Posted by Klaus on January 08, 2003 at 13:02:57:
In Reply to: Re: A hypothetical situation... posted by DC on January 08, 2003 at 12:16:04:
Excellent point!
Good sound consists of a series of overtones that line up well in respect of intonation. Notes, that behave well as overtones, also will do so as notes played in their own right. When I test instruments, I check whether the notes in the high range, whether they speak immediately.
They generally do, because instruments reaching this far in the test procedure will have to have a good sound. Instruments, that sound dead or "dusty" go back on the shelf immediately.
I disagreed with those of my former colleagues, who accepted even high-priced instruments as a Bach 16 being impossible in the range an octave above middle C because "student XX never would be able to play that high anyway". That is an attitude, that will make sure, that he never will accomplish. And when the students pay a pro-level price for a instrument for their kid, then that instrument shall meet a pro-level in playing standards. (The fault maybe basically was to urge a not very promising student to get an expensive instrument, no matter whether it was good or bad. I must say, that I sometimes have had a smell of corruption (kick-backs) in my nose, when I have watched the relations between some teachers and some stores. No names will be mentioned and I have been out of business for a very long time anyway).
What is response? That is how fast the full range of partials/overtones will line up into a consistent sound. When all notes in an instrument are in tune and can speak, then the response of the overtone-rich lower range will be fast.
Of course there are other parameters to be taken into account here:
Some instruments actually respond so well, that players with very well developed technique "overblow" them. Such instruments are good for students, but not necessarily for their teachers. A sample would be the Yamaha 2xx and 3xx series. And they are exactly marketed as student and amateur lines.
Some instruments are harder to play, but sound good, when played on large mouthpieces and with a lot of air support. I love my very heavy YEP641 with the Yeo signature mpc and a mpc weight added. But it would be murder to give such equipment to a young student and even to many mid range amateurs. Then there is the very good Weril non-comper for them. Euphs are just one sample. Another could be the relation between the Besson 981 Eb comper and the now discontinued 7xx non-comper with the exactly identical body and bell. Some amateurs loved the latter. I preferred the 981, which was the one I bought.
Klaus