Anyone have a opinion as to how Sterling Silver bells respond in both pit orchestra and large hall playing? Are they as heavy feeling as I would imagine? I played a Sterling leadpipe, it was different.
Playing in a pit, Sotto Voce works the best for most of the book( and the killer microphone that amplifies me, Neumann I believe). I wonder how a Sterling Silver bell works with a Sotto Voce approach and amplified. Contrast that with large orchestral work.....and needing to be heard at a distance. It seems many Sterling bells have been bought, so I imagine someone has some actual playing experience with them, other than Schmid's analysis, which is always seems spot on, but I was curious as to other opinions from our breathen and sisters. Matthew Scheffelman ____________________________________________________________________________________ Do you Yahoo!? Everyone is raving about the all-new Yahoo! Mail beta. http://new.mail.yahoo.com _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
