Chief of Stuff
I've heard this theory a few times and I'm not so sure. I would expect that to make me play worse, because I wasn't really listening properly.I couldn't tell which was which either. But there is another (possibly hidden) side to all these 'enhancers'. Primarily they claim to work. And to be fair, mostly they don't. But if you really believe in them you probably play better just because you think it sounds better...
Perhaps, or perhaps you play better because you let loose.I've heard this theory a few times and I'm not so sure. I would expect that to make me play worse, because I wasn't really listening properly.
Also possible, of course.Perhaps, or perhaps you play better because you let loose.
Me, too.Just to make one thing clear. I think this is a product to make money, not better music. Mainly because I firmly believe it's not the material of the sax making the sound, but the column of air.
Plenty of Zimmers for you in Benidorm!.Placebo effect might be better explained as the "I bought it and must not look a right wally" syndrome.
Save your money, the CaSLM is going into production with "Propa-link" just as soon as we can obtain sufficient plastic ties and a new junior hacksaw blade to chop up some Zimmers, NHS wheelchairs and metal bits left in skips.
YC, pm me immediately.
Apologies for being serious.
If that was true, that the cork muffle the sound, then it would be equally true that touching the sax with your fingers would have a muffling effect. If you blow a C# and keep your hands clear of the sax, you would then hear a difference if you play that same C# while holding your hands around the neck (of the horn obviously). Please try it....
I also recall being advised many years ago to remove the surplus cork from the sax neck. i.e. mark your m/p`s tuned position on the cork, then carefully take away the excess. Now that does make sense theoretically since if you coated your entire instrument in cork then it would clearly muffle or dampen the sound. Whether the effect of removing the small amount of surplus would be audibly discernible I am unsure.
Well it makes sense if you think of the saxophone as a resonating instrument like a bell or a guitar, but theoretically, i.e. according to the available acoustic theory in relation to woodwinds, it doesn't make sense that cork outside the instrument would have any effect whatsoever. I think Adolphe Sax would have realised that before sticking bits of cork onto the instrument in various places.Now that does make sense theoretically since if you coated your entire instrument in cork then it would clearly muffle or dampen the sound.