Chu Berry vs. Naked Lady
Vinyltap
and really like them a lot. Now I'm starting
to look at the Chu Berry since I figure it goes
even further back to the glory days of jazz.
Thing is that the Naked Lady's sound so damn
good I'm wondering if the Chu's put out as nice
a sound and are as great to play as the more
modern Lady's....tenors specifically but altos
also. Any comment?
JB
were model 10M which just meant tenor saxophone, so I would say take a look
at some, take a look at some 10Ms and decide which you like better. But from
that same time period, dont neglect the Balanced Action, Buescher, and
Martin horns.
--
John B.
"Vinyltap" <viny...@aol.com> wrote in message
news:20001209230227...@ng-cm1.aol.com...
RS
> > good I'm wondering if the Chu's put out as nice
> > a sound and are as great to play as the more
> > modern Lady's....tenors specifically but altos
> > also. Any comment?
If you look carefully at the tenors, you'll notice little change (if
any) between the "chu" and the 10m Naked Lady other than the keywork.
The design remained [largely] the same. I couch this statement as there
were subtle changes through out their manufacturing.
The altos are totally different - bore, neck, bell, keywork etc. At
their often bargain price, it is reasonable to get one of each and still
not spend a grand. Eg. - there was a mint condition Chu alto in silver
plate which got NO bids on Ebay @ $250.
Tenors are going for comparably more moolah.
--
Robert Steinberg
MidiOpera Co.
http://www.evcom.net/~midiopra
mwitthoft
As good.
Different.
More complex ... "floral" ... sound.
On the "Chu altos" (yeah I know it's an oxymoron), I have a lot of
trouble with low B and Bb. Only certain mouthpieces will get the notes
to speak at all. My beloved Bergs and Levelairs are out of the
question. Haven't had this problem with Chu tenors.
--
Morgan in Austin
(Do not ReplyTo the @Deja address. Send email to
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Before you buy.
MrWitworth
get an early Conn alto to speak in the low register, I would speculate that
there is a leak somewhere on that horn.
RC
Paul Lindemeyer
There may also be a mouthpiece mismatch. The Chu alto is somewhat picky
about mouthpieces, and one of the potential problems is a flat and/or
balky lower register.
Low B also can hiccup or "motorboat" if not well regulated (true of Chu
tenors as well).
--
LINDEMEYER PRODUCTIONS INC.
Orchestras Ensembles Graphic Design
C.G. CONN & BUESCHER Saxophones
Paul Lindemeyer <pau...@cyburban.com>
Lelia Loban
>>
>> > Chu Berry vs. Naked Lady< To the person that comented that he/she could
>not
>> get an early Conn alto to speak in the low register, I would speculate that
>> there is a leak somewhere on that horn.
>>
>> RC
>
Paul Lindemeyer wrote,
>There may also be a mouthpiece mismatch. The Chu alto is somewhat picky
>about mouthpieces, and one of the potential problems is a flat and/or
>balky lower register.
>
>Low B also can hiccup or "motorboat" if not well regulated (true of Chu
>tenors as well).
>
Yes, I've had this problem both with mouthpieces and with slight pad leaks on
the bell keys. The "Chu" tenors and the other Conns from that period take a
short mouthpiece, compared to the ones made today. I've had best results with
vintage 1920s Conn or Buescher mpcs, but I'd like to try a Rascher-type mpc
sometime, too, because a lot of people report good results with those.
The key thing seems to be a short overall length, because the ratio of neck
length to mpc length seems to have changed over time. One of my altos came
with a modern Selmer "Goldentone" (inexpensive student mpc that I think was
sold for Bundy saxes) that's truly horrible on my old Roaring Twenties saxes.
The bass end, especially, goes so flat that there's no way to pull it up
without squeaking. I wouldn't be surprised if the intonation mess with that
mpc was the reason the former owner sold that sax, if it was the only mpc he or
she was trying to use on it.
Lelia
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