TromboneChat

Any opinions on the Conn 110H, positive or negative?

Well, it's a single. Huge loss of usability right off the bat.

The 100 series also have a 10 inch bell and a very different sound than the rest of the Conn basses. I don't hate my 112H, but I don't love it either.

Worked for George Roberts.

Chris

It's better than most of the "anonymous" Chinese horns.

It's no Shires.

But it plays well.

Probably good enough for most of us.

blast wrote: ↑Tue Apr 23, 2019 3:19 pm Worked for George Roberts.

Perhaps that says more about GR than it does about the 110H. Conn, Olds, Holton, Olds, Yamaha, Conn, Kanstul - he made them all work.

JohnL wrote: ↑Tue Apr 23, 2019 3:30 pm

blast wrote: ↑Tue Apr 23, 2019 3:19 pm Worked for George Roberts.

Perhaps that says more about GR than it does about the 110H. Conn, Olds, Holton, Olds, Yamaha, Conn, Kanstul - he made them all work.

He did.... which tells you a lot about how important the model of horn is compared to the player.

Chris

blast wrote: ↑Tue Apr 23, 2019 3:19 pm Worked for George Roberts.

Chris

It sure helped George keep the lights on. Not sure it'll help OP keep the lights on

Burgerbob wrote: ↑Tue Apr 23, 2019 3:16 pm Well, it's a single. Huge loss of usability right off the bat.

The 100 series also have a 10 inch bell and a very different sound than the rest of the Conn basses. I don't hate my 112H, but I don't love it either.

In what way is the sound different? Thanks!

It's the same bell as the Benge 290, a very very different sound concept to the 60 series. Larger, less core, different articulations.

The leadpipe in the 110 & 112H is quite a bit longer than the older Conn bass models possibly to make it feel more slotted ? Mistake in my oppi ion as the old Conns had to be worked with to acheive this which is part of their sound. Slide not having nickel oversleeves is also a big factor.

From memory the bell is the 62H shape as is the tuning slide which pretty much matches the taper from the 60 series J bend.

A friend who is a very fine pro player had his converted to slide tuning with a one piece back end and a 62H leadpipe and it sounded fantastic.

BellEnd

The early 100 series horns are completely different than the ones from the maybe... mid '80s? Early '90s? on. They were very Minick designed, with the tootsie roll braces and 9.5in bells that may be 62 mandrel.

Later horns, including what's for sale now, are normally braced with the same bell as the Benge 290 at 10 inches.

I have a Shires 2.5L leadpipe in my (later production) 112H at the moment. It seems to have evened out the horn a bit.

I couldn't swear to it as it's a long time ago but I'm pretty sure when we measured the 10" bells that they are also 62" based in which case so is the Benge (which is certainly not a King shape).

The tuning slide is definitely taken from the relevant part of the 60' series J bend .

Not bad horns but a bit of a departure from classic Conns

BellEnd

That could be the case, but it certainly doesn't sound anything like a 60 series horn.

Slideorama wrote: ↑Thu May 02, 2019 11:41 am

He tells something when he play! Something to learn there...

Leif

I'll find any reason to prefer a Conn horn over another.
The 110h is a very solid instrument. Not having the second rotor isn't much of a burden with most music. It handles a lot easier than most basses. Only gripe I have is how wide the bell is.

~~

Listening to George Roberts made me tear up.

I was playing second in a brass band years ago and sat next to the bass trombonist who played a 110H. At low - mid volume it was a sweet, round, almost tenor sound and blended very well with the rest of the section. At higher volume and especially in the low register he cut through just like a bass trombone should.
I haven't played one myself but I don't think there's any reason they should be avoided if a good one comes your way.

I play lead in a Big Band and double occasionally on bass with a Conn 110H. It was an affordable horn and it works great for me. You can get massive volume on the trigger notes and I have no problem with higher range when needed. When I don't warm up properly I have found it difficult to generate good pedal tones with my Schilke 59, but that's me not the horn.