LOL yeah they do look pretty too, but many would argue that having a gold plate alto with solid silver crook would look wrong! I don't care, it sounds the best!
LOL yeah they do look pretty too, but many would argue that having a gold plate alto with solid silver crook would look wrong! I don't care, it sounds the best!
Selmer Paris Artist
Sopranino: Selmer SII (S80 D)
Soprano: Selmer SIII Solid Silver with Gold Plated neck (vintage Soloist D)
Alto: Selmer SIII Gold Plated with Solid Silver neck (SD20)
Tenor: Selmer SIII Gold Plate (S90)
Baritone: Selmer SIII (S80 C)
Bass: Selmer SII (S80 D)
Clarinets in Bb, A: Selmer Privilege
Eb Clarinet: Selmer Recital
Bass Clarinet: Selmer Privilege
Bassoon: YFG 821
Contrabassoon: Amati
Oboe: Howarth XL
Cor Anglais: Howarth XL
These arguments do usually end up with somebody giving examples of a different instrument to illustrate what happens with a saxophone. We all know the skin of a drum resonates, we all know the body of a violin or guitar resonates. You can affect the sound of such instruments by using your hands to dampen the vibrations which are going through them. However you hold a saxophone, the sound is not damped because the sound is created by the vibrations in the air column inside saxophone, which is purely a container for the shape and dimensions of that air column, so the material or finish of the container is not significantly affecting the sound.
Switching between different instruments with different finishes is never going to be a convincing scientific demonstration. I think it would make more sense to drastically exaggerate a finish, e.g cover a saxophone with a couple of inches of blue tack or lead. Then see if any differences could be heard. I think you would if it was a violin or a drum, but my money would be on on there still being no discernible difference in the sound of a saxophone treated in that way.
dont forget we do want our horns pretty too and a durable finish that lasts a long time - so we dont some of these nasty looking mk vi's we have now.
edit: the manufacturers really do have a lot to consider.
how about reading in the many past threads the answers to the points (made many times before) 1, 2 , 3 and 4?
YSS-82Zr Warburton 'D' Series 5
YAS-62iiS Jody Jazz DVNY 7/Mouthpiece Cafe 'Espresso'
YTS-82Z Morgan Fry 'Floridated' Link
None of the past threads answer anything. There are two sides, and neither side will give until indisputable evidence is put forth. We can all agree that it really doesn't matter that much, but it's SOTW, people love to argue. Reading threads like this help pass time at work![]()
i have. and went through the calculations on one of them.
Having worked as an engineer for many years. and seen calculations typically only yield results within 25%, or be so far off as to be rediculous. or things overlooked in calculations, or unintended effects of "minor" changes, I cant put full stock in the theory aspects
who thinks they will ever get a manufacturer , that paid a lot of money for their proprietary research, to make the results public.
All of the past threads have, at some stage, answered those questions. Don't flatter yourself, none of what you are writing brings anything new to this old and trite argument
Go for The Tone,
g
Unconscious incompetence - conscious incompetence - conscious competence - unconscious competence. Where are you?
We human's revel in the beauty that our eyes see and ears hear. We have a hard time separating the two. Especially when we want a beautiful brass finish (whether one thinks a high-luster shiny brass finish or dull, greenish tarnished brass finish is more beautiful doesn't matter) and beautiful tone to correlate somehow.
"Sometimes you have to play a long time to be able to play like yourself." •Miles Davis
“Always be a first rate version of yourself instead of a second rate version of somebody else.” •Judy Garland
www.stevenbollman.com
I find it entertaining that anyone would say that since different material affects sound on a drum, plating would make a difference on a sax or even funnier...... on the keys of a clarinet. Apples and oranges.
"Sometimes you have to play a long time to be able to play like yourself." •Miles Davis
“Always be a first rate version of yourself instead of a second rate version of somebody else.” •Judy Garland
www.stevenbollman.com
If you guys want I can call around to the music shops in Grand Rapids and Lansing to see if they have one of these Hamilton plated clarinets.
I will compare it to the same clarinet with silver and nickle plated keys and let you know my findings.
I will also use the same mouthpiece/ligature/reed on all of them so there will be one constant element to the 'experiment'.
I could also ask a buddy to join me and record all 3 for review after the fact. I'll bet that they sound the same....
Old reed players are like fine wine. They only get better with age. Tom Hagen
Play the Music, not the instrument.
Could you please ask them to put the various keys on the same clarinet body so we can get a more scientific comparo?
And PLEASE don't let your reed change while you're waiting.
Go for The Tone,
g
Unconscious incompetence - conscious incompetence - conscious competence - unconscious competence. Where are you?
"Sometimes you have to play a long time to be able to play like yourself." •Miles Davis
“Always be a first rate version of yourself instead of a second rate version of somebody else.” •Judy Garland
www.stevenbollman.com
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