[Hornlist] Sound Files to Import into Smart Music
I'm looking for sound file accompaniments that have been put into Finale that can be imported into Smart Music. Smart Music has only a limited amount of accompaniments that I need for my studio. If you have happened to successfully imported music into Smart Music via PDF files, please contact me. I would be very interested in talking to you, or at least get a file sharing network going. Please contact me using my school email: ematl...@ou.edu Thanks, Dr. Eldon Matlick, Horn Professor, University of Oklahoma Principal Hornist, OK City Philharmonic 500 W Boyd Norman, OK 73019 (405) 325-4093 off. (405) 325-7574 fax Conn-Selmer Educational Artist http://ouhorns.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Sound file editing software
John Kowalchuk wrote: At 08:41 PM 8/2/06 GMT, [EMAIL PROTECTED] wrote: I am looking to purchase some relatively inexpensive sound editing software. I think Audacity might suit your needs. It's free and on the web. John Kowalchuk maker of mutes/horns/canoes/paddles/bikes Oshawa, Ontario http://home.ca.inter.net/~horn1 Canadians don't surf the net, we paddle it. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/bangs%40cet.com I use N-track Studio. It is a very powerful editing program, comparable to ACID, but much cheaper. This is from their web-site: n-Track Studio 4 is an Audio & MIDI Digital Multitrack Recorder that transforms your PC into a powerful audio recording studio. You can record, playback, overdub your audio tracks exploiting the flexibility and power of today's PCs for applying effects, realtime input processing, automated aux channels sends and returns, destructive and non-destructive wave editing. The program supports 24bit-192 khz recording, 64 bit mixing, multiple channels soundcards, live input processing, CD burning, mp3 encoding and much more. Priced at $49.00, it is downloadable at http://www.ntrack.com Carl Bangs ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Sound file editing software
At 08:41 PM 8/2/06 GMT, [EMAIL PROTECTED] wrote: > >I am looking to purchase some relatively inexpensive sound editing >software. I think Audacity might suit your needs. It's free and on the web. John Kowalchuk maker of mutes/horns/canoes/paddles/bikes Oshawa, Ontario http://home.ca.inter.net/~horn1 Canadians don't surf the net, we paddle it. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Sound file editing software
hello All- I am looking to purchase some relatively inexpensive sound editing software. I only need something to do simple things like cut a recording into movements, edit off applaud and bad takes, or raise/lower volume for personal recordings. Capabilities to splice notes and such is not necessary. What do you all recommend, and is there anything in the moderate price range which works well for this kind of thing? What file formats will it accept? Thanks a lot, Dave Meichle Lawrence University Try Juno Platinum for Free! Then, only $9.95/month! Unlimited Internet Access with 1GB of Email Storage. Visit http://www.juno.com/value to sign up today! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Sound/Style etc.
Mr. Betts, Do you believe that Mahler influenced this at all when he moved from Vienna to the NY Symphony? Or was that too early in the time line to affect what we are hearing today? -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Wednesday, January 04, 2006 2:53 PM To: horn@music.memphis.edu Subject: [Hornlist] Sound/Style etc. I think the "true American sound" would be that of Anton Horner. Think about this, he had a hand in the invention and propogated the use of the large belled nickel silver horn. He also worked for a conductor, Stokowski, who had unique and revolutionary ideas about sound. Horner's stule really only caught on in the US and what Leonard mentions is more or less correct as even Cleveland has a coast line, though fresh water. I think Szell was after a more Viennese sound, though. Problem is that this has evolved into something it is not in many instances these days as too many players stuff their big mitts too far up the bell. The "other American" sound the Leonard refers to is more, IMO, of the traditional European sound, if there is such a thing, with some variances. Hans mentions vowels and languages and this is to be considered. Vowel shape is one very important aspect of tone production and different languages make players hear things differently in music as well. I have had success playing and teaching a wide open throat syllable in order to get the player to produce the biggest, roundest sound that their aural cavity and sinuses allows them to create. In this way, you find your best individual sound. Then, you can play on any equipment you want to properly and really hear the difference between horns, mp's, alloys, etc. My system seems to work for most folks, though not everyone I have taught at one time or another uses it exactly. I will note, also, that I have never heard this syllable used in any language, not even Jerseyese. Bright/dark/centered/hollow are all kind of subjective terms, though. What Hans might write to describe a type of sound and what I would write after hearing the exact same player might be completely different. I came from the Horner school and still subscribe to that but Hans said I have a "bright" sound. Leonard calls it "dark" which is more of the corrupted (muffled) version. I think of my sound as "wide," "clear" and "centered." Good oxymoron? Another problem I encounter frequently now amongst players relates to my previous post about volume: I hear too many people equating a very loud and buzzy FF up close to being good. it's not any good if it doesn't sound good in the hall away from you and good up close as well. Of course, that buzz saw, or a**tone as I like to call it, doesn't project very well but it still annoys the hell out of most of the folks close to you. Of course, if they sound like that, then I guess you are ok with it unless you try to play somewhere else. Funny how many of the conductors running around these days want that type of sound. I guess that makes sense, though, that a**holes would want to hear a**tone! Hans is right about everyone sounding the same! God forbid that it ever happens! Personally, I miss the nationalistic sounds of the past as well as the diversity we use to have in the US. I can always pick out Vienna, though! And Hans, they are all sounding the same, very loud, and attendance is down! You are right about interpretation though. I don't hear a lot of fine interpretations these days but lots of clean technical performances. Who knows? Maybe the audiences really want lots of vibrato and clams! I know someone very well who can give them that! KB Mark Seuron wrote: What is the difference in the American and the universal sound? Also is the American sound from Jones, chambers, etc. or Hollywood? What do major American orchestras play? Ron<<<<<<<< Leonard replied: Ron, I have lived in a true cultural backwater for too many years but the last time I checked there were 2 "American Sounds". In any area that is touched by salt water a darker 8D sound is very popular, inland a lighter, more centered sound, is considered correct. Again folks, I am a true isolate and the above may no longer be true. LLBrown Hans replied: The difference is the "vowel ouuh" in the sound in general which is a result of the language. Even that vowel is not clean, but distorted. Were it clear English, it would be better (See the British School). Dont attack me for that, but it is a fact. Italians would never play with a rather dark tone as their language is of the brighter part, so is it with the Japanese. Germany is divided, as some prefer to go after the language which has q
[Hornlist] Sound/Style etc.
I think the "true American sound" would be that of Anton Horner. Think about this, he had a hand in the invention and propogated the use of the large belled nickel silver horn. He also worked for a conductor, Stokowski, who had unique and revolutionary ideas about sound. Horner's stule really only caught on in the US and what Leonard mentions is more or less correct as even Cleveland has a coast line, though fresh water. I think Szell was after a more Viennese sound, though. Problem is that this has evolved into something it is not in many instances these days as too many players stuff their big mitts too far up the bell. The "other American" sound the Leonard refers to is more, IMO, of the traditional European sound, if there is such a thing, with some variances. Hans mentions vowels and languages and this is to be considered. Vowel shape is one very important aspect of tone production and different languages make players hear things differently in music as well. I have had success playing and teaching a wide open throat syllable in order to get the player to produce the biggest, roundest sound that their aural cavity and sinuses allows them to create. In this way, you find your best individual sound. Then, you can play on any equipment you want to properly and really hear the difference between horns, mp's, alloys, etc. My system seems to work for most folks, though not everyone I have taught at one time or another uses it exactly. I will note, also, that I have never heard this syllable used in any language, not even Jerseyese. Bright/dark/centered/hollow are all kind of subjective terms, though. What Hans might write to describe a type of sound and what I would write after hearing the exact same player might be completely different. I came from the Horner school and still subscribe to that but Hans said I have a "bright" sound. Leonard calls it "dark" which is more of the corrupted (muffled) version. I think of my sound as "wide," "clear" and "centered." Good oxymoron? Another problem I encounter frequently now amongst players relates to my previous post about volume: I hear too many people equating a very loud and buzzy FF up close to being good. it's not any good if it doesn't sound good in the hall away from you and good up close as well. Of course, that buzz saw, or a**tone as I like to call it, doesn't project very well but it still annoys the hell out of most of the folks close to you. Of course, if they sound like that, then I guess you are ok with it unless you try to play somewhere else. Funny how many of the conductors running around these days want that type of sound. I guess that makes sense, though, that a**holes would want to hear a**tone! Hans is right about everyone sounding the same! God forbid that it ever happens! Personally, I miss the nationalistic sounds of the past as well as the diversity we use to have in the US. I can always pick out Vienna, though! And Hans, they are all sounding the same, very loud, and attendance is down! You are right about interpretation though. I don't hear a lot of fine interpretations these days but lots of clean technical performances. Who knows? Maybe the audiences really want lots of vibrato and clams! I know someone very well who can give them that! KB Mark Seuron wrote: What is the difference in the American and the universal sound? Also is the American sound from Jones, chambers, etc. or Hollywood? What do major American orchestras play? Ron Leonard replied: Ron, I have lived in a true cultural backwater for too many years but the last time I checked there were 2 "American Sounds". In any area that is touched by salt water a darker 8D sound is very popular, inland a lighter, more centered sound, is considered correct. Again folks, I am a true isolate and the above may no longer be true. LLBrown Hans replied: The difference is the "vowel ouuh" in the sound in general which is a result of the language. Even that vowel is not clean, but distorted. Were it clear English, it would be better (See the British School). Dont attack me for that, but it is a fact. Italians would never play with a rather dark tone as their language is of the brighter part, so is it with the Japanese. Germany is divided, as some prefer to go after the language which has quite bright vowels, while others follow the rather dark (or hollow) sound concept, if it can be seen as a concept at all, even it sounds like a hollow oven pipe. The Hollywood players, Chikago school, St.Louis, Denver, Bill Capps students & Bill Vermeulens students or Kendall Betts can be seen different as they play much brighter (clear sound, shiny) than the mass of players in the USA. I do not see Phil Myers as belonging to the dark school. These are just a few samples. Most soloists anyway exhibit themselves from the
[Hornlist] Sound of Music - near San Jose CA
The Sunnyvale Community Theater needs a hornist for The Sound of Music. Here are the performances - no doubt there are rehearsals between now and Sept 17. If you have any interest, please contact Rob Kathner [EMAIL PROTECTED] September 17: 8pm Curtain September 18: 2:30 Curtain September 22: 7:30pm September 23: 8pm September 24: 8pm September 25: 2:30pm September 29: 7:30pm ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Sound and rant
Maybe this is why many players, myself included, reach new levels of satisfaction, substance and beauty when they become church musicians. The worship experience brings out a feeling of connection not only with God, but also with the other musicians, the worship leaders, and the congregation. I remember being greatly touched when a member of our faith community that I did not know well at the time came up to me after services one day (when I had NOT played horn in the service, incidentally) and said, "I heard a Beethoven Symphony that I know pretty well on the radio the other day and noticed the french horns in the work for the first time, and I thought of you." Mr. Rider and Professor Pizka, thanks for (again) giving me some food for thought. Jennie Hans wrote: >But today, we have started to pervert the horn to a just >technical instrument without any specific character, when we >just hunt for the faster, louder & higher, neglecting tone >quality. This is so true. As much as I have noted with pride that more and more pieces are being written for the horn, most of them are eminently forgettable and lack much emotional content. Its a sign of the times. Our societies are the same way. No one wants to be so uncool as to make a personal statement of emotion. At the Tuscaloosa workshop, the trend continued with more new works, mostly mediocre at best, that were played with great technical aplomb by the finest players of our time. Emotional satisfaction level- 2 on a scale of ten. Exceptions that I heard: Chris Watkins playing a piece for horn and organ from the loft- fantastic personal statement. Frank Lloyd playing the Britten Serenade- just plain beautiful. (I didn't hear all the concerts because I was busy exhibiting during the daytime hours) I mention emotional content because I really believe that that is what music can bring into our lives better than just about anything. It is unfortunate that since before the middle of the last century, that classical music turned away from the "romantic ideal" and embraced the intellectual/emotional emptiness of the times. Or if that is too strong a statement then at least we at least have to wonder how many atonal or minor keyed moments we can endure before we can hear something that actually makes us happy or uplifts us in some way. The "too cool to be happy" syndrome. The ancient Greeks had this all figured out a long time ago. Now we live in the age of "The Cult of the Bottom Line". Everything is analyzed and projected, stripped of "subjective" content (except our TV news stations) and put through the filters of political correctness. We don't say someone has a less than enjoyable sound because that is "their" sound. We marvel though at technical gymnastics and accuracy because that is quantifiable. If something is quantifiable it is good because then you can jump in with your judgments without fear of contradiction. This is how conductors and managers operate. I think my next book will be called "The Cult of the Bottom Line" because that is what we have done to our culture. Whether its politics, sports, sex, education, medicine, business (of course), or horn playing (any instrument for that matter), its all about the bottom line. I'm glad I got to play in more "romantic " times. Cheers, Wendell Rider For info about my book, "Real World Horn Playing", and the summer seminar, please visit my website at www.wendellworld.com Not everything that can be counted counts, and not everything that counts can be counted. -Albert Einstein ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/jennie_ficks%40hotmail.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Sound and rant
Hans wrote: >But today, we have started to pervert the horn to a just >technical instrument without any specific character, when we >just hunt for the faster, louder & higher, neglecting tone >quality. This is so true. As much as I have noted with pride that more and more pieces are being written for the horn, most of them are eminently forgettable and lack much emotional content. Its a sign of the times. Our societies are the same way. No one wants to be so uncool as to make a personal statement of emotion. At the Tuscaloosa workshop, the trend continued with more new works, mostly mediocre at best, that were played with great technical aplomb by the finest players of our time. Emotional satisfaction level- 2 on a scale of ten. Exceptions that I heard: Chris Watkins playing a piece for horn and organ from the loft- fantastic personal statement. Frank Lloyd playing the Britten Serenade- just plain beautiful. (I didn't hear all the concerts because I was busy exhibiting during the daytime hours) I mention emotional content because I really believe that that is what music can bring into our lives better than just about anything. It is unfortunate that since before the middle of the last century, that classical music turned away from the "romantic ideal" and embraced the intellectual/emotional emptiness of the times. Or if that is too strong a statement then at least we at least have to wonder how many atonal or minor keyed moments we can endure before we can hear something that actually makes us happy or uplifts us in some way. The "too cool to be happy" syndrome. The ancient Greeks had this all figured out a long time ago. Now we live in the age of "The Cult of the Bottom Line". Everything is analyzed and projected, stripped of "subjective" content (except our TV news stations) and put through the filters of political correctness. We don't say someone has a less than enjoyable sound because that is "their" sound. We marvel though at technical gymnastics and accuracy because that is quantifiable. If something is quantifiable it is good because then you can jump in with your judgments without fear of contradiction. This is how conductors and managers operate. I think my next book will be called "The Cult of the Bottom Line" because that is what we have done to our culture. Whether its politics, sports, sex, education, medicine, business (of course), or horn playing (any instrument for that matter), its all about the bottom line. I'm glad I got to play in more "romantic " times. Cheers, Wendell Rider For info about my book, "Real World Horn Playing", and the summer seminar, please visit my website at www.wendellworld.com Not everything that can be counted counts, and not everything that counts can be counted. -Albert Einstein ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Sound
As far as I'm concerned, >you can play horn and soudn like an oboe, but if you do it >well, no one is going to argue with you. > >Aleks Ozolins >NYC No one? I don't think so. How will you ever know if you couldn't have gone farther, gotten more jobs (if that is your bottom line), if you had a better sound. Sound is part of the totality of our playing. How expressive can you be if people don't enjoy listening to you. Sadly, there is less concern for good sound these days than ever before- especially in this country. Technique is king right now. Hey, the whole reason for the horn's existence is its sound. You can play the same range on a trombone. Cheers, Wendell Rider For info about my book, "Real World Horn Playing", and the summer seminar, please visit my website at www.wendellworld.com Not everything that can be counted counts, and not everything that counts can be counted. -Albert Einstein ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] sound balance (horns too loud?)
First, Daniel, tell the listener to consult an ophtalmologist. No, joking. The horns should be placed where no reflection from behind would enforce the horn sound. Next, the horns should play softer than usual, generally, never "get in front" except for little solo passages, play a maximum of chamber music mezzoforte when there is a written fortissimo (rarely). So generally the horn dynamic should be between delicate mezzoforte & pianissimo or ppp. To examin the whole situation, as a tenth player (you are nine) to listen to your playing at various spots in the hall and at various spots of the piece. By the way: have just printed a new nice horn wise challenging Sextet by F.A.Hoffmeister (Partia in E-flat oder no. WM-88, comes with score & parts). Really challenging for the first horn, leading from beginning to the end, parts in E-flat but notated up to high d3. Saluti Hans -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Daniel Canarutto Sent: Monday, February 07, 2005 5:39 PM To: horn@music.memphis.edu Subject: [Hornlist] sound balance (horns too loud?) Two different listeners at the rehearsals of my wind ensemble (octet+flute) have said that the horns are too loud. Of course I imagine that your advise will be: play softer. The problem is that we do not feel the exact sound balance. I may be hearing clearly the flute (say) but the listener says that he can't. How can I get a feeling of what a listener hears? Can the balance be affected by the place where we play? (The next concert will be in a church, while we are rehearsing in a relatively small room). Thanks for any input, Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/hans%40pizka.d e ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] sound balance (horns too loud?)
I can't pass on an opportunity to jump back on my soap box. Through my horn collecting and access to several fine instruments with different playing characteristics, I have become convinced that at least two instruments are required to be able to give justice to the wide demands placed on the player in covering the standard literature. Having a big, heroic, instrument specifically to cover symphonic repertoire allows one to use a smaller, more agile instrument for chamber works. I use a Reynolds Chambers heavy bell Cleveland horn for big stuff, and a Paxman 42M for smaller things, or if I play in a Geyer section. The two horns cost less than a good 8D because few pros have ever played a Reynolds, and medium bell Paxman horns don't sell in in the US market. I use the same mouthpiece on each for full range work, and switch to a smaller diameter cup, same rim, for true descant work. The trick to switching between instruments is to take the time to tune the horns so they require similar playing adjustments. Most players can increase their accuracy by tuning the horn so it require the least amount of emboucher adjustment to lip it into tune, then get used to those settings. At my age, I can't give up too much of what I don't have any more just to fight the equipment. In a message dated 2/7/2005 11:38:41 AM Eastern Standard Time, Daniel Canarutto <[EMAIL PROTECTED]> writes: >Two different listeners at the rehearsals of my wind ensemble >(octet+flute) have said that the horns are too loud. Of course I >imagine that your advise will be: play softer. The problem is that we >do not feel the exact sound balance. I may be hearing clearly the >flute (say) but the listener says that he can't. How can I get a >feeling of what a listener hears? Can the balance be affected by the >place where we play? (The next concert will be in a church, while we >are rehearsing in a relatively small room). > >Thanks for any input, >Daniel >___ >post: horn@music.memphis.edu >unsubscribe or set options at >http://music.memphis.edu/mailman/options/horn/billbamberg%40aol.com > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] sound balance (horns too loud?)
> Two different listeners at the rehearsals of my wind ensemble > (octet+flute) have said that the horns are too loud. Of course I > imagine that your advise will be: play softer. The problem is that we > do not feel the exact sound balance. I may be hearing clearly the > flute (say) but the listener says that he can't. How can I get a > feeling of what a listener hears? Can the balance be affected by the > place where we play? (The next concert will be in a church, while we > are rehearsing in a relatively small room). You can only do the best you can with the small room. The balance may well be significantly different in the church. It is vital to have at least one rehearsal where you are performing, and this should preferably be the final rehearsal before the performance. During the final rehearsal, somebody must go out into the auditorium and listen to the balance from there. In orchestral rehearsals, the conductor normally does this (and if he doesn't he should, unless you have played together there many times before). In a small group without a conductor, this needs to be one or other of the players, or perhaps a friend whose opinion you all respect and trust. Also, it is common to have to tell the horns to shut up in a small woodwind ensemble. Horns players habitually produce a volume sufficient to be heard over the strings of a full orchestra, and this is usually too loud for a woodwind ensemble. Likewise, in a brass ensemble, the horns are often too soft because they are the only instruments whose bells are pointing away from the audience. Regards Jonathan West ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] sound balance (horns too loud?)
This is a classic problem. The solution is to put down your horn, let the other horn player(s) continue to play, and take a seat next to one of the listeners who say there's a problem. Hear what they hear, ask them how different it is without you playing, and proceed accordingly. As a choral conductor, I regularly ask the group to continue singing and walk out into the house to listen - there's really no other way to know, and even that isn't perfect because any house sounds different with people than it does empty, but it's the best one can do. Another thing might be to place a microphone and recorder out in the house and decide for yourself afterwards. Maybe your critic is a relative of your flute player and doesn't like horns? :) -S- > -Original Message- > From: > [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] > du] On Behalf Of Daniel Canarutto > Sent: Monday, February 07, 2005 11:39 AM > To: horn@music.memphis.edu > Subject: [Hornlist] sound balance (horns too loud?) > > Two different listeners at the rehearsals of my wind ensemble > (octet+flute) have said that the horns are too loud. Of > course I imagine that your advise will be: play softer. The > problem is that we do not feel the exact sound balance. I may > be hearing clearly the flute (say) but the listener says that > he can't. How can I get a feeling of what a listener hears? > Can the balance be affected by the place where we play? (The > next concert will be in a church, while we are rehearsing in > a relatively small room). > > Thanks for any input, > Daniel > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music.memphis.edu/mailman/options/horn/steve%40fridaysc > omputer.com > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] sound balance (horns too loud?)
Two different listeners at the rehearsals of my wind ensemble (octet+flute) have said that the horns are too loud. Of course I imagine that your advise will be: play softer. The problem is that we do not feel the exact sound balance. I may be hearing clearly the flute (say) but the listener says that he can't. How can I get a feeling of what a listener hears? Can the balance be affected by the place where we play? (The next concert will be in a church, while we are rehearsing in a relatively small room). Thanks for any input, Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Sound on an 8d
On Monday, January 3, 2005, at 02:27 PM, [EMAIL PROTECTED] wrote: I believe the Bernstein/Mahler recordings also fall into that range. I'd like to hear the difference between his 8D sound and his Reynolds sound. Hi.. I doubt seriously that anyone could, with any degree of certitude, distinguish between the two horns and know which he was playing at any one time. Paul Mansur ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Sound on an 8d
This is a very interesting question. Maybe some Chambers students can pin it down for us. I don't know how much this helps. Several years ago (mid 70s) I saw an older cover of some brass music with Chambers holding the Reynolds. The picture appeared to be from the mid 50s. I didn't recognized the horn so I asked my teacher (a Chambers student) about it (I wondered why it wasn't an 8D). I was told that Chambers played that horn for a couple of years then went back to the 8D. I had the impression that the Reynolds "experiment" was from the 50s. By the time my teacher was with him (mid 60s), Chambers was back on the 8D. At 01:27 PM 1/3/2005, you wrote: This is a quote from the Chambers interview found at the Osmun Brass web-site, where he is talking about his famous, low serial number, Conn 8D: So that horn stayed with me all my playing years, except for a short period of three years while I was developing a Chambers Model Horn for Reynolds. The horn that was finally developed was a much improved horn over what I started with and I actually used it in the Orchestra. Unfortunately, that horn is no longer being produced. nor is my name associated with it. So except that one short digression, it was not only Conn 8D, but the same horn. John Cerminaro now owns that horn. Does anyone know which three years he is referencing? From the only information I have, the Chambers name was taken off the FEO1 model in 1964, when Reynolds changed ownership and moved production to Abilene, Texas. From that date, the three years would have to fall in the the range of 1960 to 1964, but which years? I believe the Bernstein/Mahler recordings also fall into that range. I'd like to hear the difference between his 8D sound and his Reynolds sound. Richard Smith R.G. Smith Music Engraving & Publishing www.rgsmithmusic.com [EMAIL PROTECTED] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Sound on an 8d
This is a very interesting question. Maybe some Chambers students can pin it down for us. I don't know how much this helps. Several years ago (mid 70s) I saw an older cover of some brass music with Chambers holding the Reynolds. The picture appeared to be from the mid 50s. I didn't recognized the horn so I asked my teacher (a Chambers student) about it (I wondered why it wasn't an 8D). I was told that Chambers played that horn for a couple of years then went back to the 8D. I had the impression that the Reynolds "experiment" was from the 50s. By the time my teacher was with him (mid 60s), Chambers was back on the 8D. At 01:27 PM 1/3/2005, you wrote: This is a quote from the Chambers interview found at the Osmun Brass web-site, where he is talking about his famous, low serial number, Conn 8D: So that horn stayed with me all my playing years, except for a short period of three years while I was developing a Chambers Model Horn for Reynolds. The horn that was finally developed was a much improved horn over what I started with and I actually used it in the Orchestra. Unfortunately, that horn is no longer being produced. nor is my name associated with it. So except that one short digression, it was not only Conn 8D, but the same horn. John Cerminaro now owns that horn. Does anyone know which three years he is referencing? From the only information I have, the Chambers name was taken off the FEO1 model in 1964, when Reynolds changed ownership and moved production to Abilene, Texas. From that date, the three years would have to fall in the the range of 1960 to 1964, but which years? I believe the Bernstein/Mahler recordings also fall into that range. I'd like to hear the difference between his 8D sound and his Reynolds sound. Richard Smith R.G. Smith Music Engraving & Publishing www.rgsmithmusic.com [EMAIL PROTECTED] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Sound on an 8d
This is a quote from the Chambers interview found at the Osmun Brass web-site, where he is talking about his famous, low serial number, Conn 8D: So that horn stayed with me all my playing years, except for a short period of three years while I was developing a Chambers Model Horn for Reynolds. The horn that was finally developed was a much improved horn over what I started with and I actually used it in the Orchestra. Unfortunately, that horn is no longer being produced. nor is my name associated with it. So except that one short digression, it was not only Conn 8D, but the same horn. John Cerminaro now owns that horn. Does anyone know which three years he is referencing? From the only information I have, the Chambers name was taken off the FEO1 model in 1964, when Reynolds changed ownership and moved production to Abilene, Texas. From that date, the three years would have to fall in the the range of 1960 to 1964, but which years? I believe the Bernstein/Mahler recordings also fall into that range. I'd like to hear the difference between his 8D sound and his Reynolds sound. In a message dated 12/31/2004 4:34:38 PM Eastern Standard Time, [EMAIL PROTECTED] writes: >I missed some of the conversations about mouthpieces, but I am having trouble >filling up an 8d. Sounds too flute like. I know the sound I want to get but >am not getting it. Does anyone have any ideas about mouthpieces in this >area. I'm using a Lawson cushion rim. >I want to sound like James Chambers of NYP in middle of last century. Go >listen to Mahler symphonies under Bernstein and Ives 2nd symphony to hear him. > >Ron >___ >post: horn@music.memphis.edu >unsubscribe or set options at >http://music.memphis.edu/mailman/options/horn/billbamberg%40aol.com > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Sound on an 8d
For me (amateur player, not particularly strong..), using a mpc with too large throat causes airy sound and short endurance, especially in the upper range. Bore size of about 11-12 is most useful for me, on Y668N. Jay Kosta Endwell NY ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Sound on an 8d
Hello Graeme, you used some strong argument which I only can enforce: try to develop your sound as far as you can in JC's direction, concentrating all the time on quality of attack and evenness of tone production." Exactly, that´s it, as every player has a different personality & will never sound exactly the same as another one with a strong personality. I might go further: "... try to develop your sound as far as you can in JC's direction, concentrating all the time on quality of attack and evenness of tone production. But also try to produce your individual characteristics, yourself in the tone, surpassing JC´ qualities. Just try. First imitate, then try to develop & improve & surpass ...". Happy New Year to Australia ! Hans === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Graeme Evans Sent: Saturday, January 01, 2005 4:25 AM To: The Horn List Subject: Re: [Hornlist] Sound on an 8d >I missed some of the conversations about mouthpieces, but I am having >trouble > filling up an 8d. Sounds too flute like. I know the sound I want to get > but > am not getting it. Does anyone have any ideas about mouthpieces in this > area. I'm using a Lawson cushion rim. > I want to sound like James Chambers of NYP in middle of last century. Go > listen to Mahler symphonies under Bernstein and Ives 2nd symphony to hear > him. > > Ron As you are not James Chambers, there is only a small chance of you sounding exactly like him, even with similar equipment. Rather than embark on an almost certainly fruitless search for a mouthpiece to cure your percieved problem, why not try to develop your sound as far as you can in JC's direction, concentrating all the time on quality of attack and evenness of tone production. You will gain much from it. 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: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/hans%40pizka.de ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Sound on an 8d
I missed some of the conversations about mouthpieces, but I am having trouble filling up an 8d. Sounds too flute like. I know the sound I want to get but am not getting it. Does anyone have any ideas about mouthpieces in this area. I'm using a Lawson cushion rim. I want to sound like James Chambers of NYP in middle of last century. Go listen to Mahler symphonies under Bernstein and Ives 2nd symphony to hear him. Ron As you are not James Chambers, there is only a small chance of you sounding exactly like him, even with similar equipment. Rather than embark on an almost certainly fruitless search for a mouthpiece to cure your percieved problem, why not try to develop your sound as far as you can in JC's direction, concentrating all the time on quality of attack and evenness of tone production. You will gain much from it. 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: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Sound on an 8d
I missed some of the conversations about mouthpieces, but I am having trouble filling up an 8d. Sounds too flute like. I know the sound I want to get but am not getting it. Does anyone have any ideas about mouthpieces in this area. I'm using a Lawson cushion rim. I want to sound like James Chambers of NYP in middle of last century. Go listen to Mahler symphonies under Bernstein and Ives 2nd symphony to hear him. Ron ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Sound reflectors
I have used sound Reflectors in my band. They work great, but if you put them too close, you can't hear anything but horn (which isn't really a bad thing). I would put them around 2 to 3 feet away from the bell. I have used a flat surface, rectangular shaped reflector. on the angle, it wasn't straight up, but it wasn't quite 120 degrees either. I think the angle most depends on if you are elevated, like on a stage or in a gym. Thanks Jeremy P.S. I am looking for a C.D. burner that can record at speed (Kind of like a tape player...just on C.D.) Any brand that jumps to mind? - Original Message - From: "jlmthompson" <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]> Sent: Tuesday, October 05, 2004 4:29 PM Subject: [Hornlist] Sound reflectors Sound reflectors...from those who have used and/or experience with them.do they work? Is it best if it's a round or square surface. a flat surface, slightly concave, slightly convex, multi angular like a shell or? What percentage if anyone knows does it enhance or project the volume of the sound compared to without one? Where is the best placement (I know behind the horn and in front of the trumpets :) and at what angle inclination works best? Thanks, Jim ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/jeremy%40kustomkaps.net ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Sound reflectors
Ooops. Oops, well, I will never use this term, as it happen as so often, that some of you pick just the words out of the surrounding text. I had said, "with a reflector behind (wall, etc.)" as the horns sit in front of the left wall when seated on the left end of the pit. I did not mention those "sound DEFLECTORS" or "plexi sound shields" or "plexi sound shields", shielding against excess sound from the trombones or trumpets. And even these shields are a mere farce, as they do not help. How can sound shields help against the noise of the timps, if the horns sit right in front of them, pointing the bell to them & all the timp sound wave runs into the bell tilting the sound. No. no, read my letter again, please. = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of jlmthompson Sent: Tuesday, October 05, 2004 10:29 PM To: [EMAIL PROTECTED] Subject: [Hornlist] Sound reflectors Sound reflectors...from those who have used and/or experience with them.do they work? Is it best if it's a round or square surface. a flat surface, slightly concave, slightly convex, multi angular like a shell or? What percentage if anyone knows does it enhance or project the volume of the sound compared to without one? Where is the best placement (I know behind the horn and in front of the trumpets :) and at what angle inclination works best? Thanks, Jim ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/hans%40pizka.de ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Sound reflectors
I can speak from my experience in a military band where the horns have a particularly difficult time projecting their sound (with a desirable tone) in competition with more numerous directional brasses. For three years I tediously experimented with placement of Blast Shields and came to the following conclusions. If you want to boost the horn sound and use deflectors (Blast Shields) you will tend to get out to the audience only the less desirable tone colors of the Horn and create an acoustic environment that encourages bad intonation and alarming quantities of missed notes. I submitted my findings those years ago to my then commander, the now retired Lt.Col. Chevallard and despite some secret protestations from an upper NCO, he agreed that we sounded better directing our sound off to the flanks of the band without Blast Shield assistance. If I had to use reflectors Id consider a wood surface with some irregular facets. Id angle the principal surface face up about 65 degrees. Finally, Id place them at least seven feet away from my bell. Band directors always make the first mistake of burying the horns in the middle of the band in front of the Trombones or Trumpets. The horn sound gets lost in the bodies of the back row. If the Horns play louder it only encourages the back row to play even louder. Then Band directors make the second mistake of placing deflectors behind the Horns to amplify the Horn sound. While it partially protects the Horns from the directional brass assault from behind, the Horns become victims of their own echo. The sound reflected has a brittle tone causing the Horns to reinterpret their intonation and adjust accordingly ? in other words, play out of tune. Perhaps a physicist can clarify this but I found that a reflective surface closer than seven to nine feet from the bell gives off a somewhat less desirable brittle tone (though not necessarily brassy it seems thin and jagged) and has an adverse effect on accuracy and intonation. You can actually feel the feedback interference of your own echo battering your lip buzz. Reflective surfaces more than nine feet and less than 25 offer optimum reflection. Karl Kemm Del Mar College Horn, Theory, Humanities jlmthompson wrote: > Sound reflectors...from those who have used and/or experience with > them.do they work? Is it best if it's a round or square surface. a > flat surface, slightly concave, slightly convex, multi angular like a shell > or? What percentage if anyone knows does it enhance or project the volume > of the sound compared to without one? Where is the best placement (I > know behind the horn and in front of the trumpets :) and at what angle > inclination works best? Thanks, Jim > > ___ > post: [EMAIL PROTECTED] > unsubscribe or set options at > http://music.memphis.edu/mailman/options/horn/kkemm%40delmar.edu ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Sound reflectors
Sound reflectors...from those who have used and/or experience with them.do they work? Is it best if it's a round or square surface. a flat surface, slightly concave, slightly convex, multi angular like a shell or? What percentage if anyone knows does it enhance or project the volume of the sound compared to without one? Where is the best placement (I know behind the horn and in front of the trumpets :) and at what angle inclination works best? Thanks, Jim ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
