Surprised no response to the below. If "real" it's pretty damn amazing-tell us more..I'm all ears!A little update for you all re the Selmer.
I found that some of the nicest necks I've played have a really small, barely noticeable convexity about 1-2 cms above the tenon where the neck starts to bend. You can feel it by running a forefinger back and forth to feel the internal curvature. The Lupifaro neck has that feel for example. The 36 neck didn't. So very carefully I burnished the inside of the neck in this part with a long-neck, light, fine-headed hammer, gently but with a modest pressure, running the head back and forth within that 1 cm patch taking care not to touch the tenon itself.
Having done so for about 30 seconds, there are no external signs of any change, the shape of the external cylinder isn't obviously different to the eye at all. But there is a subtle difference achieved by feel to the internal curvature in that spot, and the resonance and sparkle is noticeably increased.
I'm not suggesting you should do the same, but I wanted to share the quite obvious change that very fine adjustments made to the crook can have. I guess why crooks are so variable one to another. Fractional differences have a perceptible effect.
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A little update for you all on the comparison, this time focusing on Lupifaro.
Stuck on a Lawrie Waldron (LAW) LCD 7* last night, and it proved a very fine match.
Holds its own vs the Selmer Ref 36 with this combo, with its different imprint intact of course.
Impeccable intonation as always, a smooth delivery with a bloom of tonal colour bordering on sizzle in the mids, and resonant lows a small fraction less deep than the warm, ringing character of the Selmer. The Lupi's altissimo sings - really sings - with this piece.
Both are such fine tenors.
This played with Lupifaro... the solo is very strong...