Klarinet Archive - Posting 000355.txt from 1998/06
From: "Kevin Fay (LCA)" <kevinfay@-----.com>
Subj: RE: [kl] Why Intermediate Horns?
Date: Tue, 9 Jun 1998 20:00:48 -0400
Lest I be misunderstood . . .
I have no doubt that the "pro" horns do indeed cost more to make than the
"intermediate" models. There may be a step or 2 in the manufacturing
process (tine hole undercutting, perhaps) that the intermediate horns don't
get. Based on my experience hanging around with manufacturing engineers,
however, I just don't see a cost difference of more than 20 bucks or so
tops.
Why so much more for the pro horns? Easy--because we'll pay it. What I
wonder, though, is why make an "intermediate" horn that has an inferior
bore--that doesn't play as well in tune? Why is it different at all?
kjf
-----Original Message-----
From: Maestro645@-----.com]
Subject: Re: [kl] Why Intermediate Horns?
In a message dated 6/9/98, Kevin Fay wrote:
> An accounting of the actual manufacturing costs would show a difference of
a
> few dollars, at most. Even if the difference was as high as a hundred
> bucks--and it certainly isn't--that would not explain how the price of a
> Concerto is three times that of a Noblet 45. No way.
>
So, is Buffet doing this too, with their R-13 against one of their
intermediate models also? And Yamaha, and Selmer? I mean, that only seems
right, because if they use all the same wood and basically the same keys
(with
the exception of extra "toys" on the Opus, Prestige, etc.), then what they
are
doing is really trying to mess with your mind. (unless there is something
else they're not telling us about the manufacturing process of the
intermediates when compared to professionals...)
Or, another assumption...perhaps the top lines cost more, because more hand
work is done when compared to the "lower" models that might use more machine
work.
Perhaps someone could solve this mystery for us. (Tom Ridenour, where are
you?)
Chris Hoffman
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