Re: [Hornlist] Alexander 301 Triple Horn
Hi Benno, Thank you for the correction. You are quite right about my error. The 301 is an interesting horn, and should be worth trying out. The change valve mechanism is similar to that on Paxman descants and triples (I wonder whether Alex are paying a licence fee!!) Perhaps Alexander realise they have not got it quite right before. Cheers, Graeme Evans (Principal Horn, Melbourne Symphony Orchestra) +61 3 9318 0690(H), +61 419 880371(B), +61 3 93180893(Fax) E-mail: [EMAIL PROTECTED] - Original Message - From: Benno Heinemann [EMAIL PROTECTED] To: The Horn List [EMAIL PROTECTED] Sent: Tuesday, June 22, 2004 3:52 PM Subject: Re: [Hornlist] Alexander 301 Triple Horn Hello, It is the Model 310 which has the 3-way change valve. Alexander's newest triple horn is the 301. It is a direct adaptation of the 103 double Horn with a big Paxman-style change valve in the Bell/1st Branch Section. It can be seen here: http://www.musik-alexander.de/english/aktuelles/neue_produkte/horn_301/ index.html best Wishes, Benno On Tuesday, June 22, 2004, at 12:47 AM, Graeme Evans wrote: I tried one of these which was for sale here recently. It was OK except for what I consider to be a major design fault. When changing between the Bb and low F sides the change valve (3 way) put the horn into f alto briefly, and I found it impossible to smoothly change between sides on this horn. One had to be very careful about the use of the change valve, and the horn is clearly meant to be used mainly on the Bb and f alto side as set up. One has to specify how the horn should be standing at the time of ordering. This determines the neutral, 1st and 2nd thumb-valve settings and whether the horn stands in Bb or low F when all valves are open. If I remember correctly, the one I tried was set to stand in Bb with the 1st thumb lever giving f alto, and the 2nd low F. The lever design is needlessly complicated on Alexander triples generally, and has always been a problem compared with other makes I have tried. Cheers, Graeme Evans (Principal Horn, Melbourne Symphony Orchestra) +61 3 9318 0690(H), +61 419 880371(B), +61 3 93180893(Fax) E-mail: [EMAIL PROTECTED] ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/wunderhorn%40freenet.de ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/graev%40comcen.com.au ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Alexander 301 Triple Horn
Most makers do not pay any license fee as patenting something new is not worth the fee you have to pay to get the patent protection worldwide. It cost 6.000.- EURO just to cover the E.U. How much would you ask for a valve mechanism license per piece ? 20.- Euro ? Would require 300 instruments in the E.U. alone to break even if there were not other administrating costs to deduct. Resolution: if something is new the customers suggest to use this, every maker makes his own tools or forces the valve maker to make the requested new mechanism. Patent licenses are only interesting, if there is a mass production to make profit. But, there are some very interesting improvements. Young progressive makers invent a lot. But they have not the money to initiate a bigger scale production, so they offer their invention to bigger companies, which (sometimes) buy them let them die, because they have to sell their own first. And why should they change their product line. Alexander is a middle size company can afford experiments. But they produce too many different models to keep the product quality very high for every single instrument. That is the problem with them. If you produce one or two models, and if an expert player is involved can test check play every single horn, much better for equal quality. But this is only possible for a niche product of small scale. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Graeme Evans Sent: Tuesday, June 22, 2004 7:44 AM To: The Horn List Subject: Re: [Hornlist] Alexander 301 Triple Horn The 301 is an interesting horn, and should be worth trying out. The change valve mechanism is similar to that on Paxman descants and triples (I wonder whether Alex are paying a licence fee!!) ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Alexander 301 Triple Horn
But how about the horn players curiosity, having the main tube as undisturbed as possible And the makers intentions to produce valves (Schmid) which do a minimum alteration to the air flow ? All these intentions seem to be forgotten. .. ? -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Benno Heinemann Sent: Tuesday, June 22, 2004 6:57 AM To: The Horn List Subject: Re: [Hornlist] Alexander 301 Triple Horn Sorry that link was wrong! http://www.gebr-alexander.de/english/aktuelles/neue_produkte/horn_301/ index.html Benno ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Denis Wick vs Cartouche vs Megamoose.
Cabbage gave a very good explanation of 'pop tone', as I understand it. It is a tone with a frequency related to the volume of the mouthpiece cup. This allows comparing variations in both depth and diameter in a single parameter. Since it is a function primarily of cavity size, that would argue that the properties of the materials making up the cavity, such as mass or hardness, are secondary. Acoustics gets complicated in these situations because it gets into the realm of horn amplifiers. The complication, at least to me, is that the enclosed cavity shape and size defines the amplification qualities of the 'horn', but the parameters of the enclosure defining the horn shape have acoustical properties of their own that interact strongly with the signal being amplified. The answers I got from Cabbage gave me enough information to support many hours of independent investigation on my part, just to better understand what he said. His simplest suggestion, that I study more about the difference between hardening and tempering, has already led me to some fascinating places on the web. The acoustics problems, his real expertise, should keep me busy for a long time, just formulating more questions to ask. So, to answer your direct question, I mean by 'pop tone' the same thing Cabbage defines as 'pop tone'. If you now go to other sources to better understand what we are agreeing on, not only will you get your question answered, you will undoubtedly find out new things that you could share with me, and might even be of interest to Cabbage. This is how science is done. The area of loudspeaker design has been a good start for me. David Jewell wrote on 6/21/2004, 8:25 AM: Hi Bill - just what exactly do you mean by 'pop tone? I don't understand what you are describing. Paxmaha william bamberg [EMAIL PROTECTED] wrote: My questions come in here. I've become reasonably convinced that 'pop tone' is an important consideration in the performance of any given mouthpiece design. What is 'proper' pop tone? What influence does mass of the mouthpiece have on the effect of pop tone? What factor does annealing play in the role of pop tone effect? - Do you Yahoo!? Yahoo! Mail is new and improved - Check it out! ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/billbamberg%40aol.com ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Protests
All. A cross post. Have any IHS members and/or others been getting a quantity of emails decrying the Young Bull Fight that is on the Valencia schedule? Also, the inclusion of the Real Bull Fight Arena link provided on the symposium website. I've not agreed with bullfighting since about 1960. That was when my mother brought back 8mm movies of one she attended with her husband's family. It was educational to say the least. Sooo. Let's not start a discussion on bullfighting or freedom of speech. Its just that I view these emails as Spam very much resent receiving them. With respect to myself, the senders are not helping their cause by this tactic. Take care. GN NAPUDA ASSOC. Pennsville NJ, G Napuda-owner Management, Technical TQM Consulting ENGINEERING: ANS,ASQ,DOD,DOE,NRC,IAEA nat'l-intn'l Power Plant Utilities MUSIC: AFM (Life Member),IHS (NJ Rep),US Army, Grade School-College, Freelance ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Denis Wick vs Cartouche vs Megamoose.
Dear all, There is a treatment called Annealing. Does it affect the perfomance of mouthpiece much? CCC [EMAIL PROTECTED] http://mobile.yahoo.com.hk/ ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Denis Wick vs Cartouche vs Megamoose.
I have never heard that annealing is used to improve a mouthpiece. Why should a mouth piece be hardened (annealed) ??? For a mouth piece it is necessary to possess the proper width, depth, bore, shaft weight smoothness of the rim shoulders rim width back bore straight or cup curved inner wall depending on the playing philosophy and finally the right anti allergic surface. The different specific weight of the metal is of great influence plus the metals resonating properties (titanium: super light instant resonance perfect clear, brass German brass: average weight instant resonance standard, sterling silver: heavy, slow resonance but sweetening the tone) -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] u] On Behalf Of C CC Sent: Wednesday, June 23, 2004 2:02 AM To: The Horn List Subject: Re: [Hornlist] Denis Wick vs Cartouche vs Megamoose. Dear all, There is a treatment called Annealing. Does it affect the perfomance of mouthpiece much? CCC 借過、一拍兩散、奇洛李維斯回信... 全港最大手機下載中心 http://mobile.yahoo.com.hk/ ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t -online.de ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Protests
Yes, George, I received the same letter. But bull fight was is part of the life culture in Spain other countries since centuries or since the Antic. Protests would not change that. Ignoring is much better. There is something much worse in the E.U.: They plan a general study plan for all musical institutes in the E.U. What a perversion ? Don't these stupid bureaucrats not understand, that every region has its cultural preferences heritage to which even the musical studies must remain adapted. Otherwise everything will sound like the common gulyas or stew to be heard today. We are losing identity every day anyway due to the bad influence of the mass media spoiling language , arts, music ... -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of G Napuda Sent: Tuesday, June 22, 2004 10:39 PM To: Memphis HORNLIST Subject: [Hornlist] Protests All. A cross post. Have any IHS members and/or others been getting a quantity of emails decrying the Young Bull Fight that is on the Valencia schedule ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
