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Thread: Tips on adjusting variable gap receiver?

  1. Question Tips on adjusting variable gap receiver?

    I've watched some videos, including the one by Mr. Werden. It sounds like I should evaluate the impact of moderate gap changes using interval studies to find optimal note slotting, particularly in the upper register. Is that the general idea? Any other tips?

  2. #2
    Join Date
    Apr 2014
    Location
    Summerfield, Florida Sturgis, SD (summers)
    Posts
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    One thing I did when I got my Adams (after trying what wasn't so successful) was to try the horn with the receiver all in (screwed all the way in). Then try it with the receiver screwed out as far as possible, or at least many, many turns out. This way, by playing at the two extremes, I was able to tell the differences (somewhat subtle as they were). When I initially tried screwing the receiver out, for example, 3 turns, then trying again at 3 1/2 or 4, there were barely any differences that I could tell. But by having the extremes checked, then I could say that all screwed in was like this, all screwed out was like that, and all screwed up was like me until I figured this out.

    Slotting is one thing I checked for sure. Doing something like going/slurring from a D concert above the staff up to a high Bb, then a Db up to a high A, then a C up to a high Ab, etc. down chromatically. Also, slurring notes to see if it was easier to do this at various settings. Starting on a middle Bb and slurring to a D, then going up chromatically. I was looking for the receiver setting where I would have less resistance. Try any slur where you don't move valves, just using your lip.

    I ended up with my receiver out about 3 turns. I am right now playing with it a little bit as I just got a sterling silver leadpipe installed and some other stuff, so maybe a new gap is in order, time will tell.

    Try a tune, like Danny Boy, and see how it works when you go from the C up to a high A towards the end (playing it in F major). Or an excellent piece to play is the opening of Pantomime by Philip Sparke. The intervals in that very lovely first section would be excellent to try out with various gap settings. In fact, I can think of no other piece off hand that would be better to check intervals and slotting.

    Happy Gap Hunting!!
    John Morgan
    The U.S. Army Band (Pershing's Own) 1971-1976
    Adams E3 Custom Series Euphonium, 1956 B&H Imperial Euphonium,
    1973 F. E. Olds & Son Studio Model T-31 Baritone
    Adams TB1 Tenor Trombone, Yamaha YBL-822G Bass Trombone
    Year Round Except Summer:
    Kingdom of the Sun (KOS) Concert Band, Ocala, FL (Euphonium)
    KOS Brass Quintet (Trombone, Euphonium)
    Summer Only:
    Rapid City Municipal Band, Rapid City, SD (Euphonium)
    Rapid City New Horizons Band (Euphonium)

  3. Thank you, John. This is quite helpful. I’ll keep at it!

  4. Also, can you describe what you mean by sterling silver lead pipe? As in, solid sterling silver, like the bell? What are you expecting that will do?

  5. #5
    Join Date
    Apr 2014
    Location
    Summerfield, Florida Sturgis, SD (summers)
    Posts
    1,867
    Quote Originally Posted by 50MilesToGo View Post
    Also, can you describe what you mean by sterling silver lead pipe? As in, solid sterling silver, like the bell? What are you expecting that will do?
    Yes, the leadpipe is solid sterling silver.

    This according to Miel Adams (from Adams Musical Instruments) on the various leadpipe materials that they will install/build:

    ********************

    Yellow brass: clear sound, good articulation and also a good projection

    Gold brass: a bit warmer sound than yellow brass, but still good articulation and maybe a tiny less projection

    Red brass: warm and darker sounding leadpipe than the others, but you will lose a bit on articulation and projection

    Sterling silver: for some musicians this is a harder metal to handle, but if you have this leadpipe under control, you have a very wide range of colors you can produce as a musician, this leadpipe projects fantastic and articulates well

    Nickel silver: a leadpipe that has fewer high overtones so it will miss a bit of the sparkling sound found in the sterling silver, for most ears it is darker in sound, but I personally miss the brightness in this leadpipe, it plays and articulates well

    ********************

    So, I suppose the leadpipes will play and respond differently among all of them, and also among the players. I like the sound of my sterling silver bell. It just "sparkles" with colors and projects well. I think it will be similar with the solid sterling silver leadpipe. I am still getting used to it, but I like it so far.
    John Morgan
    The U.S. Army Band (Pershing's Own) 1971-1976
    Adams E3 Custom Series Euphonium, 1956 B&H Imperial Euphonium,
    1973 F. E. Olds & Son Studio Model T-31 Baritone
    Adams TB1 Tenor Trombone, Yamaha YBL-822G Bass Trombone
    Year Round Except Summer:
    Kingdom of the Sun (KOS) Concert Band, Ocala, FL (Euphonium)
    KOS Brass Quintet (Trombone, Euphonium)
    Summer Only:
    Rapid City Municipal Band, Rapid City, SD (Euphonium)
    Rapid City New Horizons Band (Euphonium)

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