According to Richard Dundas, sixty percent of theproduction was exported throughout the world with as much thirtypercent sold in the United States. Unfortunately, these efforts proved ultimatelyineffective, and their traditional market continued to decrease inpopularity to the point that brass bands have almost all disappearedin France. Forexample, they employed Mr Bernard Soustrot (first prize in the 1976Maurice André Competition in Paris) to try all the piccolostrumpets made in the workshop and to give his 'blessing' to these newinstruments. They made aline called 'Monopole Conservatoire' higher quality instruments,trying to gain more customers in conservatory (music students). The public continued to associateCouesnon with the brass band not the orchestral or jazz band.Starting in the 60 's and during the next 20 years, Couesnon tried toexpand its share in markets other than fanfare bands.
The C/Bb trumpet marketbecame dominated by Selmer, Courtois, LeBlanc in France and even thelarger American manufacturers. At the end of World War II, the music business started to change,but Couesnon continued to deal primarily with the special needs andinstruments of brass and military bands.
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