I'm surprised no Chinese company has cloned it yet. I'd think there is a market for it today.Awesome. Thanks for posting this!! Now I want one damnit...nothing that a refi won't "fix".
Sounds like an overgrown soprano.I'm surprised no Chinese company has cloned it yet. I'd think there is a market for it today.
You know that is precisely what the Conn-O-Sax is, right??Sounds like an overgrown soprano.
Chinese companies ( and Taiwanese ones) are not as adventurous as you may suppose. They generally tend to stick to what sells, which is why the C melody adventures ( Aquilasax and Eppelsheim, both little to not successful in industrial terms) were only possible with a minimum order which would give them ( the Chinese makers) a guaranteed return. I suppose that if one would guarantee a few hundred pieces it would be possible to copy one and then keep the exclusivity for a couple of years. But then you would have to see whether the initial investment could be recuperated (a crowdfunding would probably be the best way to evaluate the real size of this market).I'm surprised no Chinese company has cloned it yet. I'd think there is a market for it today.
Not exactly, since it is in the key of F and not C or Bb, but yes to some extent, since it is a little lower than a soprano but extends from low A ( much lower than a soprano reach) to high GYou know that is precisely what the Conn-O-Sax is, right??
That was cleaver. Thanks for doing it. So many people on the web talking about fingering while filming in landscape with their right hand out of the picture. While I generally agree with Milandro's comment, in this situation I think you made the perfect choice.I shot the video in portrait rather than landscape in an effort to capture the entire Conn-O-Sax, which is pretty long.
This has got me thinking. How much different is the Conn-O-Sax from a regular soprano, aside from the obvious ball attached to the end of it? Is there more to its mechanism to make it work? I mean, could someone make a similarly sweet sounding instrument by just altering the end of a regular soprano?Chinese companies ( and Taiwanese ones) are not as adventurous as you may suppose. They generally tend to stick to what sells, which is why the C melody adventures ( Aquilasax and Eppelsheim, both little to not successful in industrial terms) were only possible with a minimum order which would give them ( the Chinese makers) a guaranteed return. I suppose that if one would guarantee a few hundred pieces it would be possible to copy one and then keep the exclusivity for a couple of years. But then you would have to see whether the initial investment could be recuperated (a crowdfunding would probably be the best way to evaluate the real size of this market).
For starters is not at all a soprano but more of a quasi alto or a low soprano, either way it would require a completely new body tune different distance of the toneholes and diameter of toneholes, in other words you can't just tweak a soprano tooling to make a Conn-O-SaxThis has got me thinking. How much different is the Conn-O-Sax from a regular soprano, aside from the obvious ball attached to the end of it? Is there more to it's mechanism to make it work? I mean, could someone make a similarly sweet sounding instrument by just altering the end of a regular soprano?
I know the Conn-O-Sax is tuned in F, hence in between the tuning of a regular alto and a soprano. My question is, if we took a regular soprano in Bb and modified just the end of it would it acoustically work? Or would it still need a different design altogether? I don't have an understanding of the purpose or implications of that ball at the end, acoustically speaking.For starters is not at all a soprano but more of a quasi alto or a low soprano, either way it would require a completely new body tune different distance of the toneholes and diameter of toneholes, in other words you can't just tweak a soprano tooling to make a Conn-O-Sax