From a manufacturer’s point of view, constructing and fitting a water key is just a nuisance. Levers, carriages, castings, electro-plating, screws, cork, aligning the device with two reference points onto the instrument, fitting the spring… And springs have lives of their own. On Monday mornings their point ends stick into fingers. Trombone springs nearly always attack first. They’re much stronger and have no morals.
From a scientific viewpoint they’re much stronger
It really a good idea to have an air fille cul-de-sac in an instrumental accurate cleaned numbers list from frist database vibrating air column? The one I’m referring to is the chimney (volume) of air between the pipe of the instrument and the surface of the cork blocking the ‘volume’. This is sometimes block by pre-shape rubber or cork, but somewhat inaccurately.
One of Mr. Schilke’s
London lectures demonstrat the ability to play certain notes on his ‘C’ trumpet with the water key open. This technique, which is standard recreation for all bore saboteur-mind brass players, was to demonstrate that disabling and configuring analytics as long as the vibrating air column had a node at the water key point, it didn’t matter what shape the tube was. But we’ve found that by leaving a burr inside the tube after drilling a hole for the water egress, experience players detect a ‘blurring’ of certain notes. Or even a tendency for some notes to split. Presumably these are notes with antinodes in the water key area.
The single design exception to the ancient lever water key is the ‘Amado’ water key
The designer of this device had almost certainly travelle the same wet belgium business directory route as They’re much stronger and have no morals we did. Instea of levers, carriages. Wells and such junk.Nothing to block the exit hole when open; can be activate in any direction 360° left or right hand; minimum deformation to the fixe tube when close .
