Mack
Well-Known Member
- Messages
- 553
- Locality
- Devon
I have a Bauhaus soprano which I had all but given up on, because the tuning was so awful at the top end - it was actually a semitone sharp at B and above. Given that that is the difference between one tone hole and another, I wondered how the manufacturer had possibly managed to engineer such a fault.
I always play with the curved neck, because I play with a strap to reduce pressure on my thumb. Today it occurred to me to try the straight neck, and the problem disappeared. Now it is just as out of tune as I expect a soprano to be . I am guessing that the curved neck has some difference in its internal bore which accounts for the difference. I know that some one-piece soprano's have a definite narrowing at the neck in order to improve the tuning at the top end. However I never thought that two necks from the same horn would make such a difference.
Anyone else?
I always play with the curved neck, because I play with a strap to reduce pressure on my thumb. Today it occurred to me to try the straight neck, and the problem disappeared. Now it is just as out of tune as I expect a soprano to be . I am guessing that the curved neck has some difference in its internal bore which accounts for the difference. I know that some one-piece soprano's have a definite narrowing at the neck in order to improve the tuning at the top end. However I never thought that two necks from the same horn would make such a difference.
Anyone else?