goodgigs wrote:On the serious side, you could easily make it break down for transport with a Yamaha sousaphone screw together feral on the cut in half top bow.
I also agree with Krause's suggestion about the third slide. However, it would only be practical if it slid a very long way. For this reason, I think
it should be switched around, on the next horn probably, so that the third slide goes down and the forth slide takes its place (approximately) and
can be used for compensating and also alternate fingerings with the slice almost a foot and everything switched around a half step for showmanship.
(It would be hard to figure out though) This might facilitate easier draining too.
I had though about having it come apart, but wanted to remain as close to a bari sax as possible - so only the neck is removable.
Yes, the third slide is a bit long and in the way when reading music. Future designs will definitely have a better position for the slides.
Oren's tuba was a top action and those seem to be aplenty.
That Yamaha hex screw together ferrule wouldn't be practical in my opinion. It would also be expensive and probably the wrong size for that area. What would make more sense is a custom made part that would but the two pieces together and a nut that would let you screw the two pieces together. Think kind of like a trombone hand slide connector without the tapered fit part. This should also let you adjust the angle at which these two pieces connect. Having something like this custom made is going to be a chore though due to the size of the item.
On the other hand you could try a connection at that point like a Sousa bell with a socket. This would be easier to make and more practical.
goodgigs wrote:
Since I was in France and it was coming up on the fourth of July, I played my multiphonic version of
the Jimmy Hendrix star spangled banner. They liked it so much they thought I could actually play !
"There's no accounting for taste !"
Do you have video of that?
That sounds A W E S O M E.
There are quite a few given parameters in trombone designs as you have to allow for optimal use of the reach of the human arm.
One of my weirdies in that context actually is tuba relevant:
I have suffered from asthma for many years and in between used to go furious when my pipes cramped. A more productive approach was about training the ability to relax totally at will. As part of that scheme I wanted to improve my bass trombone playing by warming up on tuba. In 1990 the best cut between availability, quality, and the reach of my purse was a 1928 Conn 26K Eb sousaphone (since then things have gone a bit out of control, tubawise).
I tried the sousaphone bits on my bassbone, which of course went flat, but if set so the slide turned right, it still could play in tune with itself. Really a weird, and absolutely useless, experience having the slide and the bell pointing to the right.
