Key people, founder Products C.G. Conn Ltd., sometimes called Conn Instruments or commonly just Conn, was an American manufacturer of incorporated in 1915. It bought the production facilities owned by Charles Gerard Conn, a major figure in early manufacture of and in the USA. Its early business was based primarily on brass instruments, which were manufactured in Elkhart, Indiana. During the 1950s the bulk of its sales revenue shifted to. In 1969 the company was sold in bankruptcy to the publishing company.

Conn was divested of its Elkhart production facilities in 1970, leaving remaining production in satellite facilities and contractor sources. The company was sold in 1980 then again in 1985, reorganized under the parent corporation United Musical Instruments (UMI) in 1986.

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The assets of UMI were bought by in 2000 and in January 2003 were merged with other Steinway properties into a subsidiary called. Conn survives as a brand of musical instruments manufactured by Conn-Selmer but only retains two instruments for which it was known: Conn 8-D horn and the 88-H trombone. Conn 'Res-O-Pads' fitted to the bell-keys on a Selmer 'Pennsylvania Special' alto saxophone, made by Kohlert () in 1938. Note that this instrument has rolled toneholes and that the edge of the pad extends over the rim of the key-cup Between 1920 and 1947, all professional-grade saxophones manufactured by C.G.

Conn had rolled toneholes. In the early 1930s, Conn developed a unique type of saxophone pad called 'Conn Res-o-Pads', which were specifically designed for use on saxophones with rolled toneholes. Conn Res-O-Pads have an internal metal reinforcing ring which is hidden under the leather covering around the circumference of the pad. Their most notable feature is that the diameter of the pad extends over the rim of the key-cup, thereby giving a slightly wider surface area for the rolled tone-hole to seal onto. Rim impressions from Res-o-Pads are minimal and unlike standard pads they cannot be 'floated' in. Though designed to fix into key-cups purely via friction, most saxophone repairers glue them in place using. Res-o-Pads can be challenging to size correctly because (unlike standard saxophone pads which come in 0.5 mm size steps) they are only available in 1/32nds of an inch sizes which may not always correspond closely to key-cup diameters.

Newly produced Conn Res-o-Pads are still available from specialist suppliers and are favored by some saxophone collectors because they give a fully authentic look and feel to vintage saxophones with rolled toneholes e.g. Those made by Conn, Kohlert and Keilwerth. However, it is possible to fit standard pads to any saxophone with rolled toneholes (and many people do) without any noticeable disadvantage regarding the quality of sound produced. The Conn Microtuner [ ]. This section does not any. Unsourced material may be challenged.

( July 2017) () From 1922 to 1950 Conn manufactured alto and c-melody saxophones with a unique tuning device on the neck (adjacent to the mouthpiece) known as the 'Conn Microtuner.' The feature was devised to allow the saxophone to be tuned while maintaining optimal volume in the chamber of the mouthpiece, thus avoiding disturbance to intonation. Instead of adjusting the tuning of the instrument in the traditional way (moving the mouthpiece up and down the cork), Conn introduced a fixed mouthpipe, controlled by a threaded barrel which increased or decreased the length of the neck internally. To lower the pitch, the barrel was rotated to the left. To raise the pitch the barrel was rotated to the right.

The design of the microtuner was changed slightly in the mid-1930s, and some necks were stamped 'viii' to mark compatibility with one or another series of barrels while both types were in production. The value of microtuners has been controversial among musicians because the internal mechanism required extra cleaning and maintenance, and was a potential source of leaks. The benefits of the microtuner to intonation have been shown to be more theoretical than practical.

Some repair technicians who have play-tested large numbers of Conn altos (cf. Les Arbuckle of Saxoasis.com) report that the microtuner necks lend a different sound quality from those without one. Keilwerth and other German-made saxes also used microtuners for a time. Since the 1950s, all new saxophones use the traditional tuning method i.e. Pulling out or pushing in the mouthpiece on the cork until the pitch is correct. Gallery [ ] •. • (2010-07-09)..