If you've spent any time browsing a music shop or scrolling through gear forums, you've definitely run into the cannonball big bell stone series at some point. These horns are hard to miss. They're flashy, they're loud, and they've got a personality that's pretty different from the stuffier, traditional European brands. I remember the first time I saw one—it was a "Raven" alto sitting on a stand, and it looked more like a piece of art or a piece of custom jewelry than a musical instrument.
But beyond the looks, there is a lot of conversation in the sax world about what these horns actually do for a player. Are they just for show, or is there some real meat on the bone? After spending some time with various models in this lineup, I've realized that Cannonball isn't just trying to be different for the sake of it; they're trying to solve specific problems that modern players face, especially when they need to cut through a loud band.
What is the Big Bell Anyway?
The most obvious thing about the cannonball big bell stone series is right there in the name: the bell is massive. If you put a standard Selmer or Yamaha next to one of these, the Cannonball looks like it's been hitting the gym. The flared end of the instrument is significantly wider than what was considered "standard" for most of the 20th century.
So, what does that actually do? Well, it's not just there to look intimidating. A larger bell flare changes the way the lower notes speak. If you've ever struggled to get a low Bb to pop out with a clear, resonant "thud" instead of a honky, thin sound, you'll appreciate what's going on here. The big bell helps those bottom notes feel more substantial. It gives the horn a certain "spread" to the sound that fills a room quickly. It's great for R&B, funk, or lead alto playing where you need to be the biggest voice in the room.
The Stones and Why They Matter
Now, let's talk about the "Stone" part of the cannonball big bell stone series. This is probably the most debated aspect of the brand. Every one of these horns is adorned with semi-precious stones—things like Tiger's Eye, Picasso Jasper, or Black Onyx. You'll find them on the key touches, the neck, and even on the bow.
Cannonball claims that these stones affect the resonance of the instrument. They say the density of the stone changes how the brass vibrates. Now, if you ask ten different sax players about this, you'll get ten different answers. Some swear they can feel a difference in the feedback through their fingers, while others think it's purely aesthetic.
Personally? Even if the "resonance" factor is subtle, I love the feel of the stones under my fingers. Most saxes use plastic or mother-of-pearl (or abalone if you're fancy). The stones have a different temperature and texture. They feel solid. There's a weight to the keys that makes the horn feel "expensive" in a way that's hard to describe. Plus, let's be honest, they look incredible. No two horns are exactly alike because every piece of stone has its own unique grain and color.
Two Necks Are Better Than One
One of the coolest things about buying a horn from the cannonball big bell stone series is that they usually ship with two different necks. You get the standard neck that matches the finish of the horn, and then you get what they call the "Fat Neck."
The Fat Neck is a bit of a game-changer. It's underslung (the octave key mechanism is on the bottom rather than the top), and the taper is slightly different. When you swap to the Fat Neck, the horn feels like it has a whole different personality. It opens up the bottom end even more and gives the sound a broader, "fatter" quality.
I've found that the standard neck is great for when I want more focus and a bit more of a "classical" or "traditional jazz" vibe. But if I'm playing a gig where I'm competing with a drummer who thinks he's in Led Zeppelin, I'm putting that Fat Neck on every single time. It just gives you more "oomph" without having to blow your brains out.
The Different Finishes
You can't talk about the cannonball big bell stone series without mentioning the finishes. Cannonball was really a pioneer in making "non-traditional" finishes popular.
The Raven
This is probably their most famous look. It's a black nickel-plated body with black nickel keys, and it's usually paired with dark stones. It looks sleek, modern, and a little bit dangerous. Tonally, the black nickel tends to give the horn a bit more "darkness" and "heft" compared to clear lacquer.
The Brute
The Brute is their "aged brass" finish. It isn't lacquered, so it has this raw, vintage look right out of the box. It looks like a horn that's been played in smoky basements for forty years. Because there's no lacquer to dampen the vibrations, these horns tend to be very resonant and "alive" in your hands.
Mad Meg
This is the unlacquered version. It starts out looking like a shiny new penny and eventually patinas over time into a dull, brownish-gold. Players love the Mad Meg because it feels very free-blowing. There's a certain "honesty" to the sound of raw brass that's hard to beat.
Ergonomics and Build Quality
Some people worry that because Cannonball is a newer company compared to the "Big Four," the build quality might not be there. But honestly, these things are built like tanks. They're heavy—definitely heavier than a vintage Selmer—but that weight translates into a very solid feel.
The ergonomics are modern and snappy. The keywork is tight, and the placement of the side keys and the pinky clusters feels very natural. I didn't feel like I had to "relearn" the instrument when I picked it up. Everything is where it should be. They also use high-quality Italian leather pads with metal resonators, which contributes to that snappy, percussive response when you're playing fast passages.
Who Is This Horn For?
I think the cannonball big bell stone series is a perfect fit for the working musician who needs versatility. If you're a student moving up from a plastic-pitted beginner horn, a Cannonball is going to feel like a Ferrari. It's easy to play, it's intonation is surprisingly stable across the whole range, and it's got enough personality to help you find your own "voice."
It's also great for the "weekend warrior" who wants a horn that looks as good as it sounds. Let's be real—part of the fun of playing the sax is the gear. There's something really satisfying about opening your case and seeing a horn that looks that distinctive.
Final Thoughts
The cannonball big bell stone series isn't trying to be a "clone" of the great vintage horns of the past. They aren't trying to be a Mark VI. Instead, they've carved out their own niche by leaning into power, modern ergonomics, and a very specific aesthetic.
Whether you're drawn in by the semi-precious stones, the dual-neck setup, or the massive bell, there's no denying that these horns have a soul. They play with a lot of "attitude." If you're the kind of player who wants to stand out—both visually and sonically—then you definitely owe it to yourself to spend some time blowing through one of these. It might just be the "powerhouse" horn you've been looking for.