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Octave Pip Placement / Alteration Help

1882 Views 15 Replies 8 Participants Last post by  clarnibass
I have an issue with G# just above the Staff on Tenor. When I jump to it from anything in the Palm keys it cracks the harmonic.

I am certain that it has to do with the fact that it is the 1st note to be played using the Body's octave Pip - and thus being the one furthest from a perfect acoustic placement of that peticular pip.

Now, I can solve the issue by voicing it differently, however I was wondering if anybody had a mechanical solution to this issue.

The obvious one is to move the pip -and... um..... I dont see that happening anytime soon.

Who has other ideas or proven solutions?

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Pip is clean - and yes it cracks to the D# above G#. It happens with the slightest of change in voicing. A is more Stable - and as you go down - it becomes more stable again.

Trust me - The horn is tight. I know as a repair tech myself that it is easy to look at this situation and say - he's wrong, he's missing a leak or his embrosure is messed up or similar. Believe me or not - I can subtone down to Low Bb - Neck is tight - everything is sealing.

I dont know if this will mean anything to credit my abilities - I just did a complete overhaul on Dr. David Wright's Transitional Conn Alto. Long story short he was blown away and claimed that it never was so quiet and easiy to play. I know painstaking pad jobs.

I thought at 1st that it cracked the moment when I start to switch fingerings and that fracton of a moment when both vents are open at the same time. I closed up that octave action - and no dice - I can start the G# and voice the harmonic easily - too easily for my taste. (as well as everything lower - but not to the same degree as the G#)

I can play the horn fine as is. This is just a tendency. I have a former student with the same horn with the same problem. Another friend (pro player) has the same problem playing my horn (and my former student's).

This can be solved with voicing and thats how I am getting around it.

Let me explain the issue another way. Imagine playing the overtone series. Have you ever experienced one horn speakes the series easier than another? Well - from Octave A up the overtones are in a comfortable place - and from Octave G# down they will jump to the next overtone extremly easily.

Maybe I should change around how I am looking at this.

What mechanical factors determine how easily a overtone is produced - all things equal. Meaning - no leaks - why will one instrument produce an overtone easier than another? I think My answer lies somewhere there.

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Saxtec - You may be on to something. A very well respected Repair Tec Mentor of mine had the same suggestion of a wedge in the pip. So far thats the kind of thinking I am been looking for. I like the cork pad / Spring Idea as well. I will let you know of the results.

Shmuelyosef - You are very observant on my lack of horn Make and model. I have learned the hard way that in a situation like this - providing that kind of info only leads to people posting opinions and not facts about what they think. All horns are brass tubes with holes and pads - This is a question that doesnt need that info - it's an acoustic question.

clarnibass - again I will say I am able to solve the problem by voicing and overcoming it is not an issue - it's done - I am just looking for a way to stablize out that note. I saw Curt's pantyhose method - but thats more for sound comming out the pip. I may still try it anyhow. I actually have an e-mail into Curt and am awating his answer on this subject.

I'll keep you all posted - Thanks for the responces.

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So taking the wedge idea - and quickly realizing I can fire up the lathe and make a rod with a slight taper and a hole through it for an insert easier than a wedge (just because its so tiny) - That is what i did.

I would say 70% of my issue is solved which I think I will stop for now at and give it a gig test tonight.

Saxtec - you Da Man (at least on weekends :) )

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