soccerguy315 Posted October 13, 2009 Share Posted October 13, 2009 QUOTE (jts5032 @ Oct 12 2009, 05:07 PM) Volume. Phillistines... Fred O. nah, I am cultured enough. If I could have (rated 1-10): sound - 8 volume - 10 or sound - 10 volume - 8 I would choose the first one. Quote Link to comment Share on other sites More sharing options...
chaos001 Posted October 13, 2009 Share Posted October 13, 2009 What would you rather listen to, a massive church organ or a massive jumbo jet? oooh, a toughie. Schoenstein v. Airbus A380. i'll get back with you... Quote Link to comment Share on other sites More sharing options...
JGuy1288 Posted October 13, 2009 Share Posted October 13, 2009 Well let's talk about the instruments specifically. What is better, one that plays well or one that sounds good. Of course both is what we all want, but what is more important to you. Wouldn't a horn that plays well, sound good just as a result? Quote Link to comment Share on other sites More sharing options...
supersop Posted October 13, 2009 Share Posted October 13, 2009 If you're talking G: To me, a horn played well if there was little change in resistance at the break ....... and I had the ability to pump as much air as I wanted through the horn without it turning blatty. More air equally MORE BRASSY!!! The horn still had all the inconsistencies in pitch ... micro tuning and lip bending was always expected. If I felt any backpressure whatsoever .... if the horn got weird around/between E and G at the top of the staff ... it was junk. In other words, you either got half or none. In other words, I always had to tune every note with my ear and train my face to know exactly where I was at all times. But, if it was an easy playing horn ... I was in heaven. This is why I bought my own horn and used the same one for 5 yrs in a row. IN OTHER WORDS ..... "I" make the horn sound great. This was nearly impossible to achieve if the horn didn't play great. Bb: Same as above ... and I haven't found a Bb for under 5k that played as freely as my crappy 2 valve DEG G Bugle (circa 1984). Can someone then explain to me why Bb is more affordable/economical .... when you're paying for a crap sound that plays tight ..... and maybe gives you 3 notes that are better in tune out of the box? I call that OVERPAYING for a DOWNGRADE. Monette and Kanstul are the only products out there that have nearly the same feel as my bugle. Just sayin'. Quote Link to comment Share on other sites More sharing options...
Jeff Ream Posted October 13, 2009 Share Posted October 13, 2009 well in battery percussion, volume is a byproduct of producing the best possible quality of sound from the drum.in pit percussion, one of the plus sides of amplification is that they can now play the keyboards with the correct touch needed to produce the best fundamental tone out of the instrument, while still being loud enough. not everyone does this, of course. lots of pits still overplay the instruments, and then amplify that harsh sound. bad. which as the pits get louder, many horn lines get softer Quote Link to comment Share on other sites More sharing options...
Spaml6 Posted October 13, 2009 Share Posted October 13, 2009 which as the pits get louder, many horn lines get softer Even with more horns in the line. Volume hands down.. but soon or a later someone will figure it out Quote Link to comment Share on other sites More sharing options...
kickhaltsforlife Posted October 13, 2009 Author Share Posted October 13, 2009 Just trying to create disscussion/debate. Cause I needed a topic change, lol. Let's see some opinions backed up by reasoning. Of course this is all opinions involved here. There is no right answer. Just trying to prompt some discussion. I'll comment later. Quote Link to comment Share on other sites More sharing options...
skewerz Posted October 13, 2009 Share Posted October 13, 2009 Just trying to create disscussion/debate. Cause I needed a topic change, lol. Let's see some opinions backed up by reasoning. Of course this is all opinions involved here. There is no right answer. Just trying to prompt some discussion. I'll comment later. dunno about reasoning, but I'll give you an example... I'll take '80 Spirit over the last 2 or 3 years of Cavies any day of the week, and twice on Sunday. Quote Link to comment Share on other sites More sharing options...
Bruckner8 Posted October 13, 2009 Share Posted October 13, 2009 Depends. But I know this much, from two very important sayings I was taught in conservatory: 1) "If it doesn't sound good, I don't want to hear it." 2) "Even if you're the only one who's right, you're wrong." Both by Per Brevig, former principal trombone of the Met Opera Orchestra, now a jet-setting conductor. In my teaching, I will not tolerate bad sound, period, ever, no matter the context. I have yet to see a composer write "Please sound like #### here." That said, Mahler wrote in his 9th Symphony, at the end of the first movement, in the low brass parts, "Bells up with fiercest violence." http://imslp.org/wiki/Symphony_No.9_%28Mahler,_Gustav%29 (I. Andante comodo, PDF page 45) While playing that, I might get a different sound than I would had the instruction not been there, but "crass" or "brassy" in and of itself is NOT BAD. Clearly, Mahler wanted "as loud as possible" and he left it to the musicians to figure it out from there. BAD is when there's absolutely no support, no consistency, no direction, no tone, whatever. CRASS has its place (Phantom 1996 comes to mind). BAD does NOT have its place (Garfield 1984 comes to mind ). Quote Link to comment Share on other sites More sharing options...
jamesjones0611 Posted October 13, 2009 Share Posted October 13, 2009 Depends.But I know this much, from two very important sayings I was taught in conservatory: 1) "If it doesn't sound good, I don't want to hear it." 2) "Even if you're the only one who's right, you're wrong." Both by Per Brevig, former principal trombone of the Met Opera Orchestra, now a jet-setting conductor. In my teaching, I will not tolerate bad sound, period, ever, no matter the context. I have yet to see a composer write "Please sound like #### here." That said, Mahler wrote in his 9th Symphony, at the end of the first movement, in the low brass parts, "Bells up with fiercest violence." http://imslp.org/wiki/Symphony_No.9_%28Mahler,_Gustav%29 (I. Andante comodo, PDF page 45) While playing that, I might get a different sound than I would had the instruction not been there, but "crass" or "brassy" in and of itself is NOT BAD. Clearly, Mahler wanted "as loud as possible" and he left it to the musicians to figure it out from there. BAD is when there's absolutely no support, no consistency, no direction, no tone, whatever. CRASS has its place (Phantom 1996 comes to mind). BAD does NOT have its place (Garfield 1984 comes to mind ). I agree on all points except for the fact that 1984 Garfield sounded bad. I just don't really think that hornline sounded bad at all. In fact, I think they had wonderful tone. If you want to see a modern hornline that is loud AND plays with a great sound and in tune, then look at Crown. Otherwise, there isn't really another hornline that does all the things they do. Quote Link to comment Share on other sites More sharing options...
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