"Don Pearce" wrote in message
...
On Fri, 26 Nov 2010 11:30:53 +0200, "Iain Churches"
wrote:


"Don Pearce" wrote in message
...
On Thu, 25 Nov 2010 10:39:02 -0000, "Keith G"
wrote:

Yer, 'tis - a nalto. This one in fact:

http://www.moirac.adsl24.co.uk/showntell/Selmer.jpg

Swim wanted to max out the sax thing for once and for all and went for
this
rather pricey but nice Selmer. Cab't fault the tone, it sounds beautiful
and
Moira says it plays like a dream - big step up from the worthy but
somewhat
agricultural eBayArbiter she started out on.


Someone's been busy with the Brasso. Must be an evening's work getting
that to shine. But yes, it is easy to hear the quality in the tone.

Neither Brasso nor Duraglit (used in vast amounts by brass
and silver bands) is required on modern lacquered saxophones,
just an occasional flick with a duster to remove dust and
finger prints. Modern lacquers are also more resistant to
scratches and rubbing wear to the finish seen on so many
vintages saxes, and known as affectionately as "jazz"

Just as audiophiles discuss the differences in connecting cables,
reed players discuss the differences in the sounds of the various
finishes available for saxophones - just one of the many variables
that can give each player his/her individual tone. However,
unlike perhaps the cable debate the differences are clearly audible.
For example my black lacquered Custom Z tenor has a darker
sound than the gold lacquer version which in itself is slightly less
bright than the bare brass version.

http://www.mosabackabigband.com/Pics...stomZBlack.gif

Copper is the choice for of many classical players who, like
Keith's good lady, also tend to go for French made saxophones.

http://www.mosabackabigband.com/Pics/CopperAlto.jpg

Iain



It's quite difficult to see how the exterior finish could affect the
sound which is produced not by the metal, but by the air column. Of
course the metal interacts strongly, but all the same...

The thicker denser black lacquer is said to dampen the body
of the instrument considerably more than is the case with a
copper or non lacquered brass instrument.

Could there
be a little of the idea that the appearance affects the player's mood,
which in turn affects the style and performance here?

It's probably more than that. I play a black tenor in
the big band but a lacquered brass saxophone, with
the same reed and mouthpiece in the classical ensemble,
as the sound of this, they tell me, blends better with the
other brass and copper saxes.

But the finish is only one of a large number of variables.
Reed thickness, make, and composition (synthetic vs cane reeds)
and the contruction of the mouthpiece particularly the lay, depth
of chamber and tip opening all contribute greatly. So many different
instantly-reconisable sounds can be obtained from the saxophone.
It may be that, with the exception of the guitar, no greater
variation is possible on any other instrument. No-one could
confuse the sound of Johhny Hodges with Earl Bostic
both Beuscher alto players, even when playing the same title.

http://www.mosabackabigband.com/Music/JHEB.mp3

Keith. Note. Bostic has a very distinctive delay/reverb, used
for many later R+B saxophone players. There is a difference
between reverb on the delay and delay on the reverb. Try it:-)

Do you have any clips that illustrate the tone difference, perhaps?

I will see what I can find.
Or I could perhaps make such a clip

For a valid comparison the clips would have to
be played by the same player in the same location on
the same mic, using the same reed and mouthpiece
with just the instrument changed.


Iain