Posted by Jay Bertolet on September 20, 2000 at 21:17:25:
In Reply to: Re: Re: Re: Re: Re: Re: Willson 3050 posted by Joe S. on September 20, 2000 at 20:15:22:
My guess is that such a sound would be great for solo and chamber ensemble work. All those extra overtones and interesting harmonics can add such a character to the sound that the sound takes on a life of its own. Much like what made Miles Davis such a great jazzer, if you know what I mean.
I would be more skeptical using such a sound in large ensembles. If I understand the principals correctly, your ensemble sound is kind of like a pie. You can slice the pie anyway you want to but you only have so much pie to work with. If you have a sound with more overtones, that same sound will have proportionally less fundamental. And my understanding is that the fundamental part of the sound is the part that projects the most. I would be concerned about an overtone rich sound being able to project well without having to work like mad to get it to do so. Obviously Roger Bobo did it but I don't have a seven liter capacity myself so it might not work as well for me.
This horn sounds conceptually like a departure from your previous projects. What you describe doesn't sound like the typical piston valve howitzer. You've piqued my interest. Care to enlighten us on the specifics of your project?