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Finally, a violin maker learns enough about tennis rackets to realize that wood is good, but carbon fiber is better. Carbon fiber acoustic flutes have been around since 1993, but the maker (Matit) is in Helsinki and I haven't been able to try one yet. The carbon fiber piano can't be far behind.
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Beautiful instrument.
With all the plastic and carbon fiber acoustic instruments coming forth, I guess what has been typically used in symphony orchestras will someday become "period instruments"............
Ads for a Carbon Fiber Cello in the International Musician,
AFM Magazine.
Remember the incident where a flood in LA washed Strad out to sea? It was found on the beak weeks later unharmed and apparently played fine once carefully dried out.
Incidentally I was told Selmer was going rebuild the Mk VI's again. Have you heard anything about these new models.
Someone else told me it would be hard to replace all the brass they got from WWI artillery shells....
I don't know any professional saxophone players who like Selmer's newer models. All my saxophones (4 of 'em) are MK.VI's and all have wildly appreciated in value, whereas the newer ones depreciate as you're walking outta the store.
I've heard the brass rap before. Can it be so hard to get good quality brass?
Is that lead is prohibited in modern manufacturing.
IMO more than materials is the hand-made aspect. Modern horns are "perfect", which is an entirely different aesthetic. Modern horns (speaking of trumpets now) that are hand-made come closest to old horns IMO, though even then the valve block is CNC'd or something and while closer, it's not the same.
Dave
I'm not really sure how the hell old MK.VI's were made. But I know even though every VI is different, there are some similarities at certain serial number groups. Have no idea if that correlates with when particular artisans were working at Selmer.
Hmm, maybe my alto should be thought of as a Pierre instead of a 147,000.
Thought only the joints were lead soldered.Heard a new Yamaha trumpet custom built with lead solder, sounded different from the factory stock model.
Edits: 03/25/15
...an noticeable, maybe very obvious impact on sound. Lead free solder is harder and more brittle...very different mechanical properties, with far-reaching consequences for everyone who uses solder.
dh
There are people who have done spectral analysis of equipment from back then, much of it has lead in the brass.
Dave
Not hard to find: just more expensive. Supposedly the demand of the mk VI has never diminished so Selmer was considering remanufacturing them...Not being a sax player I was curious if they ever did.
Even for Yamaha the difference is often the thickness of the metal for their instruments. They have scientifically made the instruments very good and very easy to play but some of their models (read custom made for their sponsored artists) have more mass compared to the over the counter models. If your sponsored its amazing what the factory can do
Of Mark VI and Super Balanced, though those I know that have tried them say they aren't very similar to the originals. I know a couple of guys that play them, not that many that stay on them.
Dave
Carbon fiber musical instruments.
Yep. Just what the HIPs have been saying all along. Any and all instruments and the ensembles who use them are corrupt and a corruption of genuine musical values and virtues.
Did Bach, Beethoven, or Milton Babbitt ever conceive of a carbon fiber instrument? Did it ever sound in their inner ear?
Such instruments are instruments of corporate greed and the modern, post-space-age, post-atomic-age, cellular tower, tattooed, nose-earinged corrupt society that's corroding the music and the true nature of music. It should be banned. If not banned, then at least ostracized to the point that everyone would be to shamed to listen to any modern orchestra. Stalinism must be imposed in the music world [at least the classical music world - Ornette Coleman used a plastic sax back in 1960 or so].
Did you catch the the PBS Special: Two Gentlemen from Cremona? Facsinating look into the fabled violin makers. They interview luthiers, players, and collectors. And all have interesting and varying perspectives.No answers are given but a lot of speculation is thrown out. t is also interesting since one player(Stern?) has both a Strad and an a Guarneri.
Even through the dubious sound of the DVD. nuances between different instruments can be heard. I Think it was Kyung Wha Chung who explained the instrument has to be matched to the player and not all players and instruments share the same compatibility.
Fascinating show, and I distinctly recall one scene where a luthier had a dismembered violin with the the Stradivari sticker prominently visible in the belly.....
Imagine performing a repair on an instrument like that....
OH yeah,one luthier claimed that age made the vintage instruments sound better, His comment was that we may need to wait a century or so for modern builders' skills to really shine.
Edits: 03/25/15
I once attended a recital by Itzhak Perlman where he brought a Strad and a Guarneri on stage, alternated between them, and asked the audience to decide which we liked better. My decision: Perlman would probably sound good on just about any decent violin.
I stand corrected, it was Perlman. Still his comments on each were interesting.....Sometimes its not so much what the audience hears, but what the player hears.
I don't think he was too concerned with which violin the audience preferred. He was just explaining why he had two, which otherwise would seem strange.
In the video he liked both but he had a different description for the sound of each. Memory fades, but IIRC he thought the Guarneri was intimate but big and the Strad a more forward in presentation and he was not going to give up either instrument
manufacture a series of CF instruments
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