You're right! It sounds excellent--a real 3D effect.emgcr wrote:...
This slightly tongue-in-cheek experiment might amuse and perhaps seems to suggest that adverse effects of a constant diameter tube are less than one might expect ...
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You're right! It sounds excellent--a real 3D effect.emgcr wrote:...
This slightly tongue-in-cheek experiment might amuse and perhaps seems to suggest that adverse effects of a constant diameter tube are less than one might expect ...
Hello Chunny. I am afraid it is not on display in any public way but the owner, although very private, is a keen enthusiast who, I am sure, would be happy to see a kindred spirit by appointment. Let me know next time you are over and I shall try to arrange things.chunnybh wrote:Is it on display and accessible to the public?.......how does it compare....?
I wish I could also play saxophone! I've never read before about this "motorboating" issue and its peculiar "cure"; I wonder why this motorboating takes place at all, and why it comes that a small object left in the bottom of the instrument happens to dampen it (without, I suppose, altering the tone or pitch).estott wrote:Not quite the same situation (at all) but I'm a saxophone player & sometimes the instruments are subject to "Motorboating" - an obnoxious throbbing vibration on low notes. This can be fixed by careful adjustment of the mouthpiece and neck angle, but a common quick fix is to drop the mouthpiece cap into the bell of the horn to rest in the bottom crook. (Many is the time I've thought "Where is that cap - Oh Yes..") There is the slight possibility that a bit of oil in that position might dampen an unwanted resonance.
Exactly Marco. Theoretically the Fitzpatrick horn with its enormous speaking length and horn mouth should be able to produce frequencies lower than the largest EMGs and Experts can - however, it's said that EMG experimented with horn designs larger than the Xb Oversize but were unable to obtain any benefit.Marco Gilardetti wrote: a gramophone horn, which is an impedance adapter ran by traveling waves.
I also seriously doubt about it. "Track" doesn't mean "deliver within -3 dB". Horns that really go down to 30 Hz are gigantic, they basically take entire room walls. In respectable horns like the Klipsch Scala, there is nothing to be really heard below 70 Hz, which is at first shocking considered the size of the cabinet. They also should be rationally placed at corners or along walls and floorstanding, not "in the middle of air" like Fitzpatrick's. I'm sure that Fitzpatrick's horn deliver a marvellous sound, but it's simply not rationally designed and placed with the aim of delivering the lowest possible pitch.Orchorsol wrote:Percy Wilson reported that the Fitzpatrick instrument was able to "track" (quote) a 30 Hz test cut accurately, but whether and how it actually delivered that frequency is unknown!
In the UK those would be called "resultant", "acoustic" or "harmonic" stops, always in the pedal department. Bottom C of a true 32' stop is 16 Hz; they synthesize that pitch usually by sounding the octave and the fifth above that (i.e. the first two frequencies of the harmonic series).Marco Gilardetti wrote:I remember reading a specialised book on organ stops, where it was explained that a specific organ stop (I'm sorry I can't remember the name) doesn't really reach lower pitches, but below a specific key "simulates" them with a pair of overtones that, together, are percieved by the human brain as the pedal note.
Similar to these -->Marco Gilardetti wrote: Horns that really go down to 30 Hz are gigantic, they basically take entire room walls.