HI all, long time player, but I am not a gear nerd and want to make sure I understand this. What is meant when someone says a neck has 'more resistance' than another neck?
The illustration below taken from the UNSW website shows the mouthpiece "flow control curve" Benade is referring to."Anything that works against the maintenance of oscillation (such as the reduction of the heights of air-column resonance peaks by frictional or radiation dampening, or the misalignment of these resonances so that they fail to set up strongly cooperative oscillatory regimes) requires the player to operate the reed on the more steeply falling portion of its flow-control curve. In order to produce this increased steepness, the musician is required to exert more blowing pressure and greater embouchure tension. . . .This explains why instruments having either heavily damped or grossly misaligned resonances are usually described as "hard blowing" and why the player is likely to find them physicaly tiring to play.
A spare neck? Have you ever lost or damaged one before?Thank you all. Makes sense. I am more a free blowing kind of guy, so I don't want a neck that makes things stuffy...but as mentioned, the proof is in the pairing of all elements...including player. Just on the lookout for a backup neck for my Ponzol Keilwerth tenor (nothing wrong with original neck), just want a spare.
I agree. A neck (or horn or mouthpiece or combo of all of those) can blow with resistance and sound really, really good (many do). Just because there's some blowing resistance doesn't mean the tone quality is adversely impacted.Stuffy isn't exactly the right word either because it has a negative connotation. There will always be some sort of resistance to air pressure while playing the sax. If there was no resistance, you couldn't play long phrases without stopping to take a breath. If you compare a Mark VI to a modern Yamaha, the VI will have more resistance and the Yama will be more "free-blowing". Compare a Berg Larsen mpc to a typical Link and the Berg will have more resistance.
When I worked in the repair shop of a music store lots of poorly maintained school saxes and rental returns came across my bench. After getting a sax leak free I would sometimes do a play test. If the inside of the neck looked "grotty" I would plug the end of the neck and put tape over the octave pip and fill the neck with "The Works" toilet bowl cleaner for about 15 seconds. Then I would give it a baking soda chaser and vigorously clean the neck with a flexible shaft brush and soapy water until all of the scent was gone. Looking inside the neck with a light, the brass looked as if it had just come from the factory. Without exception, the neck played brighter and more free blowing after the cleaning. This was a technique I learned from brass techs to quickly clean and restore the inside of a bore. "The Works" contains a relatively weak 9.5% solution of hydrochloric acid. One could possibly achieve the same result soaking the interior of the neck several hours using a weaker acid such as vinegar, but the quickness of the method described is a real advantage in a busy shop. I would not do this to a customer's saxophone without first discussing it and getting their permission.
If anyone tries this technique, use thick rubber gloves in a well ventilated area, and avoid breathing the fumes which can be harmful
The product CLR does the same thing
Exactly.My Selmer Super was resistant until it was overhauled and there were no longer any leaks.
The only resistant neck I owned was one that didn’t fit and therefore leaked.
I tend to put the two together, Resistance = Leak.
This may not be true all the time, but I’ll bet it’s true many of the times that a set up is described as resistant.
Everything has some resistance. When I tried out clarinets, there were Selmer Series 9's and 9*'s.HI all, long time player, but I am not a gear nerd and want to make sure I understand this. What is meant when someone says a neck has 'more resistance' than another neck?