Post by noel on Oct 30, 2003 12:22:27 GMT -5
Hi all.
Mr Lawler, I agree with you 100%. I have often been accused of being pedantic (which flaw I cheerfully own). Of course I made A Bach sound, as did Lou, but neither of us made THE Bach sound. (A sound meaning one of many perfectly acceptable but individual sounds, THE sound implying a unique sound, the only possible sound, a generic sound which any player ought to achieve)
Mr NE, I agree with you 100%. But just as every make of instrument has particular tonal characteristics which tend to influence the tone that different players will make on the same horn - so each individual player will have a unique concept of the sound they want to make which will influence the tone any given instrument will produce.
I also hope that it is obvious that I do not think that I make exactly the same sound no matter what horn I play. I sound very different on a Bach from the way I do on a Benge or my Eclipse. However I do believe that whatever horn I play I will still sound like myself and that there is more difference in the way these horns feel to play than in the way they sound to an audience.
For example one would probably be able to identify Jon Faddis's sound whether he was playing his Shilke, a Bach or a Yamaha.
Romey1, perhaps manufacturers who 'copy a Bach' are just doing the same thing that Bach himself did, ie copying a French Besson.
Also people keep asking why so many people chose Bach (please bear in mind that I have owned several Bachs and used them on major film sessions and on stage with some of the worlds leading symphony orchestras as well as with million selling pop artists and as my instrument of choice on countless jazz projects).
The first pro horn that I bought was a Bach - the reason I bought it? Because my teacher told me it was the best horn on the market at the time. This was in 1982 and at that time my teacher was on his 10th Bach 25 in a row - he bought a new one every 2 years since the early 1960s.
I would suggest that the difference between the first Bachs that he bought and a Bach you buy today is enourmous. The first could well have been handbuilt to order by a craftsman in a modest workshop, the second, one of a batch of a 100 or more instruments to come off a conveyer belt each week in the production plant of a vast corporation. (think Rolls-Royce vs. Toyota for example).
All I can say is that I am very happy that I now play an Aston-Martin.
Noel.
Mr Lawler, I agree with you 100%. I have often been accused of being pedantic (which flaw I cheerfully own). Of course I made A Bach sound, as did Lou, but neither of us made THE Bach sound. (A sound meaning one of many perfectly acceptable but individual sounds, THE sound implying a unique sound, the only possible sound, a generic sound which any player ought to achieve)
Mr NE, I agree with you 100%. But just as every make of instrument has particular tonal characteristics which tend to influence the tone that different players will make on the same horn - so each individual player will have a unique concept of the sound they want to make which will influence the tone any given instrument will produce.
I also hope that it is obvious that I do not think that I make exactly the same sound no matter what horn I play. I sound very different on a Bach from the way I do on a Benge or my Eclipse. However I do believe that whatever horn I play I will still sound like myself and that there is more difference in the way these horns feel to play than in the way they sound to an audience.
For example one would probably be able to identify Jon Faddis's sound whether he was playing his Shilke, a Bach or a Yamaha.
Romey1, perhaps manufacturers who 'copy a Bach' are just doing the same thing that Bach himself did, ie copying a French Besson.
Also people keep asking why so many people chose Bach (please bear in mind that I have owned several Bachs and used them on major film sessions and on stage with some of the worlds leading symphony orchestras as well as with million selling pop artists and as my instrument of choice on countless jazz projects).
The first pro horn that I bought was a Bach - the reason I bought it? Because my teacher told me it was the best horn on the market at the time. This was in 1982 and at that time my teacher was on his 10th Bach 25 in a row - he bought a new one every 2 years since the early 1960s.
I would suggest that the difference between the first Bachs that he bought and a Bach you buy today is enourmous. The first could well have been handbuilt to order by a craftsman in a modest workshop, the second, one of a batch of a 100 or more instruments to come off a conveyer belt each week in the production plant of a vast corporation. (think Rolls-Royce vs. Toyota for example).
All I can say is that I am very happy that I now play an Aston-Martin.
Noel.
