Fact-checked by Grok 2 weeks ago

C. G. Conn


C. G. Conn Ltd., commonly known as Conn, was an American manufacturer of musical instruments specializing in and woodwind instruments, founded by Charles Gerard Conn in , in 1875. The company produced the first made in the United States in 1888, following a commission to replicate European designs, and introduced innovations such as the in 1893, developed in collaboration with composer . Under the leadership of Carl D. Greenleaf after , Conn expanded significantly, becoming one of the largest producers of band instruments and pioneering models like the New Wonder series with rolled tone holes for improved tone and durability. The company's 6M "Lady Face" , introduced in the 1930s, featured distinctive ergonomic designs including an underslung octave key and was favored by legends such as and . Conn instruments received acclaim for their craftsmanship, earning top honors at the , and the firm maintained dominance in American band instrument manufacturing until mergers in the late 20th century integrated it into .

Founding and Early Operations

Company Origins and Charles G. Conn's Vision

Charles Gerard Conn, born on January 29, 1844, in Phelps, New York, relocated with his family to Elkhart, Indiana, in 1851. After serving in the Union Army during the Civil War—enlisting in 1861 with the 15th Indiana Infantry, re-enlisting in 1863 with the 1st Michigan Sharpshooters, and being wounded and captured at Petersburg in 1864—Conn returned to Elkhart and initially operated a grocery and bakery while experimenting with silver plating and rubber stamping on the side. His early entrepreneurial efforts reflected a practical inventiveness, but it was his experience as a skilled musician and band leader that drew him toward addressing deficiencies in existing musical instruments, particularly mouthpieces that caused discomfort and poor tone. In 1874, Conn began producing mouthpieces in Elkhart, utilizing vulcanized rubber rims on metal blanks processed with a modified to create a more comfortable and resonant design. He secured a for this rubber-rimmed mouthpiece in 1875, which addressed common complaints about wooden or hard-rubber alternatives by improving grip and vibration without muting sound. This innovation marked the genesis of systematic instrument manufacturing in Elkhart, as Conn expanded from mouthpieces to full brass instruments, partnering with instrument designer Eugene Victor Jean Baptiste Dupont around 1876 to produce the "Four-in-One" circa 1875—a versatile model adaptable for multiple band roles. By 1877, he had established a dedicated after outgrowing his initial operations. Conn's vision centered on pioneering domestically produced, innovative instruments that surpassed imports in quality, durability, and playability, thereby democratizing access to reliable music-making tools for American and orchestras. Motivated by his own performing background and a belief in improvements—starting with the pursuit of a "perfect" —he aimed to build a comprehensive enterprise that integrated , , and to foster musical culture. This forward-looking approach propelled early growth, with the company employing hundreds by the late and claiming the world's largest instrument factory status amid expansions and recoveries from fires in 1883 and 1910, laying the foundation for Elkhart's emergence as a hub for and woodwind .

Initial Growth in Musical Instruments

Charles Gerard Conn initiated production of musical instruments in Elkhart, Indiana, following the patenting of his rubber-rimmed cornet mouthpiece in February 1875 (U.S. Patent #160,164), which addressed common lip injuries sustained by brass players. Initially manufacturing mouthpieces at a rate of approximately 60 per day in a converted woolen mill equipped with a brass foundry, Conn quickly expanded into complete instruments by partnering with French craftsman Eugene Dupont in 1876, who designed the company's inaugural cornet, the "Four-In-One" model featuring interchangeable crooks for multiple keys (A, B-flat, C, and E-flat). This collaboration imported skilled French workmen, enabling the firm to produce its first American-built cornet by late 1875 and establishing Conn as a pioneer in domestic brass manufacturing. By 1877, the operation had outgrown its initial space, prompting relocation to a larger three-story factory along the St. Joseph River and the acquisition of a planing mill for expanded production capabilities. The partnership with Dupont concluded in March 1879, after which Conn independently patented innovative valve designs, including a new piston valve (#222,248) and later a clear-bore valve (#249,012 in 1881), enhancing instrument tone and playability. A devastating factory fire in January 1883 destroyed the premises, but rapid rebuilding—supported by community loans—facilitated further growth, with employment reaching 80 workers by 1880 and surging to around 300 by 1889. This period marked diversification within brass instruments, including the introduction of the Wonder cornet in 1887 following the acquisition of the Fiske factory in Worcester, Massachusetts, and the Wonder valve patent (#343,888) in 1889. Initial forays into woodwinds complemented dominance, with Conn producing the first all-metal in 1889 and the inaugural U.S.-manufactured in 1888, inspired by models demonstrated by employee Schüler. By 1890, the company unveiled its double-bell euphonium, further solidifying its reputation for innovation, as evidenced by awards at the 1893 in . These developments propelled Conn to claim the title of the world's largest factory by the late , contributing about 10% of Elkhart's total goods output and employing hundreds of skilled artisans, many recruited from . The firm's growth reflected a commitment to American-made quality, transitioning from artisanal mouthpieces to a broad -centric catalog while laying groundwork for woodwind expansion.

Diversification Attempts and Challenges

Expansion into Non-Instrument Businesses

In the late 19th and early 20th centuries, Charles G. Conn, the founder of C. G. Conn Ltd., pursued diversification beyond musical instruments, including ventures into newspaper publishing and public utilities. In 1889, Conn established the Elkhart Daily Truth, a newspaper that remains in operation today as the Elkhart Truth, alongside employee and dealer publications such as the monthly Trumpet Notes and the more controversial The Gossip, which targeted competitors and personal adversaries. These media efforts reflected Conn's broader interests in public influence, stemming from his political career, but also strained resources amid the company's growth. A more ambitious non-instrument expansion occurred in 1904, when Conn constructed a powerhouse in , to challenge the established Indiana and Michigan Electric Company in the local utilities market. This venture aimed to capitalize on industrial demand but ultimately failed, forcing Conn to sell his stake at a substantial personal financial loss. The episode highlighted the risks of overextension, as the competitive pressures and operational demands diverted capital from core instrument manufacturing without yielding sustainable returns. These diversification efforts contributed to broader financial pressures on . By 1911, amid recurring factory fires and the costs of these side businesses, Conn executed a $200,000 trust deed to consolidate debts and secure additional funding, underscoring the challenges of balancing instrument production with unrelated commercial pursuits. While the proved somewhat enduring, the utilities misstep exemplified the pitfalls of entering capital-intensive sectors without specialized expertise, ultimately prompting Conn's sale of in 1915 to investors led by Carl D. Greenleaf.

Financial Strains and Early Setbacks

In the early 1900s, Charles G. Conn attempted to diversify beyond musical instruments by entering the utilities sector, constructing a powerhouse in , in 1904 to supply . This venture failed due to operational challenges and , resulting in its buyout by the Indiana and Michigan Electric Company at a substantial financial loss to Conn. Compounding these issues, a major fire destroyed Conn's second factory on May 22, 1910, at the corner of Elkhart Avenue and East Jackson Street in Elkhart, with estimated damages ranging from $100,000 to $500,000; a watchman perished in the blaze. The loss disrupted production and strained liquidity, as the company relied on payouts that proved insufficient for full recovery. Further setbacks included a costly lost to Conn's former associate William J. Gronert, who had been a key manager, over disputed business matters, adding to mounting legal expenses. By April 1911, Conn and his wife executed a deed securing $200,000 in bonds to address indebtedness and fund operations, signaling acute problems. These cumulative pressures—failed diversification, catastrophic fire damage, and litigation—escalated Conn's debt crisis, culminating in the sale of all company holdings, including the instrument factory, to a group of investors led by Carl D. Greenleaf, an businessman, for an undisclosed sum that relieved Conn of control but preserved the firm's continuity.

Key Leadership Periods

Carl D. Greenleaf Era (1915–1949)

In 1915, Carl D. Greenleaf, an flour mill owner with no prior experience in musical instruments, acquired C.G. Conn & Company for $400,000 from its founder, incorporating it as C.G. Conn Ltd. with public stock offerings to stabilize and expand operations. Greenleaf served as president until his retirement in 1949, emphasizing quality control, technological upgrades, and market sensitivity during a period of industry growth and economic challenges including the . By 1917, Greenleaf had modernized the Elkhart , increasing to 550 employees and monthly output to 2,500 through new machinery and processes. He launched Band Instrument Company that year as a to produce affordable student models using adapted Conn designs, targeting emerging educational markets while preserving the premium Conn brand. In the 1920s, the company adopted a standardized type-and-model numbering system (e.g., "A" series for cornets) and expanded production, including patented features like rolled tone holes and early colored finishes produced at 150 units per day by 1922. Greenleaf strategically promoted programs to cultivate demand, donating $10,000 in 1923 to the National Music Camp (later Interlochen) and sponsoring the national band contest in that year, aligning with educators like Joseph Maddy to integrate instruments into public education curricula. This focus, combined with opening retail music stores across the U.S. and in the , helped Conn capture a growing segment of amateur and institutional buyers. To support innovation, Greenleaf established one of the first dedicated research laboratories in 1928, which developed acoustic and electronic tools including the StroboConn tuner in 1936. Acquisitions diversified operations: Leedy Manufacturing (drums) in 1927, Ludwig & Ludwig in 1930, Soprani Company and Carl Fischer's instrument division in the 1930s, and Haddorff Piano Company in 1940 for piano production. During the Great Depression, streamlined product lines sustained viability, while World War II shifted production to wartime needs like military signaling devices. Postwar, innovations included the Connsonata, the first all-electronic organ, released in 1946. Greenleaf's tenure positioned Conn as a leader in band instruments, though postwar market shifts began eroding dominance by 1949.

Paul Gazlay and Lee Greenleaf Management (1949–1969)

In 1949, following Carl D. Greenleaf's retirement after 34 years as president, Paul Gazlay (1897–1966), previously head of C.G. Conn's Continental Music Division, assumed leadership of the company. Gazlay guided operations through the early postwar recovery, emphasizing continuity in brass and woodwind production amid economic stabilization. Under his tenure until 1958, the firm briefly resumed military-related manufacturing during the (1950–1953), converting portions of facilities for defense contracts such as instrumentation components, though overall instrument output faced government-imposed reductions. Gazlay's administration maintained focus on core musical products, including saxophones and , while divesting wartime-acquired sidelines like pianos and drums to streamline operations amid competitive pressures. This period marked a stabilization phase, with the company retaining its reputation for quality despite broader industry challenges, including material shortages and labor transitions post-World War II. In 1958, Leland B. "Lee" Greenleaf (1904–1978), son of Carl Greenleaf, succeeded Gazlay as president, extending family influence into the company's third decade under Greenleaf oversight. Lee's leadership through 1969 emphasized instrument innovation and market expansion, contributing to what some historians describe as a "golden era" for Conn's output in professional and educational sectors. Sales of signature models, such as saxophones akin to the 6M series, persisted, supporting band programs and ensembles. The Gazlay–Greenleaf era ended in 1969 with the sale of C.G. Conn to United Musical Instruments U.S.A., Inc., reflecting strategic shifts amid consolidating dynamics, though the firm remained a key player in . During these two decades, annual production emphasized durability and tone quality, with no major financial collapses reported, but subtle declines in perceived craftsmanship began emerging due to cost efficiencies.

Post-1969 Ownership Shifts and Corporate Restructuring

In April 1969, C. G. Conn Ltd. was sold through proceedings to the publishing conglomerate Crowell-Collier and Macmillan, Inc., marking the end of family ownership under the Greenleaf descendants. This acquisition followed financial pressures from diversification failures and competitive shifts in the industry, prompting the new owners to initiate aggressive cost-cutting measures. Under Crowell-Collier-Macmillan's control, corporate headquarters relocated from , to , in 1970, while manufacturing operations were substantially restructured to reduce labor expenses. Brass instrument production shifted to a facility in (acquired from the former Reynolds plant), reed instruments moved to , and additional assembly occurred in , effectively dismantling the historic Elkhart operations that had defined the company since 1875. These changes, aimed at leveraging lower-wage regions, coincided with a U.S. Department of Justice antitrust lawsuit filed in February 1970, which compelled divestiture due to concerns over market concentration in educational music sales following Crowell-Collier's prior acquisition of Macmillan. The divestiture process culminated in the 1980 sale of C. G. Conn Ltd. and its subsidiaries to Daniel Henkin, a former Conn executive and owner of Gemeinhardt Flutes, who repatriated headquarters to Elkhart and acquired in 1983 to consolidate operations. Henkin's tenure emphasized stabilization, but the company changed hands again in 1985 to an investment group led by Bernhard Muskantor, reorganizing assets—including Conn, King, and Armstrong—under the holding company in 1986. UMI focused on streamlining brands and production, retaining some Elkhart assembly while maintaining outsourced elements from prior restructurings. In 2000, Steinway Musical Instruments acquired UMI, integrating Conn's legacy brands into a broader portfolio. This led to the merger of UMI with the Selmer Company, forming , Inc., under Steinway's ownership, which centralized band and orchestra instrument manufacturing primarily in Elkhart while preserving the C. G. Conn brand for professional brass and woodwinds. The post-1969 shifts, characterized by serial divestitures and geographic dispersals, prioritized financial efficiency over traditional craftsmanship, contributing to documented perceptions of diminished instrument quality during the 1970s relocation era among musicians and historians.

Innovations and Product Developments

Signature Brass and Woodwind Instruments

C.G. Conn established its reputation in woodwind instruments through pioneering designs, beginning with the first American-made in , crafted in with bandmaster Eduard Lefebre. The New Wonder Series I s, produced from 1916 to 1925, introduced key advancements such as optional drawn or rolled tone holes for enhanced resonance and durability, alongside pearl finger buttons and intricate engravings. These models marked a shift toward standardized production under Carl Greenleaf's leadership, emphasizing model numbers over whimsical names to streamline manufacturing and sales. The New Wonder Series II, manufactured starting around 1923, refined these innovations with features like split bell keys for low Bb and B, chromatic F# coverage, and front F mechanisms, appealing to professional musicians seeking precise intonation and playability. Tenor variants from this series, often called "Chu Berry" models after saxophonist Leon "Chu" , exemplified Conn's focus on powerful, smoky tonal qualities prized in eras. In the brass category, Conn's foundational instruments included the Four-in-One , designed by instrument maker Charles Gerard Conn and Ferdinand Dupont around 1875, incorporating a patented rubber-rimmed mouthpiece to reduce lip fatigue during extended play. This model evolved into the Improved cornet line, which supported Conn's early dominance in band instrumentation by prioritizing ergonomic innovations and consistent tuning. Later brass developments under Greenleaf integrated model designations for trumpets and cornets, facilitating while maintaining handcrafted elements like assemblies. The 6M "Lady Face" , produced from the early 1930s through the 1950s, became an iconic woodwind model with its engraved bell depicting a stylized female figure—colloquially termed "Naked Lady" by players—and underslung octave keys for smoother action. Adopted by luminaries including in 1947 and in 1946, the 6M offered a bright, projecting tone suited to and styles, underscoring Conn's influence on 20th-century .

Res-o-Pads and Microtuner Technologies

In the early , C. G. Conn introduced Res-o-Pads, a specialized key pad designed to optimize performance on instruments with rolled tone holes, a feature Conn had pioneered around 1920 to enhance pad sealing and durability. These pads feature a metal disc embedded in the pad face, which provides a wider contact area against the curved rim of rolled tone holes, resulting in improved airtightness, quicker key response, and enhanced tonal resonance compared to standard flat-faced pads. Originally fitted as original equipment on Conn saxophones like the 6M model, Res-o-Pads were marketed for their ability to maintain consistent performance under varying humidity conditions, with advertisements from 1938 emphasizing their role in delivering "resonance and fast action." The Conn Microtuner, patented in July 1919 by company engineer Edward J. Gulick (U.S. Patent likely referencing early tuning attachment designs), represents an early innovation in intonation adjustment. This mechanism integrates into the neck's mouthpiece receiver, employing a threaded collar and telescoping armature to enable fine alterations in the instrument's effective tubing length—up to approximately one-quarter inch—without significantly shifting the mouthpiece's position relative to the , thereby preserving stability while correcting discrepancies. First implemented on and C-melody saxophones by 1921, as evidenced by early serial numbers like 57920 and 69799, the Microtuner appeared on models including the New Wonder series and was refined for the 6M VIII in 1937, which incorporated an updated neck design for smoother operation. Both technologies addressed practical challenges in woodwind playability: Res-o-Pads mitigated leaks inherent to rolled tone hole , while the Microtuner provided on-the-fly precision superior to relying solely on mouthpiece repositioning, influencing subsequent designs despite later models phasing out the Microtuner after 1954 in favor of fixed necks. These innovations, developed during the Carl D. Greenleaf era, underscored Conn's focus on empirical improvements in acoustics and mechanics, with Gulick's contributions spanning multiple patents.

Wartime Production Contributions

During , C.G. Conn Ltd. redirected its manufacturing capabilities from musical s to support the Allied war effort, ceasing all civilian production in 1942 to focus on precision components. The factory was retooled to produce parts essential for and equipment, including components for flat compasses, mounted compasses, gyro compasses, and altimeters. This shift leveraged the company's expertise in fabrication and machining, originally honed for production, to meet urgent demands for high-precision items used in aircraft and other applications. The company's wartime output included specialized measuring devices, with Conn securing exclusive contracts alongside Buescher Band Instrument Company to manufacture altimeters for the U.S. armed forces. By fully converting operations, Conn contributed to the broader industrial mobilization, producing items that supported navigation accuracy in combat zones. For its efficiency and quality, C.G. Conn received four Army-Navy "E" awards, recognizing excellence in war production efforts. Instrument production resumed postwar, but the wartime interruption affected inventory and innovation cycles, with limited military-bound instruments like simplified models produced in small quantities before the full pivot. The experience reinforced Conn's reputation for adaptable manufacturing, though it temporarily strained resources dedicated to musical goods.

Labor Issues and Quality Evolution

Union Disputes and Workforce Relations

In October 1935, employees at C.G. Conn Ltd. in , engaged in concerted refusal to perform overtime work unless compensated at premium rates, amid broader demands for wage increases. The company responded by requiring workers to sign statements either agreeing to overtime or refusing it; those who refused were indefinitely laid off or discharged, with the firm hiring replacements within days. The Metal Polishers International Union Local No. 77 filed charges with the (NLRB), alleging unfair labor practices under the newly enacted National Labor Relations Act. The NLRB determined the action constituted protected concerted activity rather than an unprotected partial strike, ruling the discharges discriminatory and ordering reinstatement with back pay for 55 affected employees. The U.S. Court of Appeals for the Seventh Circuit enforced the NLRB order in C.G. Conn, Ltd. v. NLRB (1939), rejecting the company's argument that the refusals breached contracts or fell outside NLRA protections, as the activity stemmed from a legitimate over terms of . This case established affirming that coordinated refusals of non-mandatory work, when tied to economic grievances, qualify as protected under labor law, influencing subsequent rulings on partial strikes and slowdowns. Post-World War II reconversion to civilian production encountered further labor tensions. In October 1946, the United Auto Workers-CIO local representing Conn's workforce initiated a over wages and conditions, lasting 110 days until February 1947 and fully halting instrument manufacturing during a critical recovery period. The dispute reflected industry-wide postwar waves, with over 4.6 million U.S. workers striking that year amid and demands for prewar pay adjustments, though specific settlement terms for Conn remain undocumented in primary records.

Shifts in Manufacturing and Perceived Quality Decline

In the late 1960s, following its acquisition by Macmillan Publishers in 1969, C.G. Conn initiated major relocations of its manufacturing operations to cut labor costs amid rising competition from Japanese instrument makers and domestic economic pressures. Saxophone production, which had partially shifted to the acquired Best Manufacturing facility in Nogales, Arizona, as early as 1960 for non-professional models, expanded further under new ownership, with full relocation of reed instrument assembly to Nogales by 1970. Brasswind manufacturing concurrently moved to Abilene, Texas. These changes prioritized volume over craftsmanship, transitioning from the skilled, hand-finished methods of the Elkhart, Indiana, factories—where instruments like the Conn 6M alto saxophone were produced with rolled tone holes and precise keywork—to automated and semi-skilled processes better suited for student and intermediate lines. By 1972, woodwind production had transferred across the border to Nogales, , marking a further step in through access to lower-wage labor, though this exacerbated inconsistencies in assembly and materials. Instruments bearing the "N"-prefix serial numbers from this Nogales-Mexico era, starting around 1971, exhibited deviations such as uneven , inferior lacquering, and less responsive mechanisms compared to pre-relocation Elkhart models, contributing to a among players that professional-grade output had effectively ceased by 1970. Conn discontinued its high-end "artist" series altogether that year, refocusing on mass-produced student horns like the and Shooting Star lines, which relied on standardized components rather than custom tuning. The perceived quality decline was attributed by musicians and repair technicians to factors including reduced oversight from experienced Elkhart craftsmen, substitution of cheaper alloys, and diminished in the new facilities, leading to issues like poor intonation and faster wear on pads and springs. While anecdotal reports vary—some Mexican-era Conn models remain playable for beginners—the overall suffered, with pre-1965 instruments commanding premiums in resale markets due to superior tone and durability. This shift reflected broader industry trends toward but eroded Conn's legacy as a premium American brand, as evidenced by player forums and analyses documenting the post-relocation drop-off.

Legacy and Contemporary Status

Impact on Music Education and Industry Standards

C. G. Conn Ltd., under the leadership of C. D. Greenleaf from 1915 onward, played a pivotal role in expanding school band programs across the United States by providing organizational resources and advocating for instrumental music in education. In 1923, the company established a band service department that distributed instructional books on band formation and pedagogy, facilitating the integration of ensemble music into public school curricula. This initiative, combined with Greenleaf's collaboration with bandleader Herbert L. Clarke and educator Albert R. Giddings, helped institutionalize band music as a staple of American schooling, increasing student participation and instrument demand. The Conn National School of Music, founded in 1928, trained hundreds of early directors, issuing diplomas recognized by educational institutions as qualifications for leading programs. Greenleaf also organized in 1923, standardizing formats and repertoire that influenced pedagogical practices nationwide. These efforts not only elevated education's status but also created a sustained market for Conn's and woodwind instruments, which became ubiquitous in school ensembles due to their durability and tonal consistency. In the industry, Conn pioneered one of the earliest dedicated research laboratories, enabling systematic improvements in design and materials that set benchmarks for and . Early Conn models from 1880 to 1940 established de facto standards for product lines in the brass sector, emphasizing and scalable production techniques. Saxophones and cornets from the New Wonder era were regarded as exemplars of excellence, influencing competitors to adopt similar ergonomic and acoustic refinements, though Conn's pre-1940 output maintained superior consistency in handcrafting amid growing . This legacy persisted, as Conn's model-numbering system and quality controls under Greenleaf provided a template for product standardization across the sector.

Current Ownership and Brand Continuity

Conn-Selmer, Inc., formed in 2002 through the merger of United Musical Instruments and The Selmer Company, serves as the current steward of the C.G. Conn brand, producing a range of and woodwind instruments under that name. operates as a wholly owned of Steinway Musical Instruments, Inc., which transitioned to private ownership under in 2013 following a $512 million acquisition. In May 2025, Conn-Selmer appointed John Fulton, previously Vice President of Sales, as President and CEO, succeeding Stephen Zapf who had led since 2019. This leadership oversees the Conn brand's integration into Conn-Selmer's portfolio, which includes professional, intermediate, and student models across multiple marques. The C.G. Conn brand has endured through successive corporate restructurings since its founder's era, retaining trademarked designs like the Connstellation series while adapting to modern manufacturing. Post-1969 sales to entities including Magnavox and subsequent formations under United Musical Instruments preserved the brand's focus on saxophones, trumpets, and trombones, though professional-grade production largely ceased by 1970 in favor of entry-level and mid-tier offerings. Manufacturing shifted from Elkhart, Indiana—where Conn sold its primary factory in 1970—to facilities in Nogales, Arizona (later Mexico), Abilene, Texas, and other sites, reflecting cost-driven relocations initiated in 1972. Conn-Selmer maintains headquarters in Elkhart with assembly and R&D there, but much instrument fabrication occurs offshore to sustain competitiveness. Brand continuity emphasizes heritage marketing, with Conn instruments marketed for their historical innovations like rolled tone holes, alongside contemporary updates for educational markets. This approach has sustained the marque's presence in school bands and ensembles, though critics note deviations from pre-1970s craftsmanship standards tied to U.S.-centric production. Official branding highlights C.G. Conn as a cornerstone of American instrument-making legacy within Conn-Selmer's diversified lineup.

References

  1. [1]
    C.G. Conn Brass Instruments - Conn-Selmer
    Charles Gerard Conn was the patriarch of musical instrument manufacturing in Elkhart, Indiana. In 1873, following a brawl in a bar which resulted in a split ...
  2. [2]
    None
    ### Summary of C.G. Conn Company History
  3. [3]
    [PDF] The Conn 6M: Implications for Contemporary Saxophone ...
    Aug 9, 2023 · In saxophone history, Conn has a unique place as the official manufacturer of. America's first saxophones. C. G. Conn saxophone No. 1 is an E ...
  4. [4]
    C.G. CONN History - Saxophone.org
    Nov 30, 2011 · C. G. CONN - FOUNDING FATHER OF ELKHART'S MUSICAL INSTRUMENT MANUFACTURING INDUSTRY. Charles Gerard Conn was born in Phelps, Ontario County, ...Missing: vision | Show results with:vision
  5. [5]
    Conn-Selmer, Inc. - Company-Histories.com
    In 2000, Selmer's parent company, Steinway Musical Instruments, bought United Musical Instruments, formerly known as C.G. Conn. After the acquisition, the ...<|separator|>
  6. [6]
    CG Conn Company - Indiana State Government
    Charles Gerard Conn began the musical instrument industry in Elkhart; city has been called the Band Industry Capital of the World. By 1874 producing rubber ...Missing: G. | Show results with:G.<|control11|><|separator|>
  7. [7]
    None
    ### Timeline and Facts: C.G. Conn Founding and Early Growth (1870s–Early 1900s)
  8. [8]
    History - Conn Loyalist
    First Cornet Produced​​ Conn hired some workmen and began manufacturing complete musical instruments. In 1876 he imported a few French craftsmen to perform the ...Missing: 1875-1900 | Show results with:1875-1900
  9. [9]
    DIES IN FACTORY FIRE.; Watchman Loses Life When Band ...
    DIES IN FACTORY FIRE.; Watchman Loses Life When Band Instrument Plant Is Burned. ... Plant Is Burned ... ELKHART, Ind., May 22.—The plant of the C. G. Conn ...
  10. [10]
    History of Conn-Selmer, Inc. – FundingUniverse
    By the late 1960s, business conditions did not seem rosy at C.G. Conn. Its earnings were flat, and Leland Greenleaf, in his sixties, was thinking about ...Missing: financial | Show results with:financial
  11. [11]
    A Brief History of The Conn Company | PDF | Music Production
    Rating 5.0 (2) Daniel Henkin sold his holding in the Conn Company in October 1985 to the Swedish conglomerate, Skäne Gripen. A new parent corporation, United Musical ...Missing: non- | Show results with:non-
  12. [12]
    C - The Cambridge Encyclopedia of Brass Instruments
    Oct 31, 2018 · Following Greenleaf's retirement in 1949, the company was led successively by Paul Gazlay (1897–1966) and L. B. Greenleaf (1904–78). In 1969 ...
  13. [13]
    CG Conn band Instrument Company - Altissimo! Recordings
    May 25, 2011 · Altissimo Salutes C.G. Conn History C.G. Conn, the oldest continuous manufacturer of band instruments in America, literally gave birth to ...
  14. [14]
    Conn History :: SaxPics.com
    Charles Gerard Conn was born in upstate New York in 1844. As a 21 year old Civil War veteran, Conn invented a brass mouthpiece in 1874 for which patents ...<|separator|>
  15. [15]
    Specifications of Discontinued Trombone Models - OoCities
    ... Paul Gazlay (1949-1958) and a third led by Greenleaf�s son Leland, are today considered to have been the golden years of the Conn Corporation. Conn ...
  16. [16]
    Conn instruments after Conn - Musicology for Everyone
    Jan 14, 2019 · At the end of the 19thcentury, Charles Gerard Conn built up a company that dominated the manufacture of band instruments.
  17. [17]
    Conn Brass Info (Post-Elkhart) - Conn History (1968-1990)
    In 1968, CG Conn Ltd. was manufacturing more musical instruments and accessories than any other company in the United States.
  18. [18]
    [PDF] Department of Justice Filed a Civil Antitrust Suit to Require Crowell ...
    Feb 4, 1970 · The Department of Justice filed a civil antitrust suit today to require Crowell Collier and Macmillan, Inc. to divest itself of C. G. Conn, Ltd.Missing: restructuring post-
  19. [19]
    Conn-Selmer, Inc. - Encyclopedia.com
    In 1980, Macmillan sold C.G. Conn Ltd. and its various subsidiaries to Daniel Henkin. Henkin had worked for Conn in the 1960s but left in 1970 to own and ...Missing: timeline | Show results with:timeline
  20. [20]
    The Conn New Wonder Series I - SaxPics.com
    The Conn New Wonder Series I featured straight soprano models, the Microtuner, Resopad, rolled tone holes, pearl keys, and a single octave key.Missing: development | Show results with:development
  21. [21]
    The Conn New Wonder Series II - SaxPics.com
    1 ("Silver & Gold"): Body heavily silver plated, sand blast velvet finish, bell richly engraved, pearl finger tips, pearl rollers. Inside of bell, engraving ...Missing: details | Show results with:details
  22. [22]
    https://www.saxquest.com/product/view/vintage-conn-new-wonder-ii-chu-berry-alto-sax-in-beautiful-original-silver-plate-220460-P17309
  23. [23]
    CG CONN Models - Saxophone.org
    C.G. CONN Models ; Wonder Improved - Elkhart IND & Worcester MASS. Years: 1888 - 1898 Serials: 0 - 2299 (5 specimens) ; Wonder Improved - Elkhart IND & New York.
  24. [24]
    Conn saxophone recognition guide
    Conn saxophones can be identified by numbers/letters on the back, which vary by model (New Wonder, Standard, Pan American), and by mechanical differences.
  25. [25]
    https://www.kincaidsmusic.com/products/c-g-conn-1952-6m-naked-lady-alto-saxophone-vintage-used
  26. [26]
    CG Conn - the National Saxophone Museum
    Conn started production of the first American-made saxophone in 1888, after being shown an Adolphe Sax saxophone by then-employee and later competitor Ferdinand ...Missing: Company | Show results with:Company
  27. [27]
    Rolled Tone Holes ..... why are they desirable?
    Dec 9, 2012 · The pre-WWII German made G.H. Hüller saxphones that I've owned also had RTH with pads that were essentially the same as the CONN Res-O-Pads but ...Installation of Conn Res-o-Pads | Sax on the Web ForumConn 6m /1939 - which new pads - Sax on the Web ForumMore results from www.saxontheweb.net
  28. [28]
    Full text of "International Musician 1938-11: Vol 37 Iss 5"
    FOR SALE—Tenor Saxophone, Conn, brass finish; in fine playing condition and ... New Res-O-Pads for resonance and fast action .. . Bottom Octave Key ...<|separator|>
  29. [29]
    [PDF] Conn saxophone microtuner
    After the mouthpiece is mounted, the collar can be turned so as to lengthen the neck and adjust the tuning. The short pins only allow about a quarter inch ...Missing: CG system
  30. [30]
    Conn 6M “Transitional” Saxophones - Stohrer Music
    Oct 24, 2012 · The VIII featured a new microtuner, a one-piece, nonswivel thumbhook, and some unknown changes to the neck. (It may possibly just have been the ...
  31. [31]
    a list of Conn saxophone model numbers
    Year Introduced, Years Used, Year Discontinued. Wonder, Bb Straight Soprano, 1895 ... After 1954 no microtuner neck, 1948, -, 1958. 6M, Eb Alto Artist Models ...
  32. [32]
    The Patent list - The Conn Loyalist
    Edward J. Gulick, Woodwind, Improved tone opening socket for clarinet. 1929-10-11, 1929-11-26, 1736880, Edward J. Gulick, Woodwind, Saxophone microtuner. 1930- ...
  33. [33]
    https://www.brassandwinds.com/blogs/news/c-g-conns-wartime-contributions
  34. [34]
    U.S.Musical Instrument Makers during WW II - TubeNet
    May 17, 2016 · For example, C. G. Conn, Ltd. and Buescher (Elkhart) were granted exclusive contracts to manufacture altimeters for the armed forces. These ...<|separator|>
  35. [35]
    History - Conn Loyalist
    In 1942 Conn converted totally for the war effort. ... Four Army-Navy "E" awards were presented to C.G.Conn, Ltd. for its contributions to the war effort.
  36. [36]
    Wartime Conn 6M & 10M - Stohrer Music
    May 18, 2015 · I consider these two instruments shown here to be a sort of farewell from Conn. Imagine the scene- a factory converted to make war materiel, and ...
  37. [37]
    Conn Musical Instrument Factory - DannyChesnut.com
    They developed the 'Connsonata' electric organ (1946; later known as the Conn organ), the 'Connstellation' line of brass instruments (mid-1950s), and the first ...
  38. [38]
    CG Conn, Limited v. National Labor Relations Board, 108 F.2d 390 ...
    On October 14, 1935, in connection with and as a consequence of a labor dispute involving the refusal of certain employees to work overtime upon the terms ...
  39. [39]
    CG Conn, Limited v. National Labor Relations Board - vLex Case Law
    CG Conn, Limited v. National Labor Relations Board ; 108 F.2d 390 (1939) ; No. 6848. ; Circuit Court of Appeals, Seventh Circuit. ; December 22, 1939.
  40. [40]
    [PDF] Work Stoppages Caused by Labor- Management Disputes in 1946
    The average duration of a strike in. 1946 was approximately 24 calendar days, or about four times as long as during the war period. Wages were a major issue in ...
  41. [41]
    Conn Saxophones: A History of Excellence and Innovation
    The very first saxophone built in the United States was built at the Conn plant in Elkhart, Indiana, in 1889 for E. A. Lefebre, a saxophone virtuoso who had ...Missing: achievements | Show results with:achievements
  42. [42]
    James Glanville | NAMM.org
    James Glanville was part of the team that relocated the Conn instrument manufacturing operations from Elkhart, IN to Nogales, Mexico, back in 1972.
  43. [43]
    Saxophone Serial Numbers – ClarinetPerfection
    “N”-Prefix Nogales Mexico – this was the largest quality decline of Conn. Horns after this period are not highly sought after. 1971, “P”-Prefix. 1972, “R ...
  44. [44]
    Conn Saxophone Models Timeline | Forums
    After Conn was bought by MacMillan in 1969, quality quickly declined when production was first moved to Nogales, AZ, and later into Mexico. I played a 1963 Conn ...
  45. [45]
    Conn 50M Shooting Star versus Mexican Shooting Star?
    Mar 25, 2016 · Conn's reputation "went down" when it moved to Nogales, but there are only anecdotal tales of mexican built horns being of poor quality.Mexico? - Sax on the Web ForumHistoric Conn factory set for demolishment. - Sax on the Web ForumMore results from www.saxontheweb.net
  46. [46]
    The Greenleaf Years - Conn Loyalist
    Conn, which had been acquired by Greenleaf in 1915 and was just emerging from a severe business eclipse of its own, was also capitalizing on the phenomenon.Missing: 1915-1949 | Show results with:1915-1949<|separator|>
  47. [47]
    [PDF] C.G. Conn Tuba Designs from 1880-1940 - IBEW
    C.G. Conn's early tuba product lines were one of many product lines that were standards in the musical instrument industry and were known to have a very ...<|separator|>
  48. [48]
    About Conn Selmer
    In 2013, Conn Selmer and Steinway transitioned to private ownership under Paulson & Co. Today, as a subsidiary of Steinway Musical Instruments, Inc., we remain ...Missing: structure | Show results with:structure
  49. [49]
    Conn Selmer Appoints John Fulton as President and CEO
    Conn Selmer, a leading manufacturer and distributor of musical instruments, today announced the appointment of John Fulton as President and CEO.Missing: current | Show results with:current
  50. [50]
    CG Conn | NAMM.org
    Lewis Brown joined the CG Conn Company in 1941 working in the band instrument assembly department. Less than two years later he was drafted to serve the United ...
  51. [51]
    Conn-Selmer Inc, 500 Industrial Pkwy, Elkhart, IN 46516, US
    The company maintains six locations in four states, with corporate headquarters in Elkhart, Ind. Additional plant locations include Indianapolis, Cleveland, ...Missing: production | Show results with:production
  52. [52]
    Brand Portfolio - Conn Selmer
    In 2003, The Selmer Company merged with C.G. Conn to form Conn-Selmer, becoming the largest full-line manufacturer of band and orchestra instruments in the ...
  53. [53]
    Conn Selmer: Home
    Experience our full suite of professional instruments, all in one place. The Chicago Studio is also available to host masterclasses, recitals, and events.About Conn Selmer · Brand Portfolio · Conn Connstellation Double... · Instruments