TromboneChat

Seems like Conn-Selmer could stand to make a lot of money if they brought back the 6H. I feel like most boutique horns are based on it. The market is definitely still strong for .500 bore horns.

Anybody know why they stopped making it? I know the 100H was a thing but that still doesn’t even really answer the question.

The 100H was the 6H's direct replacement, so if Conn brought back a professional small bore it probably wouldn't be a 6H. However, they don't make small Conns of any kind anymore, which was a deliberate decision by Conn-Selmer. They streamlined the Conn and King lineups so they don't overlap...generally King gets the small horns, Conn gets the big ones. It's also why Benge died and the only Holtons left are the ones schools still buy for some reason. (Bach gets to make everything though.)

I also don't think there would be THAT much of a market for a new 6H. People want 2Bs and 3Bs. King doesn't even have the 2B+ in their lineup anymore.

I have two 6Hs and also a 100H. All great instruments, but totally different concept between the models. A little strange: while the 100H is much lighter and generally responds extremely quickly, I do not get totally get along with it in the high range (high C and up). But I think it's not really the instrument, but rather myself being used to the 6Hs which for me also Kind of have the same feeling as the 88H, just smaller.

I am really tempted to get a Greenhoe small bore which I hope would be like a new, modern and even improved 6H.

TromboneSam wrote: ↑Sun Sep 11, 2022 10:19 am Seems like Conn-Selmer could stand to make a lot of money if they brought back the 6H. I feel like most boutique horns are based on it. The market is definitely still strong for .500 bore horns.

You answered your own question. It's a great design. But anybody who wants a 6H can probably find one in good shape pretty easily and anyone who wants a "modern" 6H can find a different flavor of that concept from manufacturers who already sell a .500 bore 8" bell horn.

That market is flooded with cool new horns and a bazillion used horns. I'm always a little surprised when I see a new small bore from a company.

A matter of economics. With all the choices of small horns, being able to tailor a horn for the individual buyer, why would they do this? They’re in the business of making money .

Fridge

King still makes 2Bs and 3Bs. Bach still makes 12s and 16s. Conn (UMI by then) might have been better off not replacing the 6H with the 100H but there you go.

Simple answer is .... They can't be arsed

There are enough good condition 6H trombones on the used market that the prices remain pretty reasonable. Is there enough demand to support an influx of instruments with the same design but at new-horn prices and with no vintage cachet?

spencercarran wrote: ↑Mon Sep 12, 2022 7:23 am There are enough good condition 6H trombones on the used market that the prices remain pretty reasonable. Is there enough demand to support an influx of instruments with the same design but at new-horn prices and with no vintage cachet?

New slides would be nice. A lot of old Conns have worn slides.

Bach5G wrote: ↑Mon Sep 12, 2022 8:55 am

spencercarran wrote: ↑Mon Sep 12, 2022 7:23 am There are enough good condition 6H trombones on the used market that the prices remain pretty reasonable. Is there enough demand to support an influx of instruments with the same design but at new-horn prices and with no vintage cachet?

New slides would be nice. A lot of old Conns have worn slides.

Next question: Why did they stop making the Conn 3 mouthpiece?

I like small bore horns that are more in the 6H mold, with full weight slides, and the 8 inch bell, but my main instruments are larger .547 horns. The 6H style horns seemed to go out of style, especially with a trend towards light nickel slides. Add to that, the consolidation of Bach, Conn and King into one giant company meant that having lots of models just put them in competition with themselves. Like somebody else mentioned, Benge trombones were another casualty of the merger. When you combine all those companies into one, one way they make a profit is to cut products that may overlap in buyer interest. They figure that they can sell King 3B's, Bach 16M's to some of those 6H people and 2B's, 12's to others. Whoever they lose probably won't add up to enough sales to justify keeping the tooling and extra staff to produce the 6H, or 100H for that matter. Conn mouthpieces were always a small niche market, with a small but loyal fan base.

Jim Scott

Speaking as someone who loves the 6H...the 6H isn't a complicated or unique trombone. .500" slide, 8" bell, yellow brass with nickel trim, not lightweight. That sounds like a Yamaha YSL-354! I bet if you put a nice aftermarket leadpipe in a 354 you'd be a long way there.

A new 6H made yesterday wouldn't play like an Elkhart, just as the new 88Hs don't. So once you divorce yourself from that idea, why does Conn have to make it? If you REALLY wanted a new 6H, I'm sure a properly specced M&W 210 or Shires w/T00 would be an excellent horn for the job.

I have a 6H, a Yamaha YSL 653, and some kind of older Shires 0.500 bore trombone that I bought new. I have known people that sounded incrementally better on the 6H. The Shires has a great slide and is versatile. The 653
gets a great big band sound. I like the sound of Bach LT12 trombones probably the best, especially for small group jazz. I can get good results with any of them. I have a lot of Bach trombones. The early ones were more consistent. The youngest Bach that I have is an LT6 that did not reach its full potential until it was repaired after suffering significant trauma. Consistency may have been the nemesis for Conn 6H trombones earlier on and may have led to their demise.