Yes!It depends whether the resonators are easily to refit. I think Ferree's or someone had pads with this shape...
It is pretty funny I'll find out when the pads come out whether it's easy or not. I usually go with flat resonators too... But, from an airflow standpoint it makes sense, to whatever degree it matters...Yes!
"The tried and true B56 Elliptical Cone Resonator Sax Pads have convex resonators made of the same material as our Selmer Type resonators. The special cone shape provides 360° airflow management and sound reflection to direct the sound and air out from under the pad, instead of bouncing it back into the sax, greatly improving resonance and performance. It is molded with a solid construction and flat back. The B56 Cone Resonator fits the pad naturally and blends well with other resonators when being used as a replacement. By half millimeters. Cones are brown only."
It doesn't say whether they are riveted.
I find it interesting that they are both "greatly improving resonance and performance" and "blends well with other resonators". Is there a difference or not?
Likewise, totally.I would not go to the trouble of reusing the old boosters. I doubt if they do anything more than any other resonator. I tend to stick with the Selmer brown nylon type on everything unless I'm intent on restoring to original, like a Martin or old Conn.
Ferrees Selmer plastic resonators are heat expanded and rolled on the back. Probably the same for the coney ones and not likely reusable.Yes!
"The tried and true B56 Elliptical Cone Resonator Sax Pads have convex resonators made of the same material as our Selmer Type resonators.
It doesn't say whether they are riveted.
Not to bicker but, to bicker a bit... I agree with the bottom line and practical effect of what your saying, and most of the details, including the likely effects of resonator shapes, 'though I'm willing to consider maybe there's some small effect if someone I like swears to it.Unless I am mistaken, the term "reflection" is used incorrectly here:
What happens at an open tone hole is that air vibrates in and out of it very rapidly - at the frequency of the note being played. Nothing more"
I think it is bit far fetched to think a very shallow cone in the middle of the resonator would aid this process.
(This in and out vibration of air is the means by which a travelling wave is "reflected" - technical term - back up the instrument, the end product being a "standing wave".
This air wooshing in and out of the tone hole is the beginning of the traveling wave that travels to the listeners ears.
For a closed tone hole, there is no reflection. The air is vibrating up and down the instrument in some locations (pressure nodes) and in others, the pressure antinodes (or movement nodes) there is an oscillation of air pressure. Kost locations will have a mixture of two two. What the resonator does is provide a more rigid surface, like the metal bore, that reduces the muffling effect of the soft pads. (The pads damp the air vibration and pressure oscillation.) I doubt that the shape has any relevance. It is the rigidity that is relevant, and especially the surface area covered, of course. Thicker plastic would have sufficient rigidity to do the job, and so would thin metal. I doubt that thick metal would do it any better, and it certainly presents weight issues for some keys.
There is no reflection anywhere in the sense that light is reflected in a mirror, or a billiard ball off a cushion.
... unless I am mistaken.
But for marketing purposes manufacturers and others will invent anything they like, to baffle purchasers.
We'll have to agree to disagree.
1. I think the images taught at school level are simplistic.
2. I don't go along with the concept of sound "bouncing around" in a woodwind air column. A pressure wave travels from one end to the other, "bounces" back from the open end, and on the way back up the instrument, interferes with the initial wave, creating a "standing wave" which no longer resembles the two waves it was made from. A standing wave is not like a wave in water, bouncing off things, and should not be pictured as such.
3. You wrote "To say air "vibrates in and out" of a tonehole is well intended but probably not technically correct as the distances air actually moves in a sound wave is miniscule" Technically that is exactly what happens at a tone hole. Yes, the amplitude is small in large tone holes, but so what? It has enough amplitude to be heard when that initiated travelling wave leaves the open tone hole and reaches our ears.
I thought that the primary scientific reason is based on the complex theory of the "coefficient of currency." Plastic resonators are cheaper. If it were more complex than that, each pad would have it's own size resonator and maybe its own unique shape. But after a lot of research, Selmer (and P.T. Barnum) determined that the public isn't that smart.There are scientific reasons why Selmer switched from metal domes to nylon domes in the 60s. A lot of research went into determining the size and shape of the resonators.
! No doubt a factor, although light weight does make sense. In the greater scheme of things, and with what's happening in our country this week and this year, resonators are seeming to me like a nearly meaningless topic to be honest. Sigh. Thanks all for your thoughts relevant to inverse parabolic resonators (which would be better called "reflectors" - I'm pretty sure I'll be going with my usual flat resos on this hornI thought that the primary scientific reason is based on the complex theory of the "coefficient of currency." Plastic resonators are cheaper. If it were more complex than that, each pad would have it's own size resonator and maybe its own unique shape. But after a lot of research, Selmer (and P.T. Barnum) determined that the public isn't that smart.