Metal

[Mary Ann]

I know that silver plate doesn't make a discernible difference to hardly anyone, although it sure is pretty.

But with (French) horns, especially the bell -- the metal does make a difference. Different bells can not only be different metals but also have different tapers and weights. The Lawson Ambronze bell on my Schmid horn is day and night better than the flimsy gold brass spun bell that came with it, but is also quite a bit heavier than the original. Not only did it turn the horn into a weapon, but the notes slot better in an obvious way. Some people do not like that bottom-heaviness, but the sound is SO much better that I don't give a flying whoopie about the weight distribution. The horn is gold brass, and I think there are those who say they can hear a difference between yellow brass and gold brass. I am curious, because I see some tubas where that is a choice, and I'm wondering if it is just cosmetic like the silver plate. (I think gold brass is prettier, just for the record.)

[donn]

All we need is a handful of tubas that all sound exactly the same, in one alloy, and another handful of otherwise identical tubas made on the same line in the other alloy, that all sound exactly the same. Then perhaps you could note perceptible difference with some confidence.

Then you'd want to repeat this unlikely scenario with a couple other bell designs, just to see if the design would have any bearing on choice of alloy.

I personally prefer to lead the life of an artist in these matters. I am kind of curious what Reynolds / Kanstul "bronze" is, in terms of tin content etc., but it's truly idle curiosity.

[bloke]

The male thread rings and probably even the rims prevent this, but I bet those two detachable French horn bells don't stack perfectly on top of each other.
I'd wager at least 49 cents that their flare contours are different.
It's more than alloy and thickness.

[Mary Ann]

I have stated several times that Walter Lawson was somewhat of a genius in developing tapers. It's been obvious to me that not only the heavy Ambronze (the astounding difference in sound and projection) but the tapers matter. I had someone else with a screwbell Schmid double try my bell at a workshop, playing something fast, and *clearly* he hit way more notes than he did with his own Schmid bell (which was hand hammered yellow brass, not spun gold brass like mine) although the difference in sound was not as much. I use a Lawson mouthpiece for the same reason --- notes are easier to hit, and Lawson leadpipes were famous additions for the same reason. Tube within a tube, and I don't know if anyone else has managed to do as good a job. Lawson horns play like tanks but have a distinct sound to them. Schmids play like Maseratis.