![]() In this case it’s a good idea to try the curved neck on the straight body. The two piece straight models usually come with a straight and curved neck included so you have a choice. Some people feel the fully straight body+neck combo feels a little uncomfortable in terms of the angle into the mouth. The one piece bodies are generally fully straight (except the Yamaha YSS-82ZR). Straight models can be one piece or two piece. That said, there are some serious players using curved so don’t let that put you off, it’s all down to the sound and feel. Simon mentions (moderately controversially!) that the curved model is a “bit more circus” looking. ![]() This is due to the bell projecting some of the sound back towards you. It’s often said that from the players perspective the curved model gives a more immediate ‘feedback’. Some people may prefer the look of one over the other, but the aesthetic difference also contributes to the feel and sound. There is a very telling aspect to that player’s experience.Obviously the first difference is in the look. A very small change in angle can and does have a dramatic effect on the way a sound wave propagates.Ĭheck out the post about MISSING LINK IN ACTION. Know also that the precise amount of “bend” or “curve” counts for a lot. I make those mods all the time and I make new mouthpieces with chamber aspects specifically for players that prefer bend or curved necks. But back then, I thought my world had come to an end, really.Īll these years later, I’ve come to understand that bent or curved necks on soprano very often require modifications to the mouthpiece to play evenly and fully. I know now that the neck was just “different”, not damaged. I actually bought another horn and traded that Conn to a pawnshop for a marimba and $200 in cash in 1974. I took it to a great repairman and he made it look like new.īut, it never played the same, and I knew it. The neck was bent down slightly, kinking just a bit underneath. I first encountered this when my very first soprano saxophone, a curved vintage Conn, took a tumble. If you play enough soprano saxes and enough good soprano mouthpieces, you will start to get the point because you will begin to notice the changes. Change players and, again, different.īut the subtle change that is introduced by the bend or curve is insidious, perhaps, because it is subtle. ![]() Change horns and you will notice the difference, one from the next. Change one part and all changes, to one degree or another. ![]() The player’s oral cavity, the mouthpiece chamber and the horn’s internal chamber make up an acoustical environment. That is an acoustical fact.īut, what does that mean to a player? Does it affect “playing” at all? The answer is yes.Īnd the reason is easy to understand. ![]() Sound waves behave differently in a straight conic environment than they do in a conic environment that also has a bend or curve in it. ![]()
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