[Hornlist] Re: Horn sound projector
It's called a mute. :D S message: 6 date: Sat, 21 Jun 2008 19:57:51 -0500 from: Karon Ismari [EMAIL PROTECTED] subject: [Hornlist] Horn sound projector Please excuse the poor description but I remember having seen a round (cone shaped maybe) sound projector (correct term?) connected to something like a Manhasset stand base. You place it behind your bell to project the sound where and how you want it as it is adjustable . I have scanned the archives and can not find anything related to this, but I thought I read it here at some time or other. I have scoured the internet also and can find nothing. I know it was out there as I remember the price was around $50.00. Can anyone help with this? Thank you. Karon ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Accoustics
This is pretty good advice - A normal bed room has quite a few hard surfaces (walls, desk, dresser, nightstand) - all of these reflect sound. In a small environment such as a bedroom, this can give you the false impression that you're playing out, when you're really just barely putting out sound. However, making the room too dead (using nothing but absorption) can make you work WAY too hard and make it so you're always playing loud and tiring out quickly. A good mixture of diffuse and absorbed sound is the way to go for smaller rooms. For super small rooms (say 10x12 feet or 3x4 meters) more absorption than diffusion or reflection is good - but avoid total absorption. A great tool that won't cost much at all is a few large book shelves filled with books. Pick up the book shelves at a yard sale and then go to your local library or used book store. Either of these places will get rid of handfuls of unwanteds for very little money. The books themselves will do a very good job at deflecting high frequencies back into the room at random patterns (due to the differently-sized books) and absorbing the absolute lowest frequencies (which you're not likely to produce with the horn.) If you're willing to spend a little more money, there are great products which will do absorption for you from companies such as: Auralex GIK Acoustics (great prices) Ready Acoustics (also great prices) RPG Acoustics Real Traps Here's a few words of caution - 1 - do not use egg-cartons. They won't work. They don't work. 2 - don't just buy any old sound foam. Not all sound foams are made equally. If you think it's dramatically cheaper than any of the brands I listed above, be suspect. 3 - NEVER, EVER, EVER, EVER, EVER, EVER, EVER, EVER, EVER, EVER, EVER, EVER, EVER, EVER, EVER use egg-crate, bedding, or sofa foam. All of these foams are actually quite flammable (some worse than others) and they don't do a great job anyway at acoustical treatment. One errant spark though, and your whole house will go up in smoke. I have several treated rooms ranging in treatment amount, quality and purpose. My most basic, but probably deadest room is also my cheapest outfitted room. It probably set me back about $200. I used Auralex tiles (1'x1') glued to acoustic ceiling tiles which I had attached to the wall using dry wall screws. This makes it very easy to remove the product if I move without leaving a gluey mess all over the walls. Also, with the stiff backer board, I was able to mount some 1x2 strips and some 2x2 strips on the backs of them so that some of the pieces were staggered off the wall a bit (increasing their effectiveness). This is a very dead room and works well for its relatively small size. My biggest, most expensive room was built for sound with floating walls, specialized insulation and has a generous mix of diffusion and absorption. The room sounds fantastic but cost me a little over $13,000 to design, build and treat. Either of these rooms though, work quite well for practicing. There are quite a few resources available to you on the Internet as well. Auralex offers a free service where you send them a diagram of your room, your needs and your budget and they'll design a treatment package for you. Additionally, one of the recording Internet BBS services where I'm a moderator offers a room for Acoustics specifically and it's moderated by a world-renowned and published acoustics expert. That site can be found at www.recording.org. Cheers! Jeremy Cucco -Original Message- From: Steve Freides [mailto:[EMAIL PROTECTED] Sent: Sunday, June 22, 2008 11:42 PM To: 'The Horn List' Subject: RE: [Hornlist] Accoustics Hello. I am a student player and I have a problem. I usually practice in my room, which is not too big, but not too small. I outgrew it 5 years ago. But the response on the horn is good and I am trying not to overblow. But when I go back up to the band hall, the response sucks because of the huge room. How do I make it better for practicing in my room? Google phrases like sound deadening materials and put up some in your room. Generally speaking, soft surfaces will tend to soak up the sound. If you want to make it like a concert hall, put the deadening materials towards one side, and you play from the other side. -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.c om No virus found in this incoming message. Checked by AVG. Version: 7.5.524 / Virus Database: 270.4.1/1511 - Release Date: 6/20/2008 11:52 AM No virus found in this outgoing message. Checked by AVG. Version: 7.5.524 / Virus Database: 270.4.1/1511 - Release Date: 6/20/2008 11:52 AM ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Quintet Music
___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Quintet Music
Something went awry. As you can see, you wrote nothing. Try again Paul Mansur, Memphis list. On Jun 23, 2008, at 11:55 AM, Brett Miller wrote: ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/ options/horn/p_mansur1%40comcast.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Accoustics
Dear John: I found through the years that young students practicing at home often had small rooms, as yours, and in addition they tended to practice softly so as not to disturb their families. Then, when they played in a large hall or a band room, the habit of underplaying played havoc with their full dynamics and with pitch and attack control. I learned to tell them (and show them) how to play robustly when they practice. I urged them to practice loud enough to get on mother's nerves until she shouted: Play more quietly or Shut UP! When that happens, then you are practicing loudly enough. In essence it comes to the fact that you will perform exactly the way you practice. Timid practice leads to timid performance. If you try to compensate by just playing louder when in performance (or in a full rehearsal) your under-preparation will result in poor performance. One has to learn to play with control over every aspect of performance. That means intensive effort to control attacks, pitch, and sound at pp and at ff. Practice the way you intend to perform, and hang your environment! Learn to work out well in any size room. You must learn to be adaptive by controlling your sound at all levels of dynamics. Mansur's Answers On Jun 22, 2008, at 8:14 PM, John Stacy wrote: Hello. I am a student player and I have a problem. I usually practice in my room, which is not too big, but not too small. I outgrew it 5 years ago. But the response on the horn is good and I am trying not to overblow. But when I go back up to the band hall, the response sucks because of the huge room. How do I make it better for practicing in my room? You have to deal with stupid questions sometime. _ Need to know now? Get instant answers with Windows Live Messenger. http://www.windowslive.com/messenger/connect_your_way.html? ocid=TXT_TAGLM_WL_Refresh_messenger_062008 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/ options/horn/p_mansur1%40comcast.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] RE: Acoustics
Jeremy C gave us advice about how to improve the acoustics of your practice room. 1 - do not use egg-cartons. They won't work. They don't work. 2 - don't just buy any old sound foam. Not all sound foams are made equally. If you think it's dramatically cheaper than any of the brands I listed above, be suspect. 3 - NEVER, EVER, EVER, EVER, EVER, EVER, EVER, EVER, EVER, EVER, EVER, EVER, EVER, EVER, EVER use egg-crate, bedding, or sofa foam. All of these foams are actually quite flammable (some worse than others) and they don't do a great job anyway at acoustical treatment. One errant spark though, and your whole house will go up in smoke. ** I had trouble with egg cartons too, Jeremy, until I discovered that they are much easier to nail to the wall once you remove the eggs. Gotta go, Cabbage ** Gas prices getting you down? Search AOL Autos for fuel-efficient used cars. (http://autos.aol.com/used?ncid=aolaut000507) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Accoustics
This sounds like a keeper. I'm passing it to my former teacher. He did work with a lot of HS students and probably will again. On 6/23/08, Paul Mansur [EMAIL PROTECTED] wrote: Dear John: I found through the years that young students practicing at home often had small rooms, as yours, and in addition they tended to practice softly so as not to disturb their families. Then, when they played in a large hall or a band room, the habit of underplaying played havoc with their full dynamics and with pitch and attack control. I learned to tell them (and show them) how to play robustly when they practice. I urged them to practice loud enough to get on mother's nerves until she shouted: Play more quietly or Shut UP! When that happens, then you are practicing loudly enough. In essence it comes to the fact that you will perform exactly the way you practice. Timid practice leads to timid performance. If you try to compensate by just playing louder when in performance (or in a full rehearsal) your under-preparation will result in poor performance. One has to learn to play with control over every aspect of performance. That means intensive effort to control attacks, pitch, and sound at pp and at ff. Practice the way you intend to perform, and hang your environment! Learn to work out well in any size room. You must learn to be adaptive by controlling your sound at all levels of dynamics. Mansur's Answers On Jun 22, 2008, at 8:14 PM, John Stacy wrote: Hello. I am a student player and I have a problem. I usually practice in my room, which is not too big, but not too small. I outgrew it 5 years ago. But the response on the horn is good and I am trying not to overblow. But when I go back up to the band hall, the response sucks because of the huge room. How do I make it better for practicing in my room? You have to deal with stupid questions sometime. _ Need to know now? Get instant answers with Windows Live Messenger. http://www.windowslive.com/messenger/connect_your_way.html? ocid=TXT_TAGLM_WL_Refresh_messenger_062008 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/ options/horn/p_mansur1%40comcast.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net -- Sent from Gmail for mobile | mobile.google.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Help for embouchure problems
At 10:15 PM +0100 6/23/08, Jonathan West wrote: How can you tell if you are providing enough air? Huff a note (perhaps a second-line G) without tonguing it, and see if it comes out fairly cleanly. I do my long tones without the tongue. It's an excellent check on proper embouchure and support for me. What I'm looking for is the center of the tone. I'm not looking for excellent intonation. That would be counter productive to centering the tone. Regards, Carlberg -- Carlberg Jones Skype - carlbergbmug Cornista - Orquesta Sinfónica de Aguascalientes Aguascalientes, Ags. MEXICO ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Horn Digest, Vol 66, Issue 22
On Jun 19, 2008, at 10:00 AM, [EMAIL PROTECTED] wrote: message: 1 date: Wed, 18 Jun 2008 10:10:54 -0700 (PDT) from: Steven Mumford [EMAIL PROTECTED] subject: [Hornlist] mouthpiece rim size In addition to whether you have thick or thin lips, you might notice how the mouthpiece rim diameter fits the witdth of your teeth. Does the rim hit right in the middle of your 2 front teeth? At the edge? Beyond the edge? That measurement is going to be different for each person and I'm imagining that some locations are going to be more comfortable than others. Maybe even more important than the shape of the lips? - Steve Mumford Hi Steve and all, These are all important points. This is why someone like Tom Greer, who is a horn player himself, can be so helpful if you can work with him in person. Whether or not one thing is more important than the others doesn't interest me that much. I would say that it starts with the ID, which is not set in stone, and goes through the rim shape for the other details. I don't like to make orders of things. It all goes together. For those of you coming to Denver, you will me able to meet and talk to Tom, Bob Osmun and others like myself, who will be talking about these issues. I am bringing my collection of wide ID mouthpieces. I will also be demoing the London Cup series from Osmun with Bob, in my room. We may even have a talk on the subject of good mouthpiece fit during one of the days in my room. If I am there, ask me. For those of you on the fence about coming to Denver, consider that gas prices are not going to get lower two years from now, you will never find the variety of horns and related things in one place in the next two years and the ability to talk with the soloists, exhibitors and various horn people will also be two years away, again. For some things, like the attendee fees, we have Mastercard. The rest: priceless. :-) Sincerely, Wendell Rider For information about my book, Real World Horn Playing, the DVDs and Regular and Internet Horn Lessons go to my website: http:// www.wendellworld.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Help for embouchure problems
Steven Mumford wrote: Pick a passage to play, put your lips outside and around the mouthpiece and just blow air through the horn,no buzzing. Blow the air steadily, no tongueing, and finger the notes. Do the passage a few times. When you go back to play it for real, it will go much better. This is the sort of exercise horn instructors had me do for years. It wasn't a useless exercise, but it did nothing to correct my underlying problem -- a faulty inefficient embouchure. I didn't begin to develop the range endurance I needed to play horn well until I found a trumpet teacher in Garland, Texas who really understands the fundamentals of sound production on a brass instrument. Milton wrote: Many years ago in a conversation with John Barrows he said this: You could have the most perfect embouchure in the world and bad breath control and you couldn't play $^#. The converse is also true: You could have the most perfect breath control in the world and a bad embouchure and you couldn't play $^#. If I were you I would look to my breath instead of embouchure. I know it is always my problem when I come back after a short or a long layoff. It takes both -- a good embouchure good breath control -- to lay the foundation for good horn playing. Many brass instructors understand the importance of good breathing, but very few understand the mechanics of the embouchure. Jeff Smiley understands the embouchure does a very effective job of transmitting this knowledge to his many successful students. Valerie, happy successful Balanced Embouchure Student Enter for Your Chance to WIN* The TotalBeauty.com Summer Spa Sweepstakes! http://thirdpartyoffers.juno.com/TGL2131/fc/JKFkuJNzuDc4Qvm3Pd6BILUXjWyeJ9e2gLeabLG2ctz9VYQGYBA9wg/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] RIP Kaoru Chiba (1928-2008)
Dear All Mr. Kaoru Chiba, the long time First Horn of the NHK Symphony Orchestra, passed away on 21 June in Tokyo. He was 80. Mr. Chiba was one of the very few students of late Dennis Brain, taking lessons from him during the latter's final months in 1956-57. Throughout the second half of the last century, Mr. Chiba (Baachi) had been truly a father- like figure for all the hornists in Japan. He is survived by his wife, Ms. Reiko Honsho. Their address is: 1-11-3, Naka-Ochiai, Shinjuku, Tokyo 161-0032 JAPAN With deepest sorrow Jun Yamada (now in Bangkok, Thailand) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
