Tobias was the only one enthusiastic about it.......he is still around, just under a different identity :twisted: maybe you should try to find him........ http://saxophonistisches.de/pimp-my-sax/
Snakeoil, that we already discussed here. I think Toko is no longer producing them. You could achieve the same by glueing a label of anything on your horn. Wait, didn't Charlie Mariano........
I tried the golden one. I couldn't hear or recognize any difference on my conn and mkvi.
maybe my ears are dead from years of full power stage monitoring speakers.
but I couldn't See an improvemrnt.
so i sent it back.
cheers
Patrick
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The Martin Tenor powered by Matt Stohrer, King S20, MK VI
MPC: Doublering 10, Guardala MBII Handmade, Barone SNY
The Klangbogen makes a huge difference. I tried it on my Mark VI Tenor and it was AWESOME. I've always wanted to try some old Selmer Mark VI necks, but because of the rarity, I haven't been able to. Now I don't have to because the Klangbogen has improved my horn immensely. I've been unhappy for years with my low register on my tenor, but that has cleared up with the Klangbogen. Try it for yourself, you won't be disappointed. Mauro, the president of Reed Geek, has always wanted to produce products to help the reed players and he would never sell anything that didn't work. Don't believe the skeptics and we have many of them. And Reed Geeks new double geek is great for double reed players. I got one yesterday and adjusted my reeds last night. Mauro hit another home run with Klangbogen and the Double Geek. Thank you for continuing to help us reed players. Frank B.
I know a guy who uses one. He sounds really great, but that probably has more to do with the fact that he has a degree in jazz studies than because of some weird chunk of metal. I got to play his horn, too; it sounds great, but that's probably more because its an 80xxx Mark VI and not because of some weird chunk of metal.
every day there are several born everywhere, taking advantage of whom, if you ask me, is a very common business model since the days snake oil was sold in the far and wild west.
Replacing the world of science ( where you have to show the validity of what you say) with the world of amulets and superstition ( where you don’t have to prove anything) has always paid dividends for those whom sell things like these.
Replacing the world of science ( where you have to show the validity of what you say) with the world of amulets and superstition ( where you don't have to prove anything) has always paid dividends for those whom sell things like these.
So, so true! And unfortunately this trend seems to be getting stronger than ever right now, on a mind-boggling massive scale, at least in parts of the U.S. It's the 21st century and we seem to be moving back toward the Middle Ages...
Should be a great opportunity for all the "Kangbogen peddlers."
Although it is true that there are no absolute truths, certainly in matters of personal belief or choice, concluding that one can then say that anything is therefore true because someone says so utterly is ridiculous.
A musician, even a great one, is just as fallible and gullible and anyone when it comes to be a victim of wishful thinking.
In my view any product which is sold by making any kind of claims linked to any kind of scientific principle should be subject to proving the assertions with research that is not anecdotic and independently verified by peers.
Lacking any of this, any such product can, at most, claim being a “ Lucky Charm”
Just because someone's a great player does not mean that person can effectively determine whether an effect is due to something real and physical, or due to psychological effects, or due to random variation of an extremely complex system.
You probably don't ask Van Gogh for information about the long term chemical stability of a certain paint pigment; you ask a chemical engineer.
Funny you should make that reference. The Cincinnati Art Museum has the Van Gogh painting "Into the Undergrowth", which apparently originally had pink flowers in the scene. The pink has now faded to white. The museum has a digitally retouched version displayed nearby to show what it might have looked like with the pink before it faded. So, indeed, maybe Van Gogh wasn't up on "the long term chemical stability of" the pink paint pigment he used in that painting.
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