My college switched to the version of these without the slide kickout from Yamaha sousaphones. I would say these played better *but* they had some serious ergonomic issues and they had constant reliability issues that were different than the issues we had with the Yamahas. The biggest ergonomic issue was there was simply no way to get the sousaphone into a balanced position without having to crane your neck into an uncomfortable position to reach the mouthpiece. Reliability issue was solder joints constantly failing, especially the lead pipe into the valve assembly. Just not enough bracing.
Sound concept and musical language. yes, I agree. 3:13 use of air: I disagree. Poor tone is purely an embouchure performance issue. Low air pressure plays soft tones, and more air pressure plays louder tones. Any tone can sound good with various dynamics. It is not low air pressure that is the cause of poor tone. 10:46 tongue movements are related to embouchure actions and postures. Tongue arch does not alter the air flow (not the air "volume") generally for reasonable levels. Extremely high tongue to the point of a "hiss" into free air does reduce the pressure and flow of the air through the lip aperture. (It doesn't make the air "speed" through the aperture "faster" but yet the opposite.) Tongue postures are related to what we are doing with the lip posture. It has nothing to do with oral space "resonance" or air "speed". The dominant resonance is the instrument. The resonance of the oral space is irrelevant.
I play contrabass sax with low A And here tuba players try tô play low C 32hz - its ok in tune but timbre no só, when they try E, Eb, D no way, out of tune and they at me LOL.
