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Dr. Woo (talk | contribs)
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Re-wrote introduction. Added patent information and references to Vibratosax’s historical role model, the Grafton saxophone.
Dr. Woo (talk | contribs)
131 edits
→Historical reference – the Grafton Acrylic Saxophone: Term "acrylic" re-linked to related Wikipedia entry.
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The [[Grafton saxophone]] was an Alto saxophone with a plastic body, available between 1950 and approx. 1968, which had very good musical properties and therefore was, amongst others, played by some of the biggest legends of [[Jazz]], namely [[Charlie Parker]]<ref name="Segell2005">{{cite book|author=Michael Segell|title=The Devil's Horn: The Story of the Saxophone, from Noisy Novelty to King of Cool|url=http://books.google.com/books?id=OsWHle0otJcC&pg=PT193|date=2005-10-15|publisher=Farrar, Straus and Giroux|isbn=978-1-4299-3087-1|pages=193 }}</ref> and [[Ornette Coleman]]<ref name="Gebhardt2001">{{cite book|author=Nicholas Gebhardt|title=Going for Jazz: Musical Practices and American Ideology|url=http://books.google.com/books?id=EiAvS_yl7qwC&pg=PA159|date=2001-07-15|publisher=University of Chicago Press|isbn=978-0-226-28467-5|pages=158, 159}}</ref>.<ref name="shwoodwind.co.uk">{{cite web|url=http://www.shwoodwind.co.uk/Reviews/Saxes/Alto/Grafton_alto.htm|title=„Werkbank-Besprechung“ des Grafton (engl.)}} Stephen Howard, Experte für Holzblasinstrumente.</ref>
The [[Grafton saxophone]] was an Alto saxophone with a plastic body, available between 1950 and approx. 1968, which had very good musical properties and therefore was, amongst others, played by some of the biggest legends of [[Jazz]], namely [[Charlie Parker]]<ref name="Segell2005">{{cite book|author=Michael Segell|title=The Devil's Horn: The Story of the Saxophone, from Noisy Novelty to King of Cool|url=http://books.google.com/books?id=OsWHle0otJcC&pg=PT193|date=2005-10-15|publisher=Farrar, Straus and Giroux|isbn=978-1-4299-3087-1|pages=193 }}</ref> and [[Ornette Coleman]]<ref name="Gebhardt2001">{{cite book|author=Nicholas Gebhardt|title=Going for Jazz: Musical Practices and American Ideology|url=http://books.google.com/books?id=EiAvS_yl7qwC&pg=PA159|date=2001-07-15|publisher=University of Chicago Press|isbn=978-0-226-28467-5|pages=158, 159}}</ref>.<ref name="shwoodwind.co.uk">{{cite web|url=http://www.shwoodwind.co.uk/Reviews/Saxes/Alto/Grafton_alto.htm|title=„Werkbank-Besprechung“ des Grafton (engl.)}} Stephen Howard, Experte für Holzblasinstrumente.</ref>


The saxophone however had, besides its high weight, the disadvantage that the ivory-tinted [[acrylic]], which was shaped using [[Permanent_mold_casting#Low-pressure|low-pressure molding]], tended to be very brittle<ref name="shwoodwind.co.uk" />, so that the body got easily damaged irreparably, especially on the bow. The high weight was mainly caused by the mechanics, which had been relatively conventionally made from metal. The manufacturer had to cease production after only a few years due to – in relation to the rather low sales price – high production costs and low market acceptance.
The saxophone however had, besides its high weight, the disadvantage that the ivory-tinted [[Acrylic_glass|acrylic]], which was shaped using [[Permanent_mold_casting#Low-pressure|low-pressure molding]], tended to be very brittle<ref name="shwoodwind.co.uk" />, so that the body got easily damaged irreparably, especially on the bow. The high weight was mainly caused by the mechanics, which had been relatively conventionally made from metal. The manufacturer had to cease production after only a few years due to – in relation to the rather low sales price – high production costs and low market acceptance.


Because of the improvements made in plastic quality and manufacturing (keyword: [[Injection moulding|thermoplastic injection molding]]) over the past 50 years, the [[Bangkok]]-living entrepreneur and passionate saxophonist Piyapat Thanyakij decided in 2009 to revive the concept of a plastic-made saxophone, with its advantages over traditional metal-made saxophones – i.a. low weight, robustness (when using modern plastics), consistent and precise reproduction of the body parts – and named the new instrument series ''Vibratosax''.
Because of the improvements made in plastic quality and manufacturing (keyword: [[Injection moulding|thermoplastic injection molding]]) over the past 50 years, the [[Bangkok]]-living entrepreneur and passionate saxophonist Piyapat Thanyakij decided in 2009 to revive the concept of a plastic-made saxophone, with its advantages over traditional metal-made saxophones – i.a. low weight, robustness (when using modern plastics), consistent and precise reproduction of the body parts – and named the new instrument series ''Vibratosax''.

Revision as of 02:36, 18 January 2016

Vibratosax is the product name of the saxophones made from plastic, designed & build by the Thai company Vibrato.

A global patent[1] makes Vibrato Co., Ltd. the sole manufacturer of saxophones, whose parts are mainly created from injection-molded plastic. Currently only Alto saxophones are available, Tenor and Soprano (curved) models have been developed and announced.

Historical reference – the Grafton Acrylic Saxophone

The Grafton saxophone was an Alto saxophone with a plastic body, available between 1950 and approx. 1968, which had very good musical properties and therefore was, amongst others, played by some of the biggest legends of Jazz, namely Charlie Parker[2] and Ornette Coleman[3].[4]

The saxophone however had, besides its high weight, the disadvantage that the ivory-tinted acrylic, which was shaped using low-pressure molding, tended to be very brittle[4], so that the body got easily damaged irreparably, especially on the bow. The high weight was mainly caused by the mechanics, which had been relatively conventionally made from metal. The manufacturer had to cease production after only a few years due to – in relation to the rather low sales price – high production costs and low market acceptance.

Because of the improvements made in plastic quality and manufacturing (keyword: thermoplastic injection molding) over the past 50 years, the Bangkok-living entrepreneur and passionate saxophonist Piyapat Thanyakij decided in 2009 to revive the concept of a plastic-made saxophone, with its advantages over traditional metal-made saxophones – i.a. low weight, robustness (when using modern plastics), consistent and precise reproduction of the body parts – and named the new instrument series Vibratosax.

Models

The Vibratosax currently has two models: the A1 and the A1S alto saxophones.[5][6] The A1 is made of Bayer's blend, a blend of polycarbonate and ABS plastic.[7] The ABS gives elasticity and flexibility, while the polycarbonate provides resonance.[7] The A1S is made of solid polycarbonate.[7] This denser material gives extra resonance, and a more projected and focused sound.[7] The A1 has a darker and warmer tone when compared to the A1S.[7] The "S" in A1S stand for solid, in reference to the A1S' denser and more solid design.[6] The instrument is available in different Colours and even in a transparent Version.

Design characteristics

The Vibratosax has several unique characteristics which distinguish it from a traditional brass saxophone:

  • The Vibratosax alto saxophone, at a weight of about 850 grams,[8] weighs far less than a typical brass alto saxophone. A brass alto saxophone typically weighs more than 2000 grams.[9]
  • The rods are manufactured out of brushed white aluminum.[10]
  • The pads made out of silicone plastic.[10]
  • The pads are self-leveling. They move on a pivot to better cover the entire tone hole with less finger pressure required by the player.[11]
  • The pads are gimbal-mounted and can be easily replaced.[11]
  • The springs are coils, giving the saxophone's action an analog quality.[12]

Analyses of the Vibratosax

A review of a pre-production unit

On January 12, 2011, saxophone repairman Matt Stohrer released a YouTube video where he analyzed a pre-production unit of the Vibratosax from a repair perspective. The video can be viewed here. In Stohrer's analysis, he came to the following conclusions:

  • One potential problem with the pre-production version of the Vibratosax is an inability to adjust the relationship between certain keys to better tailor the saxophone to an individual user.[13]
  • The pre-production Vibratosax's keywork is more flexible than that of a brass saxophone. This could be problematic if the force of the player's fingers alter the relationship between keys by bending them as they are playing. This could have a negative effect on the correct sealing of the pads to the body of the saxophone.[13]
  • The pre-production Vibratosax's body tube is assembled from many sections, and each section is reinforced with a thicker portion where the sections meet. The reduction in the tube's inner dimensions at these meeting points could cause potential intonation problems.[13]

Matt Stohrer has relayed his analysis to Piyapat Thanyakij, the president of Vibrato Co.,Ltd.[13] so that his recommended improvements could be incorporated into the production version of the Vibratosax.

Tonal qualities compared to a brass saxophone

Tonal qualities are subjective, but a direct comparison of the Vibratosax's tonal qualities to that of a brass saxophone could be made by having the same player play both instruments. The most effective comparison would be made if the performer played the same song, using the same dynamics and phrasing in both performances. On November 19, 2011, saxophonist Jim Cheek posted such a comparison in the form of a YouTube video.[14] In the video, Cheek first performed a song on the Vibratosax A1S alto saxophone, and then performed the same song on the Yanagisawa A901 alto saxophone, a traditional brass saxophone. The video can be viewed here.

References

  1. ^ US patent 7608768, Piyapat Thanyakij, "Injection molded saxophone", published 2009-10-27 
  2. ^ Michael Segell (2005-10-15). The Devil's Horn: The Story of the Saxophone, from Noisy Novelty to King of Cool. Farrar, Straus and Giroux. p. 193. ISBN 978-1-4299-3087-1.
  3. ^ Nicholas Gebhardt (2001-07-15). Going for Jazz: Musical Practices and American Ideology. University of Chicago Press. pp. 158, 159. ISBN 978-0-226-28467-5.
  4. ^ a b "„Werkbank-Besprechung" des Grafton (engl.)". Stephen Howard, Experte für Holzblasinstrumente.
  5. ^ http://www.vibratosax.com/products.php?id=1
  6. ^ a b http://www.vibratosax.com/products.php?id=2
  7. ^ a b c d e https://djere.com/node/186
  8. ^ Cite error: The named reference windsorstar was invoked but never defined (see the help page).
  9. ^ http://forum.saxontheweb.net/archive/index.php/t-27717.html
  10. ^ a b http://saxtasticsaxophone.blogspot.com/2011/04/vibratosax-aka-future-of.html
  11. ^ a b http://mattstohrer.com/2011/01/13/the-plastic-saxophone/
  12. ^ http://www.youtube.com/watch?v=hL7M_aFyGHI
  13. ^ a b c d http://stohrermusic.com/?p=156
  14. ^ http://www.youtube.com/watch?v=IruxMK3p_jY
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