Klarinet Archive - Posting 000345.txt from 1998/06

From: <Maestro645@-----.com>
Subj: Re: [kl] Why Intermediate Horns?
Date: Tue, 9 Jun 1998 16:36:37 -0400

In a message dated 6/9/98, Kevin Fay wrote:

> I
> understand completely from a manufacturing-engineering standpoint how an
> injection molded plastic part can cost less that an endangered tree. I do
> not understand, however, how a wood Normandy can cost $0.01 less to produce
> than a Concerto--the wood is the same, and the workmanship on both horns is
> excellent. Why does the Concerto cost three times as much? And more
> importantly, why, if the cost is the same (or thereabouts), does Leblanc
> insist on producing horns with an inferior bore/scale? Ditto these issues
> for the other manufacturers

Maybe it is a marketing ploy to encourage people to buy their top model horns.
I'm ASSUMING with the Concerto that it costs more because the wood is more
select, and made under more close tolerances, and stuff like that. I can
understand the Opus costing more (although drasticlly more, well...I don't
know) because of the silver keys, auxillary Ab/Eb key, adjustable thumb rest,
lower pad resonators, cork pads on the upper joint and one in the lower joint.
Also the wood is unstained to show off the grain and show that they selected
the best wood for it's consistency. I've heard (not sure if it IS true) that
sometimes manufacturers like Buffet, Selmer, Leblanc, Yamaha, etc. stain the
grenadilla wood to cover up any wood inconsistencies. That's where the
unstained wood comes in so you can inspect the horn's natural color, grain,
etc.
Chris Hoffman

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