and 1962, probably on
instruments with serial numbers 800,000 through 999,999. Instruments from 1963 on don't have the conical
piece of cork anymore (serial numbers C00,501 and higher).
Tuning Slide in Slide
Although in trombones the (main) tuning slide is usually located in the bell section, before 1955 Conn made
trombone models with the main tuning slide in the slide. This consisted of a screw mechanism
to extend a tuning slide
within the slide. The advantage of having the tuning slide in the hand slide is that this allows the entire bell
section to be conical, in stead of there being a cylindrical section to allow for the tuning slide. For the
effects of conical versus cylindrical tubing, see The color of sound .
Vocabell
This is the name given to bells that don't have a bell wire. Supposedly, the bell is so thick/heavy that
it did not need a bell wire for strength. According to Conn, "The Vocabell is more than bell without a wire in
the rim. It is a solid metal bell in which the thickness of the bell bottom is scientifically graduated to permit
maximum vibration in sympathy with the vibrating tone column in the instrument. Delicate harmonics dampened out
or muffled by the bell with a wire in the rim sound full, pure and free on this new principle bell, enriching and
strengthening the tone. Columbia Broadcasting System Studios in New York made tests on the Vocabell and showed
it has from 12 to 15 decibels greater power with the same amount of effort than conventional bells."
Used on the 40B and 48B Connqueror. (Source: Conn catalog) Bell of a 40B.
Wrap, the
"The Wrap" refers to the way in which an instrument is "folded" or "wrapped". Many Conn trumpets and so-called
"Long Cornets" from the 50's and 60's have a "wider" or "looser" "wrap" than modern trumpets. See for example
the 38B Connstellation. (Source: Paul Ayick)