I've had my fill of Cs... I started off with a Bach C/Bb combo which was out of tune as a Bb and even more out of tune as a C. It only started working when I added an A and even an Ab slide... Fortunately, a friend of mine borrowed it for a theatre job and managed to get it stolen. The insurance paid up ande that pqaid for a Bach rotary C. Nice horn, but not universally useable and rather a hard blow. I had a couple of Besson Mehas afterwards - the Bbs are good, on the verge of fantastic, but the Cs are quirky and extremely mouthpiece sensitive. I then went for a Couesnon C/Bb combo: Easy for the C, with a nice sound, but almost a peashooter on Bb. Anything below the stave is sharp. Another C rotary crossed my path when a friend asked me to advise him as to a rotary C with all the trimmings, NOT a Lechner (he had a colleague who always flaunted his gold-plated Lechner), with a budget of $ 6,000. I had Votruba of Vienna build him a gold-plated, three Vienna keys rotary C, with four different leadpipes - the works - and supervised the build for him. It turned out "the best C I ever played, and it easily outplays the Lechner", at a final price tag of $ 5,400 including shipping. resulting in the other guy selling his Lechner and ordering another Votruba... Another friend of mine has an Inderbinen Alpha C - costly, but not for me. and recently I came upon a Gaudet C. Thiw was the "second choice" brand of Antoine Courtois, horns that had some kind of optical glitch like missed bits of lacquering or an unaligned water key - things like that. The valve block is correctly stamped "Courtois". And that has been m go-to C for the last five years. Nice, mellow tone, yet caqn strip paint if you want to do so; perfectly in tune; and an easy, precise blow. One of the few horns that will only come on the market if you shoot me first - But I've always been a fast draw...