On Sat, 27 Nov 2010 10:49:09 +0200, "Iain Churches"
wrote:

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.


It really is that much thicker or denser then? I can see that would
make a difference.

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.

Nothing to do with them thinking you look a bit too flash then? ;-)

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

Bostic is the second one, yes? Very distinctive - was the whole part
played with rapid flutter-tongue? It sounded like it.
That difference was far greater than two instruments could make it,
though. 99% technique, I would say.

d