Hello Mr. Burg - what exactly is Cavalcade Competition and how does it differ
from a normal high school marching band competition?
Paxmaha
Steve Burg [EMAIL PROTECTED] wrote:
Speaking of High School Music Programs, don't know how it works in your area
but in my area, Cavalcade Marching
Sorry if it came out that way, but sadly no, it's just the opposite. I would
love to have a Paxman, but at the moment its a Yamaha.
Paxmaha
Richard V. West [EMAIL PROTECTED] wrote:
Golly! You own a Paxman but would really like a Yamaha? Wanna trade?
Richard in Seattle
of Mozart's sacred music and the use of trombones and trumpets,
but not horn, in his Requiem, I made the comment:
Besides, the horn is the instrument of the devil and we don't want that in a
sacred work, do we?
To which David Jewell asks where this idea came from. I have to admit, I
don't remember
discussion, perhaps either Adventures in Good Music or The Record Shelf,
but it was several years ago.
Paxmaha
Wendell Rider [EMAIL PROTECTED] wrote:On Oct 25, 2007, at 10:00 AM, [EMAIL
PROTECTED] wrote:
from: David Jewell
subject: Re: [Hornlist] Re: Horn Digest, Vol 58, Issue 23
First
First a Question, then an opinion. The question is: Where did the idea in the
following recent quote come from?
Besides, the horn is the instrument of the devil and we don't want that in a
sacred work, do we?
Steve Burian
Now the opinion:
There is also the fact that there are
Hi folks - just for information's sake, all of the free score websites that I
have utilized, such as the imslp.org; cpdl.org; and mutopiaproject.org; are
scores only site. If I recall correctly, so is the Neue Mozart Ausgabe site,
[which I can't seem to access right now]. This means that if
Now Dave, how are you going to make any money if you give away your repair
secrets like this? In truth it is great to see someone providing simple, clear
directions for us regular folk to keep our equipment maintained. Keep up the
good work.
Paxmaha
[EMAIL PROTECTED] wrote:
Ok, here's how
If you are at all interested in high quality used horns as well as new, try
poperepair.com - Ken has quite a few Geyer wrap models for sale, including some
Yamahas. He also currently has a relatively rare McCracken, which although a
Kruspe variant has many, many admirers - including David
The one that I have is Ancient Echoes from Musical Heritage Society, and it
is pretty much straight liturgical music performed by a genuine monastery choir
- all male. Talk about a solid low register!!
Paxmaha
David Goldberg [EMAIL PROTECTED] wrote:
David Jewell wrote:
... when I need
May I add Elgars' Serenade for Strings, Sospiri, and Elegy. Personally
when I need music to completely relax and destress me I often turn to
renaissance sacred choral music, and even to Russian Liturgical music. And
people that have gotten to know me know that I am as ardent and obsessed about
Just a note of trivia - on the album Sacred Brass by the Canadian Brass Chuck
Dallaenbach plays a cimbasso instead of the tuba. Interesting how it subtly
changes the spectrum of sound, especially when combined with the voices.
Paxmaha
-
Be a better
[EMAIL PROTECTED] wrote: Has Lowell Greer written for natural horn?
Thanks, Richard Burdick
Lowell Greer has either a Requiem or Mass for natural horn ensemble. It was
played at the 2005 NE workshop at Purchase. As I remember it was quite an
intense work, and involved a tenor
Hello John - I would love to get these. Contact me and I will arrange the
shipping and payment promptly.
Dave Jewell
760 Chenango Street
binghamton, NY 13901
607-722-5223
914-562-9770
[EMAIL PROTECTED]
-John Baumgart [EMAIL PROTECTED] wrote:
I have a 12x9x6 box full of Horn Call
[EMAIL PROTECTED] wrote:
Please note I'm not saying you can build a horn with parts from Home Depot.
There was a thread on that subject a year or so back, and it got a bit
acrimonious. This is just a variant of Dennis Brain's garden hose horn.
Cordially,
Kerry Thompson
Kerry and
Hello All - if there is any of you fellow hornists who is planning on attending
the Mansfield workshop that is upcoming, I would be very interested in
carpooling/sharing expenses. I am in Binghamton, NY (southern border, near PA
line), withing 2 hours of the university. Please contact me
hans [EMAIL PROTECTED] wrote:
... Some players lament very much, if Schubert´s Auf dem Strom is sung in
the transposed version, but would play Brittens Serenade with piano
accompaniment. Our repertory is so vast, that a replacement (or proper) piece
can be found
easily.
The whole
Howard Sanner [EMAIL PROTECTED] wrote: Hans Pizka rightly wonders:
Howard, than I ask why these folks select this piece for the recital ???
Probably because their teacher assigns it. I don't know how it is anywhere
these days, but in the U.S. when I was in school, your teacher assigned
Just a complimentary note - I was in the audience for these performances and
the works were beautifully performed. Also a personal compliment to Bryan - he
is a thorough editor/aranger and a very sharing in his conversations, even with
this would-be publisher.
Paxmaha
Essentially the question boils down to the nature of each instrument - the
piano, then as now was the preeminent concerto instrument beside the violin.
Given the mechanical ability of the piano to play chromatically with no
alteration in timbre, and the horn's inability to do the same without
Allow me to add the personal experience of being a sophomore in college and
having to play one of the melodies [there was really more than one, but I
played them one at a time] out of the Kauffman collection for about 6 lessons
in a row. For those who don't know them, the Kauffman is a
Hello listers - is anyone planning on attending the Northeast Regional Horn
Workshop in Vermont in March? If so please contact me offline regarding
sharing accomodations, driving, etc. It looks to be a good one, but it would
still be nice to split the costs with a friend.
Dave Jewell
aka
I was recently at Patelson's music in NYC and happened to notice something
curious. The G. Schirmer Mozart Horn Concertos in the Tuckwell edition are
priced at $59 or so for the complete all in one version, while each concerto is
sold separately for $9.95. a savings of nearly twenty dollars.
Hans.Pizka [EMAIL PROTECTED] wrote:
Or do you meanthere were e.g. two parts for every concert, the original
part to be transposed the other part transposed allready?
By natural horn part I simply meant the original part for horn in D
and horn in Eb. I was using the term
Hi Folks - recently Mr. Burdick was kind enough to send me this CD for a
review, which I will graciously post now. I tried to be as objective and
professional as I knew how, but I do agree with Mr. Lamb that it is worth a
listen for everyone on the list.
Paxmaha
Richard Burdick
For any and all interested in recording techniques, you should search out
Recording magazine. Many reviews of specific products, excellent articles
that explain and inform about various aspects and techniques of recording, all
done in an intelligent and thoughtful style, with a healthy sense
This is indeed the current style of corps marching. There are band shoes
available that have specially designed heels and soles to faciliate this type
of step. When done right it can be smoother than the old style toe-first step.
Paxmaha
Wendell Rider [EMAIL PROTECTED] wrote:
OK, in the
I have to admit that I have never seen them list Wagner tubas, but as they do
sell certain instruments only in certain countries, i.e. the Vienna horn model,
which is sold only in Europe, if at all. So I don't want to say definitively
no they don't, but I am really certain that, no they don't.
If it is one that was made in the last year or so, it is no longer a Yamaha,
but a King. I just checked the website, and the 1102 is the model number for
what was the yellow brass King Fidelio model. The 1112 is the silver Eroica
model. These horns are based on a design by George McCracken,
Hi Groups - last night on PBS they aired a documentary all about Leroy
Anderson, and it was very interesting. In light of the recent thread about
Sleigh Ride and our non-favorite musics, I thought that you might want to
check your PBS listings and see if it is going to air sometime in your
I have to agree, Steve. Such things as the von Suppe overtures, the Strauss
waltzes and polkas, etc. are wonderful music when played correctly. If anyone
wants to see/hear how its done, watch the New Years Concert with the Vienna
Philharmonic that is on PBS - they know how to give these
Although there are many best music scenarios for me personally, one of my
alltime standouts is when as part of the chamber singers at my junior college
in Syracuse, NY, we performed at the cathedral downtown. While rehearsing the
Vaughn Williams arrangement of O Little Town of Bethlehem
I was able to have an interesting conversation at the recent NE Horn workshop
with Chris Huning from Paxman's. Alexander was literally bumping elbows with
them on the same display table, and they had their new triple with the change
valve in the bell tail. I asked Mr. Huning how they felt
As with most things in life, we as people are different one from another, hence
the multiplicity of methods and techniques that have been developed to advance
our horn playing abilities. In order for any individual to decide what works
best, that person must try the suggested technique for an
How is a conductor to do cues if he can't point to the section or player he is
cueing? I have never heard of this rule of etiquette and it seems entirely
illogical to not be able to point to who I am cueing.
paxmaha
-
Yahoo! FareChase -
I have to agree with Hans and Paul about the human voice being perhaps our
grail as horn players. Lately I have been relistening to a recording of some
sonatas by Pavel Vejvanofsky, a bohemian baroque composer, who seemingly wrote
quite a bit for clarino trumpet and trombone. Although the
Dear listers - some idle thoughts on the recent repair thread:
throughout my years as a horn player I have sought to learn more about how
my horn works [call me an equipment/techie nerd if you want] and always do as
much as I can as regards maintaining and repairing my instruments. I
I have to agree. Since I was in high school I have ushered for the local
symphony/pops and the soloists that they have brought in have ranged from
Itzahk Perlman to Barry Tuckwell [sadly I was in college 4 hours away singing
Messiah so I missed my best chance to meet thim.] I was fortunate
We don't do Mikado for at least two years, but Nanki-Poo was my running name
last week. I have been called much worse in the past!
Paxmaha
Susan Thompson [EMAIL PROTECTED] wrote:
Will your next performance be Nanki-Poo in the Mikado?
David Jewell said, in part:
I just finished a fun
Hello lists - I just finished a fun and exhilarating set of performances of
The Pirates of Penzance with my long time GS troupe. I hope that no one
feels betrayed, for I played 2nd trombone. I relate this because of the recent
thread concerning the effects of playing more than one brass
I apologize for the late response, and for the following possibly annoying
post, but I have just got to nit-pick for my own peace of mind. Here goes...
A mellophone is a circular wrap piston valve instrument usually in Eb that
looks like a shrunken, backwards horn, and is played with the right
Having grown up betwixt both eras [Music Minus One was just getting to be a big
thing when I was young,] I can only offer my opinion. To wit - recordings are
fine, but there is nothing more fundamental than reading music. Most of us
will play in ensembles, rather than have a solo career.
Kev24612 said:
Its all very well saying that, being accomplished players with a great
ability and knowledge, but how many new players, with little knowledge, will
want to go through all that when they start playing. They will be put off
tremendously by the thought of going through it. Nice idea
In my opinion, it would be because there is a significant literature for the
natural horn, whereas the conch shell, hunting horn, alp horn and the like do
not. they may have a large amount of music for them but it is more practical
than written for its musical value and because of that doesn't
Believe it or not its all in the shoulders. If you strive to keep your
shoulders level and straight your body alignment seems to stay much more
stable. Keep the soles of your feet as flat to the ground as you step helps as
well.
paxmaha
[EMAIL PROTECTED] wrote:
Hi
Anyone here march. Does
yep - Daniel Speer.
Alan Cole [EMAIL PROTECTED] wrote:
Die Bankelsangerlieder is listed as anonymous in some catalogs -- but
didn't the musicalologists figure out who the composer is?
-- Alan Cole, rank amateur
McLean (Fairfax County), Virginia, USA.
Cabbage -So what would your reply be if the dear Prof. I.M.G. recommended that
you be pickled?
Paxmaha
[EMAIL PROTECTED] wrote:
Yes. I recommend that Prof. I. M. Gestopfmitscheist
be silver plated.
Gotta go,
Cabbage
__
Do You Yahoo!?
Tired of
Hello James - I am on both lists and sometimes the yahoo list keeps to the
point more than the memphis list. It certainly is not a wasteland - at least
most of the time. Here is my address for the yahoo people: [EMAIL PROTECTED]
James Ray Crenshaw [EMAIL PROTECTED] wrote:
I keep reading here
Hi Tom, the canadian brass have a hymns collection for sale, and try
churchinstrumentalist.com. Also Hope Publishing, and Lillenas Publishing as
well.
paxmaha
Hunt,Thomas [EMAIL PROTECTED] wrote:
I coach a fledgling college brass quintet. We are looking for a couple of
collections of stuff
Hi - if it's not still available I am willing to loan/rent my complete copy.
Just contact me.
Paxmaha
[EMAIL PROTECTED] wrote:
Another nice trio (I assume it's still in the Robert King catalog) is one by
Robert Sanders.
Emory Waters
___
post:
line up properly
J
From: David Jewell
Reply-To: The Horn List
To: The Horn List
Subject: Re: [Hornlist] Shostakovich - Symphony No. 5, op. 47
Date: Thu, 19 May 2005 06:58:53 -0700 (PDT)
Not to be picky, but Shostakovich is later in history than Sibelius.
paxmaha
Julia H wrote:
Yes, he's
I am not sure that I understand the reed thing. Could you please explain in
more detail where he put the reed, etc? I have not heard of a brass player
using a reed on his brass instrument. I have used a reed, but only when I play
clarinet or saxophone.
Paxmaha
Sheldon Kirshner [EMAIL
Not to be picky, but Shostakovich is later in history than Sibelius.
paxmaha
Julia H [EMAIL PROTECTED] wrote:
Yes, he's later in history than Shostakovich, but it's just an example of how
the
pairing of horn voices isn't set in concrete
J
-
the use of common expressions and
figures of speech.
Paxmaha
[EMAIL PROTECTED] wrote:
The whole realm? How much original quintet literature
does either group perform? How many compositions (not
arrangements) have they commissioned?
Eric James
On Mon, 16 May 2005 14:38:08 -0700 (PDT), David Jewell
does anyone have the recording music for horn and organ [or something close]
performed by Hermann Baumann and Herbert Tachezi? If so please contact me off
list as I would like to get the contents listing. I have my copy of the tape,
but lost the cassette case with the info on it. thank you.
I have a cassette copy of the LP - this performance was not reissued on cd,
unless it occurs on their recent CBC reissue. See their web store for more
info.
paxmaha
BVD Press [EMAIL PROTECTED] wrote:
And no, they don't do many original commissions, although the
Canadians have commisioned an
Actually the Empire Brass postdated the Canadians by almost ten years.
However, both groups have become the predominantly known quintets and certainly
do well at exploring the whole realm of the repetoire between them. I have a
collection of ST. Paul Sunday Morning episodes featuring both
If you go to canadianbrass.com they have a page devoted to the time line of
the members in the group. There is a lag sometimes in different parts of the
site as to who is in the group - pictures tend to be displayed in the gallery
after changes have taken place. I am confident that Mr. Scully
from: neuro
Why Yamaha America has only models
667, 667V, 668 -- with their nickels and detachbles --
Actually if one checks a retailer such as Woodwind and Brasswind, they offer
the 567, 313, 314, 667, 667V, 668II, the 891 and the 892. Regarding the 867,
remember that originally in the
Just a question - did you dilute the acid with water? many people leave out
the fact that you never use the acid straight - it's always no more than a 10%
solution. Glad the cleaning went well.
Paxmaha
[EMAIL PROTECTED] wrote:
Actually, I decided to do some research and give it a go. I went
Once again, for anyone who does any church music, try
churchinstrumentalist.com, they have a great selection.
paxmaha
Gary Greene [EMAIL PROTECTED] wrote:
Dear list,
I am forwarding the following message from one of our list members who is
having some technical problems getting his message to
Didn't Chambers study at Curtis?
paxmaha
Richard V. West [EMAIL PROTECTED] wrote:
Hornisti: Dell'Osa was a Philadelphia mouthpiece maker. He made mouthpieces for
Mason
Jones, other members of the Philadelphia Orchestra, and countless Curtis
graduates. I rather doubt he made a mouthpiece for
Mr. Hui is correct - the piece is the serenade by borodin. I have this tape,
and on it Herr baumann announces the selection, as does the announcer. He also
played the rossini les rendezvouss des chasses as an encore.
Paxmaha
Peter Hui [EMAIL PROTECTED] wrote:
Wow, and I thought I was the only
Hi Mark - since I moved to Westchester county this fall, I have been able to acquire a
bridge also, maybe I could trade you my Whitestone for your Brooklyn, since you
wouldn't trade your Ricco Kuehn for my single Holton Saturday?
Paxmaha [Dave J.]
Mark Louttit [EMAIL PROTECTED] wrote:
If anyone
Hi Steve - if you can email a couple of pictures of them I can probably identify them,
especially the Yamaha. Its a quirky ability/fascination with horn design that I have
that has taken the form of my identifying brands/models of horns seen on televised
symphony performances. My parents got
From my experiences with my hometown GS troupe, there are usually always 2 horn
parts in the score. I don't think he ever used more than that, but he might have.
You can get by with one, but two is always better.
Paxmaha
Ray and Sonja Crenshaw [EMAIL PROTECTED] wrote:
If you're old enough to
My apologies to the group - carelessly did not check what address was put in when I
replied to Mark L. won't happen again.
cornistically,
Paxmaha
-
Do you Yahoo!?
Yahoo! Mail - 50x more storage than other providers!
Hi Karon - try Aaron Copland's What to Listen for in Music, Bernstein's The Joy of
Music, check out Machlis The Enjoyment of Music they are all excellent for anyone,
not just music students or musicians.
Karon Ismari [EMAIL PROTECTED] wrote:
Can anyone recommend a book (books) that would
Guys, can I suggest that you check out fullcompass.com and find the mic stands pages.
Much more reliable than any juryrigged type of equipment, and you can get the proper
mic holders as well. Just a thought for you folks that do this regularly.
Paxmaha
John Kowalchuk [EMAIL PROTECTED] wrote:
Susan T wrote: and you will probably have very solid petal tones on the trombone
as soon as you start playing it...
and Cabbage wrote: I had a rose brass bell installed on my trombone, so now my petal
tones are really impressive.
then Richard B opined: It also does wonders for your
Hi guys - I hate to cast aspersions on this, since it seems to come from a reliable
source, but the Discovery Channel show Mythbusters tried to replicate this and they
failed. It ended up taking nearly 3/4 of a stick of dynamite to replicate the
incident. The men who run the experiments
Leonard - it's definitely and Eroica, the design of George McKracken. I have no idea
where the H.N White came from, because White was absorbed by the King company earlier
in the last century. The Eroica is an early 80's [I believe] design so it couldn't
have been a White King brand. I could
Hi again Leonard - somewhere either on the net or in some literature there is the
history of the White/King company. {I will try to locate it} What I seem to recall
is the H.N. White founded the company around the turn of the century or soon
thereafter. One of his trombone designs earned the
Hello listers - please pardon this double posting, but I am hoping that someone out
there can help. I would like to know if anyone has the Canadian Brass CD Gabrieli for
Brass [w/NY Phil.] If so could that person contact me off list - I would like a
copy of the Cover/Back panel [under the cd
Hello listers -
Ray Sonja Crenshaw wrote: Ahh, greetings fellow MC225 owner! I've heard that these
things arecollectible, or at least once were.
McIntosh equipment was perhaps the best ever made and still is. Most of their gear
from the beginning up to the present will continue to
Aleks Ozolins [EMAIL PROTECTED] wrote:
I was thinking more along the lines of using a stereo mic for the whole
project, but perhaps mixing in a slight amount of signal from another mono
mic placed closely (not nec behind) the horn if only to get slightly better
prescence and focus out of the
Hello listers - please bear with this double posting. In regards to the issue of back
strain, when I returned to college after 4 years out, I had quite the time with my
back. One solution was a cylindrical foam cushion placed in the lumbar region that
helped me maintain adequate posture, and
Hi Bill - thank you for the explanation. I simply couldn't relate the phrase pop
tone with a specific action discussed in your note. I personally am not sure that
pop tone will tell us much about how a given mouthpiece will react with the horn it is
in, but it certainly might. I have always
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
I once had an interesting experience with bagpipes, that thankfully didn't involve
them being played. During a rehearsal for my HS production of Brigadoon the bagpiper
[there for the wedding scene] came down to the pit to put his pipes away and then
spent nearly an hour showing us everything
In american jazz and popular music, and thence spread to the western world at large,
any instrument is a horn. I have even heard violinists refer to their instrument as
horn when they were playing jazz. Another increasingly heard term is axe,
originaly used only by guitar players and now even
I have to agree as to the quality of the people. When I first encountered them several
years ago after seeing an ad in I believe the ITG Journal, they were the most
considerate, conversational and informative folks. We had a several minute general
conversation, and all I had expected was for
Hi Jim - all of the London Horn Sound arrangements are available from Paxman's
website. paxman.co.uk
jlmthompson [EMAIL PROTECTED] wrote:Does anyone know where one can get the sheet
music for Roman Carnival as
heard on the 'London Horn Sound'? How many horns and what other instruments
does it
Hi Steve - in addition the the excellent advice that Mr. Bamberger gave you and the
list - I need to add that any time you use an acid type of cleaner you need to
immediately rinse with a watery solution of baking soda - you need to stop any
acid/metal reaction and plain water won't do it.
Hi listers - after a discussion with a hornist in my local orchestra [Binghamton, NY]
I became curious as to the extent of principal hornists influencing or demanding that
their sections play a particular horn. His statement was that the principal horn of
another regional symphony was the
Hello Beej - I played a Sansone double such as yours for my college audition. I did
not own a horn, and through a friend was able to find that the repairman at the local
music store was a horn player who lent me that horn. I played it for about two
months, and although I did enjoy it, I would
larry - I think I have you beat. Back in summer 2001 I posted a dental question to
the list. Not only did I get some wonderfully encouraging and informative replies, I
was also cabbaged thrice in one day. [all from cabbage, no imitations!]. I still have
them as way cool momentos of that day.
Hello listers - as a general response to the where can I find a recording of
..by ., here are several excellent sources.
arkivmusic.com., tapmusic.com, handbdirect.com, osmun.com., poperepair.com,
towerrecords.com, and of course amazon.com and bn.com. One caveat, I may not
Hi Walt - the Durufle is originally scored for full orchestra, chorus, and organ.
Eventually there was a condensed version for strings and trumpets, which is what you
have. It would certainly make discussions of these type of questions easier if more
people were aware of the fact that many
I beg to differ - the throat contains many muscles that provide a fine degree of
control over such functions as swallowing, voice production, [controlling the larynx,]
and such. If we did not have musculature in our necks/throats, we would have to depend
on our spines and our brain stems to
Believe it or not, in my GS group, we have had several soloists who had a hard time
going just slow enough not to make mincemeat of the words, despite the music directors
insistence on sowing down. It seems that people unconsciously have the need to use
such pieces to show off what they can
how one voice could fill a 1500 seat concert hall.
paxmaha
Robert Marlatt [EMAIL PROTECTED] wrote: from: David Jewell
BTW - if one ever thinks that some of our warmups have very little to do with our
actual music making, try listening to a coloratura soprano or tenor warmup at 8:30
Hans and fellow listers - I agree with what you say here. I never meant to sound like
I was saying that vibrato is all that important, just that Myron Bloom already played
with it before going to France, and that it was indeed an enhancement of his
musicality, not a critical component of it.
On the thread concerning vibrato and Myron Bloom, I was listening to a Music Minus One
recording of Mr. Bloom playing intermediate solos yesterday, and I noticed again that
he had a wonderful, singing tone, enhanced by the use of a subtle vibrato. This was
recorded during his later career days
Alan - although this horn may seem unusual the theory behind it seems plausible
enough. Osmun was for a very short while carrying Thein horns but not for long. If
you google search for their website they are very good about sending you their
complete catalog as they make trumpets and trombones
[EMAIL PROTECTED] wrote:
Believe it or not, their 'custom' cars won't pass basic safety requirements required
by our illustrious government agencies, so they are not street legal.
And yet they can hit a wall at 180 mph, roll over more times than I do in a single
night's sleep, fly 40 yards,
Hans - I thank you for your attention to detail. I did mean Joseph Reicha, not Anton,
and as a former semiprofessional copyist and music history major, I am aware that in
the 1700's everything was done by hand. Thus many transliterations and misspellings,
etc. [such as mine,] I also know that
John - go to your local public and university libraries and start digging through the
stacks. You will find more complete information there than any one on the list can
give; you will get some excellent info from the net, but mostly incomplete. Besides,
I am not sure of your age, but one needs
Not to get picky, [but I realize I am] but there is no such thing as a minor 4th.
4ths are a perfect interval; as such they can only be diminished or augmented [the
infamous tritone or diabolus in musicus.]
Paxmaha
David Goldberg [EMAIL PROTECTED] wrote:
In Europe, that would be the steady
Folks, this effect is basic acoustics. Bass frequencies can have wavelengths up to 40
feet or more. Treble frequencies can be as short as millimeters. Air loss and
absorption occurs more readily in the upper frequencies, while bass will cause more
things to resonate than will the mids/uppers.
Hi Joe - I am getting the score and parts this week. I will contact you as soon as I
see have them in hand. they are in storage and we are leery of letting out keys to
anyone but neccessary people as we rent the space and we are concerned about security
with the building. Expect to hear from me
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