I have a 2006 copy of John-Edward Kelly's pamphlet, and enjoy playing the type 3 or type 4 Buescher. Unfortunately, I'm not at all versed in the science of John-Edward's, though find the notion of a parabolic bore and Kelly's aeronautical training, intriguing.parabolic bore
In Benade's Fundamentals of Musical Accoustics, he says that in order to preserve a desireable frequency ratio, woodwinds are limited in the types of air columns (bores) that are musically useful. He then names the "cylindrical pipe (e.g. clarinet) and the straight-sided cone (e.g. saxophones)..." So...you could be correct, but there isn't an arguement that even a supposed parabolic bore Buescher has for one side a straight-sided cone. The other, key-holed side of the bore is the point of contention. Also, it's possible that Benade a) didn't know of the possibility that early saxophones supposedly had said parabolic bores, or b) used modern straight-sided cone saxophones.
Also, to address your point that curved bore walls might be a "Bad Thing", Benade, in that very same book, says, "The net result [of having curves and bends in tubing] is that the speed of sound is increased within the bend, and it also has a slightly lowered wave impendence. Moreover, at the junction of the curved and straight pipe segments, one can have several types of wave reflections." This would include the entire bore of a saxophone with one side a straight cone and the other a parabolic cone and herein lies the reason why vintage saxophone purist like playing older horns. All of this is resting on the thoery that vintage instruments have a parabolic bore, but I firmly believe that they do. Sorry about the lengthy post.
So, I sometimes wonder if anyone would think of a cast and/or forged, hardened aluminum, parabolic bore saxophone?
Were we a more benign version of our own species, perhaps musical instrument design and production would ascend to a technological level more akin to what now gets devoted to an increasingly gadget oriented culture & society; and what seems unfortunate, a whole world lived within whatever production parameters are required to serve humanity as a whole, within such restricted parameters as our current degree of social evolution allows.
Versus a more evolved attempt at making form follow function..rather than what seems the obvious now, of design having to tag along as the poorest of relations scraping by, by darning up the various points of greatest abrasion-while the whole caterwalling world, goes that's way..much as the sole direction of the criminal mind as simply put, is a search amounting to a plea for effective discipline.
I have owned and played a number of fine saxophones; not unlike my experience owning cars; where an inexpensive though highly serviceable used car, in time becomes a prized collector's item with a price tag no one anything like a "normal" person could ever afford.
With now apparently fine saxophones selling inexpensively so to speak, due the relative economy of where these instruments are produced: not unlike the evolution of production, designating where and when the latest crop of reasonably acquired saxophones may come from-with a very likely caveat, that regions of active saxophone production are likely to produce the finest saxophonists and the finest music for the instrument too. Eventually, and ultimately.
So, I would like a world given to collectively contrived pandemic solutions; and similarly, saxophones having no doubt about themselves, no?
Anyway, given classical saxophonist Harvey Pittel's notion, about the future of the saxoohone; the wait for the rational evolution of the saxophone, seems likely to stymie those looking more for answers rather than questions.
One experience during 1973, found me recording an "informance" done by Harvey Pittel, then professor of saxophone at the University of Southern California..an "informance" as his whole northwest tour then was arranged, was to provide a more guided introduction to the classical saxophone and that's music by Pittel's informed dialogue about the instrument.
What then struck me, was Pittel's comparison of the historic violin with the saxophone: saying the horn's evolution is about five hundred years behind that of the violin.
I do enjoy having gotten to know and play quite a few interesting saxophones, as well as the similarly involved search for an instrument to play.
What is curious, is the reflection of the saxophone or another musical instrument as "subject" of that's own "object."
Thus, I think that ultimately music will most contribute what is necessary to evolve an instrument to that's potential.
I mean; I also greatly prize the saxophones currently produced in India, that are exceedingly simple while also designed for inexpensive maintenance too. A curved soprano in my hands during 2004 for $114 was an amazingly musical device, with a wealth of sonority whose mouthpiece alone was worth the purchase price of the whole saxophone. Developed and sold by a company first organized to grow musical quality reed cane in India, they do successfully very nicely.
Anyone, willing to speculate on India's musical evolution for the coming half a millennia? Where both saxophone and clarinet are popular, and the brass instruments too...wow.
I like Balkan Romani music, also a fine current evolution of the art of saxophone and clarinet. Much an improvisor's idiom too, with single dance tunes that can last as much as six hours for dance parties from dusk to dawn and beyond.
Bulgaria's greatest alto saxophonist Yuri Yunakov also Bulgaria's middleweight boxing champion for three years running in the early 1970s: is the person said to've been who Frank Zappa had in mind, in the comment "music is taken more seriously in Europe than in 'the states' "
Phew: Before I got encouraged a second time, to follow my dreams; I had developed a habit using the I-Ching for divination: within which I found koan like advice. The same hexagram for "music," is also that for "enthusiasm" which can end up intelligence too often garnered by hindsight, as one tries to accept evolution rationally.
Thus, I am intrigued greatly by this concept of a parabolic bore; which if poetic licence or licentiousness, I guess a person must explore alone..does anyone know of the Conn "M" action, being adapted to the parabolic bore horn? That would seem the ultimate of what are current conceptions of design? And, besides those "parabolic bore" Buescher, are other saxophones also made using a parabolic bore? And, could the parabola of the bore be opposite the tone chimneys? That would seem easier than creating the parabola within the tone holes and action?
What having picked up a $400 gold-plated 1930 Buescher alto in 1997 has done for my saxophonist's soul. Since these horns are known as "partially parabolic" I wonder whether any fully parabolic saxophones were produced, that would seem so; at least by the way Bueschers are described as "partially parabolic."