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Date: Tue, 04 Sep 2001 00:02:50 -0400
From: Graham Nasby
Subject: Re: [CB] [CB Digest]

heads up!

contrabass sarrusophone on ebay:



From: "Dave Spiegelthal"
Date: Tue, 4 Sep 2001 09:54:10 -0400
Subject: Re: [CB] Metal Haynes contra clarinet (uh huh!)

Ken Shaw wrote:
  "Now if Haynes had only made a silver contra...."
.......nobody would have been able to afford it, and they would have therefore
made just one, and it wouldn't have mattered to the musical world except to the
one wealthy collector and/or museum who would have obtained the instrument!
     Dave Spiegelthal
     Calverton, VA


From: Heliconman
Date: Tue, 4 Sep 2001 10:52:11 EDT
Subject: Re: [CB] Curved Saxophones/Mic Techniques

In a message dated 9/3/01 3:41:34 PM Eastern Daylight Time, go_oaw writes:

> The sound in woodwinds leaks out of their holes differently on every note.
>     Not like our beloved brasses.  So I would expect the shape-hearability to
>     be complicated.
>     However, from my experience with tubas and my peculiar violin set up, I have come to
>     realize that very small changes in ear (or microphone) placement can have large effects
>     in the preceived sound, especially for ears that are locked into one position in the
>     near-field of the instrument.    Oscar
 I interned in recording studios for a few years and remembered seeing a sax
mic'ed using a microphone at the bell as well as a mic placed near the keys.
The end result could be balanced to favor one mic or the other. Now that I
think about it, one could even place a mic near the mouthpiece to add a third
type of sound to add more brightness or buzz. The player himself can vary the
balance in the mics just by altering their proximity to each mic. I spoke
with the sousaphone player of the Dirty Dozen Brass Band who said he
preferred mounting a microphone fairly deep in the bell for what he
considered to be a more upright tuba type sound, having more of the low

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