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Klarinet Archive - Posting 000064.txt from 1994/05

From: "Jay Heiser, Product Manager, Govt Systems" <jayh@-----.COM>
Subj: Re: Clarinet Materials
Date: Tue, 3 May 1994 13:42:35 -0400

-->From sco.sco.com!vtbit.cc.vt.edu!vccscent.bitnet!klarinet Tue May 3 12:59:37
1994
-->Date: Tue, 3 May 1994 09:25:01 PDT
-->Reply-To: Klarinet - Clarinettist's Network
<KLARINET%VCCSCENT.BITNET@-----.EDU>
-->Sender: Klarinet - Clarinettist's Network
<KLARINET%VCCSCENT.BITNET@-----.EDU>
-->From: Anthony Corman <corman@-----.COM>
-->Subject: Re: Clarinet Materials
-->Comments: To: KLARINET%VCCSCENT.BITNET@-----.EDU
-->To: Multiple recipients of list KLARINET
<KLARINET%VCCSCENT.BITNET@-----.EDU>
-->Message-ID: <9405031258.aa06767@-----.COM>
-->
-->Actually, old martin saxes do have a seam (visible
-->in the bell) and they sound great! So do Webb & Wessel
-->flutes. And organ pipes. There is this notion that a
-->seam does enforce some desirable acoustic properties.
I didn't say that a seam was bad. I was just curious how
Selmer manufactured a long tapered tube out of sheet metal
with no obvious seam.

-->the player. I recall reading a study (I think
-->in the Woodwind anthology) that concluded that
-->the vibarations from the wall of a woodwind
-->occur at a level of energy that is too low to
-->be acoustically signifigant.

Many people think that the buffing that occurs in a
a relacquer job detrimentally affects the sound
Yamaha sells gold plated necks that purportedly
have a difft sound
Many people believe that a silver-plated sax
sounds difft than lacquer

I have no opinion on these, if true, I just want
to know why

It seems to me (at least in the 20th century), that
clarinet makers have been somewhat less adventurous
than the makers of other instruments (with the
possible exception of Vito).
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