Re: Re: Re: Re: Re: Re: Re: Re: Re: How to stuff a PT-6


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Posted by K on April 16, 2003 at 15:36:17:

In Reply to: Re: Re: Re: Re: Re: Re: Re: Re: How to stuff a PT-6 posted by Rick Denney on April 16, 2003 at 14:52:34:

This thread has had some postings strongly advocating de-lacquering having not much beyond a placebo effect. I don't agree with these posters.

One summer holiday around 20 years ago I hit an ideal situation brasswise. The family away on their own, Wimbledon covered fully in real time on the TV, and my own great urge to get something done on my then main axe, a Sovereign .547 symph trombone.

Unfortunately some herbs or flowers in the garden triggered my asthma. Not terribly much, but noticeably. My sound went a bit dead, and I went rotten by that. Some of the soft notes did not speak reliably enough,

I took of the laquer of the inside of the bell. On the outside only down (or is that up) to the stay.

Placebo or not, it helped me to utilise my ideal practise situation!

One of my dumbest moves brasswise was to tell that tenor bone to finance my first bassbone, also a Sovereign. In a comparable situation some years later I took the lacquer of the bassbone in the exact same areas. Same positive effect. Never regretted that.

Why have I never taken the laquer off my King trombones? Because they are built out of much thinner brass sheets. They simply are calculated to be very alive with their lacquer, whereas the first generation Sovereign trombones were built very studily. Apparently the British army bands were considered a main market.

Aside from the YSL354, which is an ideal begginner bone, I do not like Yamaha trombones. I find them to be slide baritones/euphs. This point of view of course is not fair, but I find the King and Conn trombone approaches to be much more appealing to me.

However the Yamaha euphs are made by their trombone department, not their tuba ditto. And what makes the trombones too round makes the euphs ideal. I would never dream of taking the lacquer off my YEP-641.

I also happen to have an unlaquered 70+ years old Cerveny Kaiserbariton in thin red brass. A very alive instrument. But it must be played with a much smaller mouthpiece than the YEP-641. Else it is very easily overloaded. On the other hand it responds well to that smaller mouthpiece, a DW 4AM.

There are so may parameters in the individual equations: player, instrument type, general approach by the maker, mouthpiece, sound and response ideals, and more.

I strongly believe, that in some situations the lacquer or bare brass situation is the parameter, that solves these specific equations.

Klaus


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