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Aulochrome

Discussion in 'Prototype Instruments and Examples' started by Heckelphone, Jan 12, 2009.

  1. Heckelphone

    Heckelphone Double Reed CE Staff Member CE/Moderator

  2. Helen

    Helen Content Expert Saxophones Staff Member Administrator

    Written with my tongue firmly planted in my cheek: Oh no! What's worse than 1 soprano? Two, being played simultaneously by the same person! Yikes!! :emoji_astonished: Next thing we know, Eppelsheim will top this by putting 3, 4, or 5 soprillos together to form a 1 person choir. Oh where will it end? ;-)
     
  3. Carl H.

    Carl H. Distinguished Member Distinguished Member

    Double straight bass any one?
    :???:
    anyone?
     
  4. Gandalfe

    Gandalfe Administrator Staff Member Administrator

    I'm sorry that could *only* be cool. You'd need a stand to support it. :cool:
     
  5. Heckelphone

    Heckelphone Double Reed CE Staff Member CE/Moderator

    I'm still trying to imagine the size of the double mouthpiece... :emoji_astonished:
     
  6. Groovekiller

    Groovekiller Distinguished Member Distinguished Member

    I'm sorry I missed this post. I got a chance to play the Aulochrome and talk at length with Francois Louis recently during a clinic at the University of Miami.

    Both sides of the double soprano Aulochrome play very well. More importantly, the mechanism is ingenious and brilliantly executed. It is actually possible, with practice, to play any note on either side of the instrument with the same or any different note on the other side.

    Of course, this enables the player to ply two parts simultaneously. However, after talking to the inventor, I believe his primary intention was to create an instrument capable of creating sum and difference tones, meaning that the range of the instrument is theoretically increased beyond the capabilities of either side of the horn.

    I tried it and I could hear the extra high and low notes created by combining the two parts of the Aulochrome. I am still trying to perfect one note at a time, though, so I will leave it to guys like Joe Lovano to create music with these new sounds.

    Problem: As I understand it, there is only one copy of the original Aulochrome with the exceedingly complicated mechanism perfected by Francois Louis, and the ownership of that instrument is in dispute. Even Joe Lovano's horn is different, and if I'm wrong, I stand corrected. But it seems, if you want an Aulochrome, you won't get it.
     
  7. pete

    pete Brassica Oleracea Staff Member Administrator

  8. SOTSDO

    SOTSDO Old King Log Staff Member CE/Moderator

    I really like the first "reviewer's" comment: "I can't wait to play it"

    It seems to me that a "reviewer" ought to have played an instrument before issuing a glowing endorsement...
     
  9. pete

    pete Brassica Oleracea Staff Member Administrator

    Well, a reviewer can comment on the tone, even if it's someone else's :).

    Speaking of that, I do understand Groove's comment about the tone from a music theory point of view, i.e. reinforcing the harmonics to make it sound like you're playing a chord or to make it sound like you're playing a bit higher or lower than the instrument's reach really is, but ... some of the noodling I heard from Joe Lovano in the first video sounds more like two saxophones playing out of tune. The extreme lower end of the range sounds very unstable and warble-y.

    Personally, I think it'd be more fun to have two soprano players playing on the stage. Hey, soprano players could use the work :p.

    Possibly, after Mr. Lovano or another musician has a while playing with it, there will be some changes made to the overall design of the horn; maybe some different ventings to improve the tone and less complex fingerings. Also, I wonder about the mouthpieces, too: can you make one big mouthpiece, even a double-chambered one?
     
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