Your Favorite Horn
Corwin Light-Williams
I was wondering, for curiosity's sake, what different people's favorite horns
are, why, and what they play on now.
I play on a Paxman 25L- a double, with a large bell and dual bore. My only complaint is that i would like a New World(really large) bell, but it doesn't really matter.
I also own a 30 year old Conn 6D in decent condition, which I played on
before this horn.
I have played on Paxmans model 20A, 25L, and 80A, an Alexander descant and an unknown model Alex that our youth orchestra owns, Conn models 6D, 8D, and 28D, Yamaha 667, 762, 862, Reynolds Misc(dunno the model), and a holton H130(?)
I was merely curious what people liked.
Corwin Light-Williams
dra...@industrial.com
cor...@bpp.com
Jay
>What do others like?
I'm *very* loyal to my Conn 8D. Just thought I'd throw that
in. I've tried a number of different horns at workshops, and
there was one Yamaha (if you can believe that one!) that
seemed really cool, but I forget the model. Basically, I'm
addicted to horns with a lush, dark sound and powerful low
range.
Any suggestions for other horns to try?
Jay
Robert Larson
Jay,
What do you have against Yamaha? They make excellent horns! I play an
867d and I am VERY happy with it!
--robert
/----------------------------------------------------------\
| the | Robert Larson |
| University | Comments and suggestions are |
| of Utah | always welcome! |
>-----------------------------------------------------------<
| http://www.cc.utah.edu/~rl2072/my_home.html |
\-----------------------------------------------------------/
Dale A. Chaudiere
>: I am a young horn player in the Portland(Oregon) area, and I have only recently found this group.
>: I was wondering, for curiosity's sake, what different people's favorite horns
>: are, why, and what they play on now.
What do I play: Holton-Farcus H177. It is a nickel/silver double.
Why: My parents bought it for my 25 years ago when I was
in high school upon recommendation from my private instructor.
Favorite: Not much to compare it too. My previous horns were a single
in bad condition and the beatup Conn double that the high
school had.
--
je...@tc.fluke.COM Dale Chaudiere (206) 356-5894
Fluke Corporation
P.O. Box 9090, M/S 273G
Everett, WA 98206 USA
Doug Murphy
Corwin Light-Williams <psu0...@odin.cc.pdx.edu> wrote:
>I am a young horn player in the Portland(Oregon) area, and I have only recently found this group.
>
>I was wondering, for curiosity's sake, what different people's favorite horns
My favorite horn is my father's 1950 Scherzer/Augsburg double
bought when he was with the US Army in Germany after WW2. It has
the sweetest tone and mellowest resonance I've ever heard from a
horn. It's different from most double horns in that the F side is
played through both sets of valve slides and the Bb side only one.
This means that the valve slides are much shorter (the size of
the Bb slides on a normal double). Oh yes, I almost forgot. The
Scherzer requires less wind velocity in the upper register than
others (I don't know why), which makes it easier to play up there.
I was fortunate to be able to play it for HS performances, but
haven't since.
Now I play an old Holton I picked up in college 15 years
ago... when I can find the time. Someday, I'll inherit that great
horn, though!
Doug Murphy
AT&T, Holmdel, NJ
Martin Grainger
: Corwin Light-Williams (psu0...@odin.cc.pdx.edu) wrote:
: : I am a young horn player in the Portland(Oregon) area, and I have only recently found this group.
: : I was wondering, for curiosity's sake, what different people's favorite horns
: : are, why, and what they play on now.
Well I started on a crappy German Lidl in about '84, which cost about 400ukp.
In '88 I bought a second hand Alex 103 Gold brass for 2200ukp (well, my#
parents did :) which would have cost over 3000 at the time. Now, I think a
new one costs abnout 4200ukp - yikes!
My Alex is the only horn for me - gold brass gives it the mellow sound, and
it is so versatile that with a medium mouthopiece (paxman 3b) I can play
low or high in orchestra !
That's me anyway :)
Martin
(York, England)
--
.--------------------------------------+---------------------------.
| Martin Grainger | email address : |
| University of York, Dept. of Music | mjg...@york.ac.uk |
| aka Rev of Future | monochrome : fliptopb |
`--------------------------------------+---------------------------'
president-assassinate-revolution-communist-comrade-overthrow-clinton
(guaranteed to confuse the FBI and their mail-filter spy programs ;)
Petter Vabog
>I was wondering, for curiosity's sake, what different people's favorite horns
>are, why, and what they play on now.
As a musical clown ( Melvin Tix ) my favourite horn is a Kalison piccolo horn Bb alto. It is a beauty! I also have a Paxman compensa=
ting triple that I used in my former job as a horn player in Norwegian Orchestras.
Jay
>My Alex is the only horn for me - gold brass gives it the mellow sound, and
>it is so versatile that with a medium mouthopiece (paxman 3b) I can play
>low or high in orchestra !
You don't know where I can get a paxman 4b, do you (pref. through
mail order)? I adore that mouthpiece, but haven't seen very many
here in the states...
muth
> I am a young horn player in the Portland(Oregon) area, and I have only recently found this group.
>
> are, why, and what they play on now.
>
>
> I was merely curious what people liked.
I own a Paxman full triple, with a brass body and nickel-silver screw-on
bell. It's a great all-around horn, and keeps my arms in shape (I play with
my bell off the knee.)
What I would like to try is a 5-valve single Bb, with stopping and
descending F valves (I was a trumpet player for the first 12 years of my
musical life, and still "think" in Bb.) I'd also like to try a horn with
right-hand valves (has anyone ever heard of such a beast?)
Bill
Charlie Turner
>>Corwin Light-Williams (psu0...@odin.cc.pdx.edu) wrote:
>> I was wondering, for curiosity's sake, what different people's favorite horns
>> are, why, and what they play on now.
My 'hot rod' is a 1968 Conn 8D to which I have added a Lawson leadpipe,
Alex bell rings, and a Lawson yellow brass bell flare. Someday I'd like
to get the Lawson nickel-bronze bell flare (which has an interesting
pale silver-pink color).
My 'limo' is a Holton 104, which also has Alex compatible screw bell
threads, so I sometimes use the Lawson bell flare on it too.
Also someday, I'd like to add a brighter sounding horn to my collection,
an Alex, Paxman, Lewis, Schmitd, or something like that.
Karen deWeeger
>> I was wondering, for curiosity's sake, what different people's favorite horns
>> are, why, and what they play on now.
I play the alpenhorn, which is somewhat similar to a natural horn (in F).
The scale has a couple of "suprises" (to mosts peoples ears). I'll try and
write an ascii representation (treble clef, low to high):
C(5 spaces below staff), G(3 spaces below staff),
C, E, G, Bb, C, D, E, F# G, A, Bb-B, C.
The Bb-B is between a B flat and a B natual. As you might imagine, you can't
play just any music, but suprisingly, there is quite a bit of music written for
alpenhorn. Leopold Mozart even wrote a concerto for alpenhorn and strings. Which
probably explains Wolgang's popularity.
I realize I don't quite belong in this news group, but it's the closest I can
find. I am also hoping folks on this group can help me in my search for a nutural
horn.
Cheers, -karen
---
Dan Banks
>I own a Paxman full triple, with a brass body and nickel-silver screw-on
>bell. It's a great all-around horn, and keeps my arms in shape (I play with
>my bell off the knee.)
I've never seen a triple horn. Can you describe it to me?
Dan Banks
Dan Banks
>>>Corwin Light-Williams (psu0...@odin.cc.pdx.edu) wrote:
I wouldn't really call that "scale" a surprise because it is the harmonic
series that you will find on any brass instrument, and is easily within the
range of most serious French Horn players. You can also extend this scale
down to the C below the lowest one you list (although It is very hard to play
audibly on a French Horn) and up as high as you care to play.
Dan Banks
Jamie S Ogline
about whether which is better -new Conns or old ones.I have heard both
sides.
Thanks-
Jamie Ogline
carnegie Mellon university
Dick Martz
> . . . I'd also like to try a horn with
>
>
>Bill
>
specific players (usually with a physical problem with the left hand). I've
never heard of a production model right-handed French horn although I believe
there have been some right handed mellophones. I have a very unusual
right-handed horn which has the valves on the same side as the bell. The bell
faces to the right in the usual manner but there's no way to play it with a
hand in the bell. This horn was made in Milan (ca. 1880) by Ferdnando Roth.
I'd be interested in hearing of any other "half-backwards" horns.
I play Conn 8-D s/n 865909.
Dick Martz
Dave Drescher
--
===================================================================
David Drescher Phone: (503)797-1586
Metro GIS Analyst E-mail: dres...@metro.or.gov
600 NE Grand Ave
Portland, Oregon 97232-2736 Views and opinions are my own.
===================================================================
Hong Kie Thio
a couple of years ago and I am very happy with it. Of course,
it replaced a rickety Conn single F-horn so I probably would have
been happy with anything.
Had some remarks from a conductor about the sound being different
from what they were used to in american orchestras, but that may
also have been a veiled comment on my less than perfect pitch.
Hong Kie Thio
Caltech Seismo Lab
Dan Banks
>I've heard that individual "right-handed" horns have been custom-built for
>specific players (usually with a physical problem with the left hand). I've
>never heard of a production model right-handed French horn although I believe
>there have been some right handed mellophones. I have a very unusual
>right-handed horn which has the valves on the same side as the bell. The bell
>faces to the right in the usual manner but there's no way to play it with a
>hand in the bell. This horn was made in Milan (ca. 1880) by Ferdnando Roth.
>I'd be interested in hearing of any other "half-backwards" horns.
>I play Conn 8-D s/n 865909.
Some right handed mellophones? I have never seen any lefthanded ones,
although with some contortions, I have been able to play mellophone with only
my left hand. It might just be my imagination, but it seems that my left hand
"remembers" French Horn fingerings and my right hand remembers mellophone /
trumpet fingerings. Even when I was just starting out, I have never had any
troubles keeping the fingerings separate. Don't get the wrong idea; I
don't exactly like mellophones. I used to get plenty of exercise trying to
play in tune on that instrument. Now I play an Eb Alto horn, and besides the
fact that now I can see where I am going, I don't really like it much better.
The one I play on has the water key after the rest of the valves and I
must say that pulling slides in a parade is not kosher. Those horns are
definately better for marching than a French Horn, but the sound quality just
doesn't compare. I also find it much easier to play in tune on a French Horn
then the others, especially some of the HS band models that seem to be built
to play resonably close to in tune even if the player is clueless and/or
tone-deaf. Of course, for me and I suppose most other serious musicians that
"reasonably close" is unacceptably far away.
Now that I have had my way with mellophones and Eb Alto horns, will somebody
please stand up an defend them?
Dan Banks
Dan Banks
> I own a new Conn 8D. i'm curious to know what everyone's opinion is
>about whether which is better -new Conns or old ones.I have heard both
>sides.
I've been told that you can find new ones and old ones that are good, but a
higher percentage of the new ones are "not worth playing". This is what the
guy told me, but I don't have the personal experience to make judgement on the
new horns. I am hoping that his statement was an exaggeration. As far as the
old ones go, I remember back in HS where the band had an K series and an L
series 8D. Other than the fact that they were used, abused, and beat up, they
were both fairly good instruments.
Hry, can anybody give be a brief history of the serial numbers of the 8D
horns? I know that K and L are old, but I don't really know much about the
other ones.
Dan Banks
Haruo Yamaguchi
I was an amature *French Horn* player 16 years ago
(Ooops! I hate to remind my ages).
However, now I am playing the bassoon and the clarinet.
(Please do not ostrasize...)
What I have learned is: to play the bassoon tends to devastate your horn technique.
My (but not actually a favorite) horn at that time was YAMAHA FHR-221
(and it is *alive* in my garage).
I bet it was quite nice horn, Bb-F full double and detachable bell.
(Now some rotalies have been worn out,
so it is just a *heavy* natural horn, anyway.)
Well, I've been enjoying to read *your* posts, this is one of the merriest
NG on the net. So...
In these days, I think I would like to back a horn player again...
--
Hal (Haruo) Yamaguchi,
CS building, Department of Computer Science, the University of Manchester,
Oxford Road, Manchester, UK M13 9PL
Tel: +44-161-275-6138
E-Mail: h...@cs.man.ac.uk, ha...@acm.org
Robert Ward
a Geyer/Knopf style horn made by Keith Berg from Dunster, BC. It has a
great sound, excellent pitch, is even throughout all registers and all the
horns are consistently good. We now have 5 in our section in San
Francisco. Drop me an e-mail for more info.
Bob
--
Robert N. Ward
Associate Principal Horn
San Francisco Symphony
Trevor Wagler u
: I own a new Conn 8D. i'm curious to know what everyone's opinion is
: about whether which is better -new Conns or old ones.I have heard both
: sides.
Hi Jamie:
Allow me to add a point to the "Old Conns" score. I've tried many
different Conns before deciding which to buy, and I finally settled on a
Conn C-series (1965?) instrument, with it's original leadpipe, that used
to belong to Clyde Mitchell when he was principal of the Montreal
Symphony. I'm not sure exactly why I prefer the old to the new Conns...
the new ones just seem so "tinny" sounding to me.
TPW
--
=======================================================================
Trevor P. Wagler | Flamingo Soup | Wilfrid Laurier University
wagl...@mach1.wlu.ca | Music Publishing | Faculty of Music
(519) 634-8763 | & Productions Inc. | Waterloo, Ontario, Canada
=======================================================================
James Szinger
>Now that I have had my way with mellophones and Eb Alto horns, will somebody
>please stand up an defend them?
No. They are almost universally worthless. There are exceptions
however. I've played on a King Eb recording-style alto and an F alto
that were in tune. Everything else was hideous. I even went out and
bought a Bb marching horn rather have to deal with a mellophone.
I also outfitted my 8D with a lyre for those times when both mobility
and sound quality were needed.
As to my favorite horn, I do like Conn 8D's. I traded in my Holton
about 5 years ago and have had no regrets (apart from not having done
it sooner.) A friend of mine recently traded his Yamaha for an 8D and
the difference was astounding. His tone is much improved and he can
both blend and project much better.
I've tried a couple of Alexanders and found that they backed-up
horribly whenever I tried to take the dynamic above a mezzoforte; it
was like somebody shoved a pillow up the bell. Yuck.
Ciao,
Jim
--
James Szinger, SECF Support Specialist
James....@Yale.edu, szi...@minerva.cis.yale.edu
Bill Muth
>
>I've never seen a triple horn. Can you describe it to me?
>
It's similiar to a double horn, except that there are three sets of
slides for each valve (instead of 2 on a double) and there is an extra
(high F) trigger next to the Bb trigger (for a total of 5 valves.)
Both triggers are depressed with the thumb (you can press either
individually or both simultaneously; pressing both is identical to
pressing the high F trigger.) There's also an extra tuning slide for
the high F side, and some other plumbing. At first glance, it looks
like a double horn, but after a second glance if looks more
complicated!
Bill
TheHornist
It's funny, though .. most people blanch at the thought of spending $5K or
so for a horn, but don't think twice about spending $20K for a car ..
Ron Boerger
[from my "evil" aol account]
Mark Ghiassi
and I gladdly stuck with that instead of trading for a mellophone. The
bflat horn was not the greatest(tune wise) although you could shell the
stands with noise(and I mean noise). You could pump air through that
thing! It was great for volume.
The mellophone on the other hand sucked in every aspect. It
wasn't worth it...go for the Bflat horn.
Jamie S Ogline
recently heard that there is a new and interesting technique of actually
freezing a horn to 300 degrees below zero,which in turn makes the metal
expand and makes the horn sound a lot better-actually maybe even make a
new Conn sound like an old one.
Has anyone else heard of this type of thing???
Jamie
Charlie Turner
>Has anyone else heard of this type of thing???
This is a controversial topic - should start an interesting message
thread!
Hopefully, someday, someone will do some formal scientific investigation
of this. Folks who have had their horns frozen usually say the treatment
gave them good results.
Folks looking into the properties of metals, brass specifically, don't
find much in the literature to support the theory that deep freezing a
horn does anything in particular to it.
Surely a double blind test, say of some number of identical new horns
where half are frozen and the other half not, should show something.
There could be some descernable musical result from freezing, even if
the material science folks can't offer a good explanation for it.
On the other hand, a double blind test may show that there is nothing to
it! The practical problem will be obtaining the funding to do this
study.
Are there any statisticians around? How many horns would be needed to do
a good study? How could the musical results be quantified, ie. how would
the folks playing the horns rate each one so that a statistic could be
developed?
Grant Schampel
(remember the hornist who pared down the tissue of his lips with a razor
to make them more flexible? Ended *his* career in a hurry), but this has
to take the cake. First, cooling the metal will make it contract, not
expand; it will expand again as it warms up, to *approximately* the same
dimensions. Cooling fluids, like the film of oil or moisture that might
be on valve rotors, will make them contract too -- except that just at
freezing, water expands significantly; that's how rocks get split apart in
freezing climates. You might VERY easily crack close-fitting parts,
especially those of different metals that expand and contract at different
rates, especially if there's a little bit of moisture in between. In
fact, expanding or contracting even a homegenous part, if it's large or
bent sharply, could crack it (visualize a curved piece of metal; if it
expands x% in thickness as well as in length, that will be too much around
the inside of the curve and too little around the outside, and the metal
will be stretched or cracked to accomodate the difference). In addition,
many materials (I would guess brass in particular) at those temperatures
become brittle, and vulnerable to cracking at the slightest shock (like
picking it up with a tool). And if the procedure had any effect on the
crystalline structure of the metal at all -- if the metal survived -- it
would be to counter the effects of annealing, the careful heating and
cooling that softens metal made too hard by bending and hammering.
And those kind of temperatures (lower than liquid nitrogen, which is
cheap) are expensive to obtain, and dangerous to be around. As bad as
they'd be to metal, they'd be *much* worse to flesh. All in all, as a
treatment for a horn, it has to rank as a close second or third to a
welding torch and a jackhammer. If you really believe the old Conns were
awful, and the new ones great, this might be a way to make a new one sound
like an old one -- but there are cheaper and safer ways to ruin a horn.
--
Grant Schampel
Laboratory Information Systems, University of Minnesota Hospital & Clinic
Box 198 Mayo Bldg., 420 Delaware St. SE
Minneapolis, MN 55455-0392 (612) 626-3539
Opinions are my own, of course; not my employer's official views
also GCSch...@aol.com
Bryan Higgins
says...
>
>On the subject of whether new Conns are better or worse than old ones-I
>recently heard that there is a new and interesting technique of actually
>freezing a horn to 300 degrees below zero,which in turn makes the metal
>expand and makes the horn sound a lot better-actually maybe even make a
>new Conn sound like an old one.
I think the reason the older horns are better than the new ones has to do
with workmanship and quality of materials rather than any kind of aging
process. Conn moved its operations to Mexico for a while and quality
suffered. I believe they are back in Elkhart again.
Jay
>
>On the subject of whether new Conns are better or worse than old ones-I
>recently heard that there is a new and interesting technique of actually
>freezing a horn to 300 degrees below zero,which in turn makes the metal
>expand and makes the horn sound a lot better-actually maybe even make a
>new Conn sound like an old one.
>
Yes. We had a huge thread regarding this on another newsgroup,
and the conclusion finally came when a horn player/metallurgist
posted a bunch of scientific stuff which basically said it
does nothing to change the metallic composition and possibly
risks valve damage.
There, apparently, is some place where you can ship your horn
to have it done -- though mostly everyone seemed appalled
someone was making money off that ...
IMO - if it makes you feel better, do it. A lot of horn
playing is psychological....
Anyone thought of writing Zen and the art of horn playing yet?
Jay
Sander Gielen
: Dude, I played a Bflat marching horn in high school for the marching band
: bflat horn was not the greatest(tune wise) although you could shell the
: stands with noise(and I mean noise). You could pump air through that
: thing! It was great for volume.
However, sometimes we make this contest on while walking: Which section
produces the biggest sound. Sometimes we (the horns) succeed with only
two horns to overblow 4 trombones!
Greetings Sander
: The mellophone on the other hand sucked in every aspect. It
: wasn't worth it...go for the Bflat horn.
--
_________________________________________________________________________
| Sander Gielen; e-mail: san...@wfw.wtb.tue.nl; phone: +31 40 47 27 89 |
| fax: +31 40 44 73 55; Eindhoven University of Technology. Dept. of |
| Mechanical Engineering; ___ Section Engineering Fundamentals |
| P.O.Box 513; 5600MB (o o) The Netherlands |
-----------------------------ooO-(_)-Ooo---------------------------------
Robert Ward
(TheHornist) wrote:
> Bob, go ahead and disgust me .. what do Berg's horns generally run?
>
> It's funny, though .. most people blanch at the thought of spending $5K or
> so for a horn, but don't think twice about spending $20K for a car ..
I think they're in the 4-5K range and the wait is at least a year if not longer.
Andrew Raine
> In article <sjn5weG00...@andrew.cmu.edu>, Jamie S Ogline <jo...@andrew.cmu.edu> says:
> >
> >On the subject of whether new Conns are better or worse than old ones-I
> >recently heard that there is a new and interesting technique of actually
> >freezing a horn to 300 degrees below zero,which in turn makes the metal
> >expand and makes the horn sound a lot better-actually maybe even make a
> >new Conn sound like an old one.
> >
> >Has anyone else heard of this type of thing???
>
> Yes. We had a huge thread regarding this on another newsgroup,
> and the conclusion finally came when a horn player/metallurgist
> posted a bunch of scientific stuff which basically said it
> does nothing to change the metallic composition and possibly
> risks valve damage.
Which group? As an ex-physicist and horn player I can't believe freezing can
do any good, but I'd like to see what your "horn player/metallurgist" had to
say.
Andrew
--------------------------------------------------------------------------------
Dr. Andrew Raine
Cambridge Centre for Molecular Recognition, Department of Biochemistry,
University of Cambridge, Tennis Court Road, Cambridge, CB2 1QW, United Kingdom
Telephone: +44 1223 333744 or 333499, FAX +44 1223 333345
email: A.R.C...@bioc.cam.ac.uk
--------------------------------------------------------------------------------
Curt Austin
> On the subject of whether new Conns are better or worse than old ones-I
> recently heard that there is a new and interesting technique of actually
> freezing a horn to 300 degrees below zero,which in turn makes the metal
> expand and makes the horn sound a lot better-actually maybe even make a
> new Conn sound like an old one.
>
> Has anyone else heard of this type of thing???
I have not heard of it.
I once played a Conn 8D (1968-is that old? I suppose I should sell
it...the 6D also), but a clumsy tongue led me to choose another career:
metallurgy.
I am not aware of any potential change in "nickel silver" upon cooling
below room temperature. Some alloy will, such as steel (martensitic
transformation, blah blah blah), but not Cu-Zn-Ni, so far as I know.
Another reply to this note suggests that the treatment could cause damage
from freezing spit (possible), differing expansion of different materials
(valve spool against valve housing, say; unlikely, not a big delta T),
stresses from contraction of the same material (nope: alloys contract
isotropically and generate no stresses), or causing brittleness (steel,
yes; brass, no). So go ahead and try it if you want, but It won't be easy
to find the means to cool that low.
The properties that matter (I am guessing here) are elastic modulus (very
insensitive to manipulation in a given alloy system) and damping capacity
(rarely a substantial contribution to overall damping in most systems,
large bells a possible exception).
--
Curt Austin http://www.iac.net/~curta/
cu...@iac.net Curt.M...@ccmail.ae.ge.com
Cincinnati, Ohio
cz...@rivers.acc.uwrf.edu
Christopher (Chris) M. Zachar !!
EMAIL Address: Chris....@uwrf.edu !!
O.J. Hotline Operator (and survey sender) !!
"Who Cares?" "No Comment" !!
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
R. Bingham
I saw your posting and it brought to mind some things I observed
concerning alphorns at the Hartford IHS workshop some years ago. There
are a number of different alphorns, some in G and others in F, with a
bass alphorn--as you would expect, rather rare (key dosen't come to
mind). In looking at your reading of the harmonic series--your high
B-flat and B--are the 14th and 15th partials. It may be in this case
that the notes due to nodal placement are not really that easy to
seperate on your particular instrument. In theory, they should be
distinct pitches. The B-flat will, of course, be rather low, as is the
corresponding pitch, ie., the 7th partial, an octave lower. The
B-natural should be fairly good; but, if it is a little off, you should
be able to "lip" into place. Just a matter of playing technique--(If all
were only that easy!) I found notes above high C usable, but that really
isn't the forte (pardon the bad pun) of the alphorn. Clarino horn is not
really what the alphorn is all about. In the hands of masters it can be
very beautiful though.
Rich
******************************************************************************
* *
All the world's a stage--it's just that some are better actors then others
* *
* Richard Bingham richard...@uiowa.edu *
* rbin...@blue.weeg.uiowa.edu *
* *
******************************************************************************
Robert Chatham
: On the subject of whether new Conns are better or worse than old ones-I
: recently heard that there is a new and interesting technique of actually
: freezing a horn to 300 degrees below zero,which in turn makes the metal
: expand and makes the horn sound a lot better-actually maybe even make a
: new Conn sound like an old one.
: Has anyone else heard of this type of thing???
: Jamie
Wouldn't your lips get stuck to the mouthpiece?
Gerry
ak...@lafn.org
Bill Harris
would be interesting to get an alp horn. Out of curiousity, can anyone
tell me how much they cost? Oh yes, and do they break down into smaller
pieces (intentionally, that is :-) ), or do you need a very large place to
store one and a bus to carry one?
Bill
--
Bill Harris
bi...@lsid.hp.com
Jay
>Which group? As an ex-physicist and horn player I can't believe freezing can
>do any good, but I'd like to see what your "horn player/metallurgist" had to
>say.
rec.music.classical.performing -- about six months ago. You
can try posting there to see if anyone still has that mess 'o
threads. I didn't save it. I've only got a gig drive.
What is it with physics and horn playing, anyway? There seem
to be a lot of you guys around :)
Jay
Andrew Raine
> What is it with physics and horn playing, anyway? There seem
> to be a lot of you guys around :)
I have noticed the same thing, but I don't know why! I do remember helping to give a demonstration of the harmonic series of the horn to my "Physics of music" undergraduate option course, just after we had solved the wave equation of a stretched string. Although I stayed with science as a career, the other horn player in the group went on to become a pro (Martin Lawrence - Hannover Band and freelance).
Mark Ghiassi
: In article <3qgd92$9...@garuda.csulb.edu> mghi...@csulb.edu (Mark Ghiassi)
: > The mellophone on the other hand sucked in every aspect. It
: > wasn't worth it...go for the Bflat horn.
: True, mells are hard to keep in tune...and playing on a trumpet mouthpiece
: probably won't do your horn embouchure any favors...but challenges were
: meant to be overcome! The mell is a bastard instrument, but the Stanford
: Band Mellz have learned to move beyond the inherent limitations of the
: twisted metal and lead our fellow musicians to new, in-tune heights of
: timbre and volume. Because volume is, after all, the one thing the
: mellophone really has going for it (the ability to carry the instrument
: around is offset by the inability to see directly ahead of yourself).
: Yes, one for one, the mell is the loudest instrument in the Band, with the
: possible exception of the bass drum.
: Of course, real Horns are in every other aspect completely superior.
: David Cohen
: LSJUMB Symphonic PowerMellz
: Principal Horn, Stanford Wind Ensemble
I am just curious, but what does LSJUMB stand for???
Bill Muth
>In article <3r54sq$o...@news.duke.edu>, lj...@mail.duke.edu (Jay) writes:
>
> > What is it with physics and horn playing, anyway? There seem
> > to be a lot of you guys around :)
>
>I have noticed the same thing, but I don't know why!
Charles Kavalovski, principal horn of the BSO, also has a PhD in physics.
I believe he also had simultaneous professorships in horn and physics.
Bill
Paul Jacobs
rec.music.opera - it's worth checking out.
--
peejay
Grant Schampel
<w...@xelent.enet.dec.com> wrote:
>Charles Kavalovski, principal horn of the BSO, also has a PhD in physics.
>I believe he also had simultaneous professorships in horn and physics.
Ah! Get *him* to comment on this freezing idea.